Swans - My Father....

Artist Swans
Year 2010
Label Young God Records
Genre(s) Post-Rock

This album was always going to be polarising. The very announcement of a reformation without Jarboe started some sort of proto-backlash towards the venture. Nine months on from the first announcement and finally My Father Will Guide me Up a Rope to the Sky is pushed out for the baying audience. Swans are back, but is the album any good?

Maybe saying Swans are back is slightly bold… If I picked up a goose and proclaimed it a swans perhaps it could fool people upon a cursory glance, but closer inspection will reveal that it may look the same, possibly smell the same and even have a similar make up, but it ain’t no Swan. I have no problem with Angels of Light, in fact if pressed as I’ve grown older I might say some of the Angels of Light work resonates more with me. My Father Will Guide Me up a Rope to the Sky suffers the same problem that I had with certain earlier Angels…. Works, after hearing Gira’s touching and powerful acoustic demos the songs don’t feel right being worked into full band mode. The best example I can muse on would be My Sister Said (From: I am Singing to you From my Room & Sing Other People respectively) which lost the majority of its power when rerecorded with a full band.

Far be it from me to tell Gira how to manage his projects but I can’t help feel that as he has grown older that his music has evolved past a very over the top expression of emotion into a more mature and formed emotive output, Swans still holds a place in my heart but the time has passed. Why resurrect a band to play essentially the same music you’re already doing in another project? Maybe I’m just cynical…

My Father… isn’t a bad album, not by a long shot. I do feel it pales in comparison to the more effecting solo demos on I Am Not Insane and I don’t know how well it fits in the Swans canon. Maybe I’m just subconsciously rebelling against growing old. Was it David Fincher that said “Nihilism is a really sexy idea when you’re in your twenties…”? Maybe I’m just not as extreme as I used to be. It’s not really important, you’ll either have this album or you won’t, this review is worthless…. Good old nihilism.

Timothy C Holehouse/Chris Cook

Artist Timothy C Holehouse/Chris Cook
Label None
Year 2010
Genre(s) Drone, IDM

Another in the long line of Timothy C Holehouse split releases from the past year or so. This time with Same Actor & Hot Roddy, two guises of Chris Cook. This release features a solo track from Hot Roddy, Same Actor and Timothy C Holehouse as well as two collab tracks twixt Holehouse and Cook.

Side A of the tape is dedicated to the two collaborative tracks, The Persian Sea & It Began with Nothing. Offered up are psychedelic drones, bells and swirls entering the cosmic energy. Strings being offered up as a dedication. A ceremony within a vast woodland, I know that Chris Cook plays sitar and I’m fairly certain it’s used in these two collab tracks, offering a krauty/raga vibe to proceedings whilst the electronics burn on. Stunning implementation of crescendos create a pressing urgency in what is essentially a slow moving drone. What I find fascinating is how well the traditional instruments and the electronics combine, both seem to have their own place in the composition. Too often with modern day “drone” works there’s totally useless insertion of instrumentation (See: Not Not Fun and other “hipster”-ish noise), whereas here Cook and Holehouse present a master class in not only playing but composition. Once again this piece is steeped in atmospheres that will evoke different reactions in each listener, you really owe it to yourself to discover this tape. I’m really hoping for further collaboration in the future.

Side B is where we can find the separate tracks by each artist, the first five tracks being by either of Chris Cook’s projects (Which pseudonym to which track isn’t made clear) with a final piece by Timothy C. Holehouse. Cook’s projects were a massive shock, shifting to something close to Dubstep, IDM and even some D’n’B moments. It almost seems at odds with that which came on Side A. No less relaxing for it but defiantly in a totally different spectrum, I had heard mention of an earlier Chris Cook related project (Remote) as having a Warpish/Aphex vibe and I can defiantly see the influence on these pieces. The final Holehouse track opens with slow percussion and alien bleeps and squeaks, a denser and darker approach but making both artists solo tracks stronger via the juxtaposition. Dense and suffocating drones quickly fill all available space and force the listener down, just as crushing as any Moss record!

