Review Reblog – Dendera Bloodbath – Inanna at the Gates

I’m a great believer in giving lesser well known artists a bit of a spotlight and many I find via Yeah I Know it Sucks.
Today’s Discovery, Dendera Bloodbath’s Inanna at the Gates is an experimentation in visceral noise.
Currently she performs both experimental darkwave sets with autoharp and noise sets with electronics of her own design. For more info, visit: http://www.denderabloodbath.com

Yeah I Know It Sucks


Artist: Dendera Bloodbath
Title: Inanna at the Gates
Keywords: experimental female artist noise music usaworld Finland
Label: United By Chaoshttp://www.unitedbychaos.net/
Artist Website: http://www.denderabloodbath.com/

At first Dendera Bloodbath squeaks her ultimate power sounds in your ear like it’s a metal chainsaw going in full (but precise) overdrive! It feels like your head had been split in two, leaving it exposed for her other (more reasonable?) sounds-to-come,material that she will spill into your skull like a liquid brutal attack of Experimental origin. It’s all for the sake of science and experiment! How far can Dendera Bloodbath go? And what will drive you over the edge or please your ears tremendously? This artist seems to seek both extremities and wants to apply them both at the same time! Is that a pretentious project? It might be, but listening to her release it seems like this experiment works in full force!

She pours…

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Reblog Interview – Step Right Up: Ekin Fil

FRACTURED AIR

What I mean is music was a part of my growing up as a person and i want it to be that way always.”

—Ekin Fil

Words: Mark Carry

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PHOTOS BY ERİNÇ GÜZEL

Turkish solo artist Ekin Fil has been carving out some of the most breath-taking and beguiling drone pop explorations these past few years, inhabiting the deep, ethereal dimension of Grouper’s Liz Harris and navigating the deepest depths of the human condition in the process. On the latest opus ‘GhostsInside’ – released earlier this summer on Los Angeles imprint Helen Scarsdale Agency – an undeniable catharsis permeates deep within these recordings: fragile vocals shimmer gently amidst spare elements of piano notes or reverb laden guitar swells, creating utterly hypnotic drone pulses and far-reaching shoegaze deconstructions.

The opening ripples of bass piano notes of ‘LetGo’ hang in the air- an ocean of…

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Reblog – We Need No Swords podcast 27: Elizabeth Veldon

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We need no swords

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With a new work released on her Bandcamp almost every day, the Scottish sound artist and poet Elizabeth Veldon has amassed a vast and almost overwhelming discography. But those releases, ranging from immersive drones, free improvised piano jags and tough scrubs of noise, are rarely less than compelling. In this episode, Elizabeth and I discuss creativity, political music and a whole lot of other stuff. We also premier two new works – a series of piano improvisations and a long-form slice of ominous drone.

Tracklist

Elizabeth Veldon interview runs throughout

Three drum machine improvisations, 1 (self-released, 2015)
At low tide the witches grave pool is flooded with the song of herons (self-released, 2017)
A reflection on the history of radio astronomy (self-released, 2015)

For those characters treated less sentimentally, the disease is viewed as the occasion finally to behave well (unreleased, 2017)
In the plague-ridden England of the late 16th…

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Article Reblog – Gudrun Gut’s Monika Enterprise Label Turns 20

Bandcamp Daily

Monkia Photo by MV Kummer.

You could still see the bullet holes in the houses,” Gudrun Gut says of moving to Berlin back in 1975. Far from the gentrified, cultural hub the city is today, she remembers it being a strange and polarized population of “only really students and pensioners” and “nobody between 30 and 50.” Naturally, a burgeoning hive of activity existed among the young people, which she was instantly drawn towards. “There was a big political scene from the students, as well as big communes and a strong feminist movement.” Gut stayed in Berlin, and over 40 years later, has become a venerable figure in the underground scene as a musician, producer, DJ, and label boss.

When she discovered the world of German music back in the 1970s, Gut was sucked in by the motorik of Neu! and the psychedelic grooves of Tangerine Dream, but eventually, like many…

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Review Reblog – Barberic Slapton – tonne

….and is also Today’s Discovery – Lo fi experimental noise.

Yeah I Know It Sucks

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Artist: Barberic Slapton
title: tonne
keywords: experimental crunchy noise rage weird Hamilton

Barberic Slapton has brought the music that you ought to hear, material that Stockhausen would masturbate too and Einstein would pulls his nose hairs out with. With a strong pass in the legs the first one named ‘naptonne’ steps fiercely in. It’s like psychedelic fireworks to my ears, heels clicking on the terrain while rockets gets launched into the ether and submarines bubble around in electrified water… In other words; it’s abstract! But oh so mentally challenging the sensible corners of a person’s intellect… But wait, it gets even weirder… pardon, I mean; it gets even intensively better!

A track named ‘live at doors pub’ will pop in like a instant hellfire in which a panicked panic shouts at the hairs of your neck to stand up and bow to the noise! Barberic Clapton pushes us all to…

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Today’s Discovery – Memoir of My Manor by Gaël Segalen

 

Thanks to A Closer Listen I came across this new release. A supporter on Bandcamp referred to it as Kafkaesque. It’s challenging but not impenetrable, dark and rhythmic making this release danceable but with a difference.

Today’s Discovery #2 – Theda Hammel on Giving Sondheim the Synth Treatment

Sometimes you just come across something that makes you sit up and listen….

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Bandcamp Daily

Theda Hammel

Theda Hammel doesn’t call herself a musician.

“I only ever refer to myself as a ‘major trans celeb,’” she says, over noodles. “If someone asks what you do and you say musician, they always ask ‘What kind of music,’ and I never have an answer. If I say ‘I do electronic music,’ they think I make dance music, or something experimental. If I say ‘I’m a singer-songwriter,’ they think I strum a guitar. So, I say ‘Major trans celeb.’ Nobody ever asks a follow-up when you call yourself a ‘major trans celeb.’”

However she self-identifies, on SondHamm, Hammel’s musical skill is undeniable. On the EP, Hammel reimagines four Stephen Sondheim numbers, imbuing the grandiose Broadway ballads with the same anxious-yet-comforting, ghost-in-the-MIDI-file sound that characterized her 2016 debut EP, Very Great.

Several times during our interview, Hammel stopped herself to ask if I found what she was saying interesting…

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