Tuesday, February 11, 2020

Noisepoetnobody Interview

1.Can you give us an update on what has been going on with the musical project since the recording and release of the new album?

A few things coming together now, one a studio recorded album for Butoh dance and the other a curated annual event called Dismal Fest. Having worked with Butoh dance in the past has led to a current project with dancer Vanessa Skantze that incorporates several local sound artists. I will be doing final editing and mastering as well as some instrumental addition on a few sections of the final album. Don’t actually know all the details but it revolves around a complex vision that only Vanessa could conjure that includes a printed booklet and an international dance tour with the album for sale at the performance. Am just now starting to get recordings from the last several months, so much to do. Next January 15 is “Dismal Fest 4” a gathering to celebrate the most depressing week of the year with a bleak and sad musical experience. It will be cold, rainy, midweek and the acts bring each a different glorious pessimism. Lots of local experimental sounds promising a night of sardonic bliss. As the organizer of Dismal Fest I’m grateful to bring its fourth year, each one has been a wonderful experience and all around good times.



2.Recently you have released a new album, musically how does it differ from the stuff you have released in the past?

Every noisepoetnobody album has a combination of limitations that form its boundary, its place and time in improvisation. This album’s (Concrete Vitalist) big change is reliance on field recording, mostly with a contact mic. Collected from environments in urban locations, state parks, various pedestrian structures, public art, monuments and large found objects. These field recordings are then later layered with other synth sounds and edits of more field recording. Some of the strangest reverb sounds on the album are coming from actual acoustic places. Also, it wasn’t recorded in a studio; it’s assembled out of parts of things collected over about a year’s time. Lots of walking finding objects to mic and record. Walking and looking at the world as one big potential to become the next contact mic instrument. Never thought about how many miles walking was required to make an album before, this one took a lot.



3.In the last couple of years you have also released a great amount of material, do you spend a lot of time writing and creating music?

I’m always working on several projects at a time each one complete at its own pace. Many can be recorded in one day, improvisation with intense focused season between players then edited for production. Some combinations do best live and utilize recordings from performing, accepting the mix limitations. Not all of it works its way to an album - about 80% is cut out somehow or just hasn’t found a context yet. Constant process, always learning how to make it work with a limited budget.



4.On the new album all of the music was instrumental, are you open to using any vocals on future releases?

Definitely open to the idea of working with vocalists. Have a few that I collaborate with sometimes, but I don’t write lyrics or intend to add any poetry to noisepoetnobody albums any time soon. Although it has happened once or twice in the past where l included some of my own voice in recordings. Not looking to make a point or telling a narrative with verbal presentation.



5.What is the meaning and inspiration behind the name 'Noisepoetnobody'?

Wish I had a better answer for this but it was something I used to scribble onto cassette tapes in the early 90’s of demo tracks, random super lo-fi ideals not meant for anyone but me. Don’t remember it having a meaning of any kind. At some point it becomes a title for things I’m working on that don’t have another band name attached to it already. The mixed reactions to the name made me want to keep it.



6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

The album cover art is from a photo taken at a recording site. As every recorded location was documented with a few quick photos this one image keeps coming back to me.



7.With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?

Like to do what I can with solo recordings and performance as opportunity permits. Working alone allows my efforts to formulate on my own schedule. That’s good for someone with insomnia like me. However, noisepoetnobody albums often have collaborators with many diverse talents and music backgrounds. It’s just a matter of what album you are listening to. I also play synth in the duo Dosen√∂ffner with Peter Keller who is a Seattle goth industrial DJ and noise proponent with too many monikers to list. Should also mention that I am responsible for the band Driftwood Orchestra. A revolving set of players from four to seven improvise on home built instruments made of collected driftwood. Waiting for the perfect excuse to display bent wooden relentless texture flow.



8.What are some of the best shows that you have played over the years and also how would you describe your stage performance?

My favorite performances are working with other musicians and dancers, me standing back or to the stage side. I just concentrate on what needs to happen in the improvised moment.



9.Do you have any touring or show plans for the future?

More of an opportunist than a planner at this point. More focused on recording and collecting audio.



10.On a worldwide level how has the reaction been to your music by fans of experimental, noise and drone?

Don’t know, not paying attention.





11.Where do you see yourself heading into as a musician during the future?

Not looking to predict the future.



12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Can’t start to answer this question, too much music - don’t have the time to start making a massive list!



13.What are some of your non musical interests?

Can’t afford to have other interests.



14.Before we wrap up this interview, do you have any final words or thoughts?