This is probably my favourite tape out of the recent releases I’ve reviewed, as I’ve mentioned before I’m very fond of split releases that showcase different genres/styles of music and this tape is no exception. The mix of atmospheres, emotions and textures on this release make it a fascinating listen and well worth returning to.

Artist Timothy C Holehouse/The Reactcore is Splendid
Label None
Year 2010
Genre(s) Ambient, Harsh Noise, Noise Rock

Yet another split tape from the prolific Mr Holehouse, this time a split tape with The Reactcore is Splendid. Holehouse I’m sure is known within the noise scene but TRiS is new to me, a two man (?) project based out of London. Speaking of London it seems to be a heavy influence on the music contained on this pastel yellow cassette, coming as it does, with part of a London calendar affixed to the case.

The Holehouse side of the tape was recorded between London and Bristol (I’m assuming on a train?) via the use of a Dictaphone and then further editing carried out. The track carries a very strange vibe, snippets of conversations (other commuters?) come and go. The sounds of life ebb past and distort. There’s an incredibly sinister atmosphere carried throughout. Running the line from all out haunting ambient to dark stabs of distortion and feedback. As with most Timothy C. Holehouse pieces I find it best taken in whilst lying in a dark room with headphones. Atmospheres that are second to none. The piece calls to mind images of trains, faceless people dragging themselves through endless underground tunnels, dripping water and scurrying rats. Dark, dank and thoroughly unforgettable.

The Reactcore is Splendid serves up Turd Sandwich (AKA Live in Texas) which sounds like a dirty noise rock based recording. Vocals at sub-Albini levels and a whirlwind of guitar noise. I think there are drums somewhere in there too but I couldn’t make a guarantee. Sounding like more of a mixture of rock stylings and straight out noise than the usual ideas that are conveyed with Noise Rock. More noise based than The Cows but more rock based than the likes of Air Conditioning. The recording seems to leave a little to be desired but otherwise the TRiS is good, offering areas of noise, rock, Whitehouse styled power electronics etc. A wide area is covered with the live side and I’d really like to check out some studio works to see how they sound.

Nryy - Bird

Artist Nryy
Label Side-A
Year 2010
Genre(s) Harsh Noise

Side-A-Records is a fairly new label, you can find reviews for all their prior releases (bar one…) slightly down this blog. I’ve found the output, packaging and basically everything pertaining to this label to be nothing if not innovative and compelling. Focussing on a good mix of known and unknown artists and offering a great view of the current noise scene. Brought to us today by the label is Bird by Japan’s Nryy. Nryy come off the back of a series of splits and other releases on his own label Silent Novels (Which also functions as a web-label). Bird serves up three tracks of harsh noise, sculpted to perfection for a total of just over half an hour of torture/pleasure, if not both.

The main issue with Japanese noise is that any newer artists will instantly be compared to the “Japanoise” greats, even breakout artists like Govt. Alpha seem to find it hard to shake the “Like Merzbow but/if/with….” allusions. I can hopefully avoid the “Like [Japanoise artist x], meeting [Japanoise artist y] in [unexpected location] with [American band Z] sensibilities” although I make no promises.

The first thing I notice upon removing this Cd-r from its beautiful packaging is how well the overall aesthetic is carried, packaging like this really makes me hope for the music. To the CD player with it! Budgerigar opens the releases with an almost danceable beat structured bout of noise with a sci-fi edge. It may just be the release title but instantly bird song comes to mind, there’s an almost chip tune element to the noise but it first perfectly with the established nature of the piece. Whilst the noise is harsh it’s not an all-out assault as with certain contemporaries in the genre that will remain nameless. The second track, Lovebird, opens like an inferno, the noise crackling like fire. Scorching the ears and brain, a less structured and much, much more violent outburst. The sheer amount of elements that make up each of these three long tracks can’t possibly be listed, there’s not enough room for that. The tracks flow on with their individual elements, refusing to stay still.

The very nature of this release sets it aside from most current noise works. It’s almost refreshing to be served up a slab of harsh noise in the boring plains (with some exceptions) of wall noise that seem to be in vogue recently. Nryy is defiantly one to keep an eye on, and this release serves much as a statement of intent, worth grabbing. Oh, and because I've earned it, Masonna, Merzbow, Pain Jerk etc etc.... Good to get that off my chest.

Euhedral/Timothy C Holehouse Split Tape

Artist Euhedral/Timothy C Holehouse

Label Self Released

Year 2010

Genre(s) Drone, Dark Ambient

Yet another split tape featuring the ever wonderful Mr. Holehouse and this time he has teamed up with Oxford based drone and dark ambient project Euhedral. Euhedral offers up one track split into two parts of creepy drone/dark ambient soundscapes, whilst Timothy C. Holehouse presents three tracks of dark improv. and shuddering melody. The information with the insert is somewhat sparse, offering artist and track names (and e-mails etc). The only other bit of info to be found is that the tape (I'm assuming both sides?) was recorded in Peckham on a bleak Sunday. I can't say for certain that this had any effect on the outcome but this split is definitely dark and brooding.

The Euhedral side side starts off with a drifting sound, echoes and slow methodical drum beats filling the plain. Self described by the artist as dark (which is an understatement) Mantis Song Parts 1 & 2 offer dense yet spacious atmospheres, drums bouncing off slick cave walls and dread filled drones rising from blackness. Damaged and shuddering walls of noise closing in from every side. The production and the drum sound almost lend a dub sound to the proceedings. As Part 1 fades into oblivion the dense silence is punctured by screams, at which I'm getting a similair vibe to In Umbra Malitiae Ambulabo, In Aeternum In Triumpho Tenebrarum by Abruptum (Except executed in a much more competent fashion). A metallic nightmare begins to stalk closer and closer to the forefront, like a mechanical beast rising from a misty chamber. Female vocals dance in the ether fitting the mood perfectly. All the components of the release joining into a sonic miasma. It's here however that I have a slight problem with the work, I was taken out of the experience somewhat by what sounds to be the use of a wah effect on the track, I was very aware of the nature of the track and it dulled the atmosphere that (until this point) had been created perfectly. Gone was the creeping sense of dread. There is a quick stop/start used to great effect, just as I was getting up to change sides the assault returned and resulted in me cowering like a little girl. I'll happily throw some Euhedral tracks on in future, however it's not exactly comfortable listening in a dark room en yet at the same time I would advise it to get the most of the experience.

Timothy C. Holehouse starts off with a calm piece of guitar, slowly repeating and dying away. Electronic flourishes ebb alongside the guitar. As the volume and intensity increases an air of menace becomes apparent. What sound like whispered vocals lurk just behind the instrumentation, haunting the listener. Soon the guitar is overpowered by a thudding pulse of a beat, steady and omnipresent. A swirl of electronics offering only slight suggestions that the guitar still exists as part of the composition. More urgent and pressing, there is a slight drop out on the tape at one point which I'm not entirely sure is intentional. Just as soon as the hazy electronics began they start to fade away, leaving the pulsating beat and gentle guitar, sounding ever more alone. The beat eventually vanishes until the guitar is all that's left, sounding sorrowful and alone due to the juxtaposition with the harsher point of the track. Track two carries with it an almost Moevot vibe, carrying the sound as if it were recorded in a cathedral, there are also flourishes of almost Kluster-esq electronics, psychedelic en yet melding perfectly with the composition. The Moevot vibe only increase as the side rumbles on, especially when the sinister, whispered vocals return.

There's much been said about the genre of Black Noise, despite being a loose term which covers the more bombastic (Emit) to the slightly calmer and more ambient (Dapnom/Black Seas of Infinity) there seems to be a lash back from the noise community at large. It's releases like this that might be able to turn the tide and show there can be a good mix of Dark/Black Ambient and Noise/Drone elements to create something greater than the sum of it's parts.

SeaBuckthorn/Timothy C Holehouse - Split Tape

Artist SeaBuckthorn/Timothy C Holehouse
Label None
Year 2010
Genre(s) Folk, Post-Rock

Here we have a split tape twixt SeaBuckthorn and Timothy C Holehouse. Mr. Holehouse is known to me and I've reviewed some of his previous work. In doing prep for this review I tried to find out some information about SeaBuckthorn, the Myspace mentioned on the insert is blank, listing only a country and age without further details, this is a real pity as I'm most enamoured by the track presented. The total release look wonderful, coming in a stamped envelope (Which is unfortunately sealed and not exactly the easiest to open without damaging) and then further enveloped in black crepe paper, held in place with an orange sticker.

The SeaBuckthorn side is one track, A Mystique Strenched Thin, which opens with calm drones and gently played guitar. Slowly shimmering with a slight sound like Sun City Girls. Light and pleasant, sounding like summer music to forget your problems to. The guitar ebbs against the droning tide, reverb lashed on top to send it on a spiral around the room. The guitar dies out into an electronic buzz which slowly fades out to end the track. The only complaint I have with the SeaBuckthorn side is that the electronic buzz on the end sounds out of place and a little tacked on.

The Timothy C Holehouse side starts in a very similar style, slowly picked guitar, ringing out solemnly in Summer Through the Window, a mournful edge pushing into the music. Like a lament for the lost summer that was presented on Side A. Building in speed and intensity before dying down once more. The next track, Winter's Icey Glare, continues the theme of the release, except this time being more outwardly cold and longing, almost like the solo guitar opening to Bleeding Hope by Life Neglected. The noise elements notable from previous Holehouse releases are gone on this tape, instead choosing to convey emotion and atmosphere through the laid bare guitar. Building onward before suddenly stopping.

This split is a great piece of music, though if you're looking for pure noise/drone music I'd pick up an earlier release. There's a nostalgia conveyed by both artists on the tape, one dealing with a fond reminisce and the other conveying the negative emotions from the same time period. None of the tracks would work without the other to serve as a counterpoint, as a split should be.

Suburban Howl - Green Death

Artist Suburban Howl
Label Side-A-Records
Year 2010
Genre(s) Folk, Noise

Suburban Howl is the project of Davide Lega and Matteo Poggi. This single sided C40 on Side-A-Records serves up three creepy crawly cuts of chilling guitar-centric noise. Delivered on dazzling lime green/black flecked tapes (Sprayed) and ideal for those scary nights when The Misfits just wont do.

Tape opener Green Death is based around a slow moving guitar part, like the slow campfire song of a long forgotten ghost. Echoed voices and croaks mulling just beyond the light, slowly the guitar builds in intensity, succumbing to a pool of white noise, the voices becoming part of the sonic miasma. The noise is great and manages to maintain a more musical quality.

Random begins with another guitar line which sounds like the collective night terrors of a thousand burnt out hippies. Perfectly saccharine in format and delivery, it hints at something horrible concealed just beyond the surface. Sounding like a more focused Silvester Anfang. Always threatening to tip over the edge into yet more noise, instead slowly fading out. The lack of a harsher element making the track all the more powerful.

Finally comes Speak Poetry to People. A far harsher affair that sounds like the chase out of the woods, Leatherface hot on your heels, his chainsaw revving and spitting petrol. A pressing sense of urgency conveyed through the wailing feedback. Murmurs still pass in the background, note able but hidden enough to muddle comprehension. Despite the fuller sound there's still an edge that will have you checking over your shoulder.

I'm having a hard time adding the genre for this release, it's certainly noise in the sense of there being a harsh element composed on "non-music", however there's the calmer (but frankly scary) folkier guitar sections. The whole tape combines to make twenty minutes of the most satisfying noise this year.