No.


http://www.facebook.com/noisepoetnobody
http://noisepoetnobody1.bandcamp.com/
http://soundcloud.com/noisepoetnobody

Friday, January 31, 2020

Dave Phillips/Post Homo Sapiens/Attenuation Circuit/2020 CD Review


  Dave  Phillips  is  a  solo  artist  from  Switzerland  that  plays  a  mixture  of  experimental  and  harsh  noise  and  this  is  a  review  of  his  2020  album  "Post  Homo  sapiens"  which  was  released  by  Attentuation  Circuit.

  Distorted  sounding  drones  start  off  the  album  while  most  of  the  tracks  are  also  very  long  and  epic  in  length.  At  time s the  music  also  gets  very  avant  garde  and  experimental  sounding  along  with  some  screams  also  being  used  briefly  which  also  adds  in  a  touch  of  black  metal.

  Home  made  instruments  also  take  the  place  of  a  percussion  along  with  some harsh  noises  and  power  electronics  also  being  utilized  quite  a  bit  throughout  the  recording.  Throat  voices  are  also  utilized  at  times  as  well  as  one  track  also  introducing  programmed  beats  onto  the  recording  and  all  of  the tracks  also sound  very  different  from  each  other,  some  songs  also  bring  in  a  good  amount  of  field  recordings,  pianos  and  whispered  spoken  word  parts  can  also  be  heard  briefly.

  Dave  Phillips  plays  a  musical  style  that  takes  experimental,  drone,  field  recordings  and  harsh  noise  and  mixes  them  together  to  create  a  sound  of  his  own  and  the  production  sounds  very  dark.

  In  my  opinion  Dave  Phillips  is  a  very  great  sounding  mixture  of  experimental,  drone,  field  recordings  and  harsh  noise  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  artist.  RECOMMENDED  TRACKS  INCLUDE  "Biosemiotics"  and  "Metamorphosis".  8 out  of  10.

https://emerge.bandcamp.com/album/post-homo-sapiens

  

Wednesday, January 29, 2020

William St. Hugh/Weasels Devour The Sun/2020 CD Review


  William  St,  Hugh  is  a  solo  artist  from  Fairhaven,  Massachusetts  that  has  had  an  album  reviewed  before  in t his  zine  and  on  this  recording  plays  a  mixture  of  experimental,  ambient,  drone  and  neo-classical  and  this  is  a  review  of  his  self  released  2020  album "Weasels  Devour  The  Sun"  which  will  be  released  in  February.

  Ambient  style  synths  and  atmospheric sounding  drones  start  off  the  album   while  the  music  also  brings  in  elements  of  neo-classical.  Most  of  the  tracks  are  also  instrumental  as  well  as  the  songs  also  getting  very  experimental  and  avant  garde  sounding  at  times  and  the  music  also  shows  an  influence  of  earlier  experimental  and  ambient  artists.

  All  of  the  tracks  sound  very  different  from  each  other  while  also  capturing  a  cinematic  atmosphere  at  times.  Sting  compositions  can  also  be  heard  in  some  parts  of  the  recording  along  with  one  of  the  songs  being  very  long  and  epic  in  length  as  well  as  the  tracks  also  utilizing  a  great  amount  of  soundscapes,  the  synths  also  bring  in  a  variety  of  many  different  sounding  keys  and  as  the  album  progresses  a  brief  use  of  percussion  can  also  be  heard

  On  this  recording  William  St.  Hugh  takes  experimental,  ambient,  drone  and  neo-classical  and  mixes  them  together  to  create  something  different  while  being  more  calmer  than  the  previous  release  while  also  keeping  everything  instrumental  and  the  production  sounds  very  dark. 

  In  my  opinion  this  is  another  great  sounding  recording  from  William  St.  High  and  if  you are  a  fan  of  experimental,  ambient,  drone  and  neo-classical,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Thin  As  A  Whisper"  "Forgotten  Way"  "Future  Alchemist"  and  "Weasels  Devour  The  Sun".  8  out  of  10.

https://williamsthugh.bandcamp.com/.        

Thursday, January 23, 2020

The Voices/If Nightmares Could Sing/Masked Dead Records/2020 Full Length Review


  The  Voices  is  a  solo  project  from  Italy  that  plays  a  mixture  of  experimental,  avant  garde  and  A  Capella  and  this  is  a  review of  his  2020  album  "If  Nightmares  Could  Sing"  which  was released  by  Masked  Dead  Records.

  Operatic  vocals  start  off  the album  along  with  some  grim  spoken  word  parts  also  being  used  at  times  while  demonic  death  metal  growls  are  also  added  into  some  parts  of  the  recording,  militant  beats  can  also  be  heard  in  the  background  briefly  as  well  as  some  normal  sounding  spoken  word  parts  also  being  added  in  some  parts  of  the  recording.

  Throat  singing  can  also  be  heard  briefly  and  they  give  the  music  more  of  a  shamanistic  feeling  while  the  songs  also  have  their  experimental  and  avant  garde  moments.  All  of  the  tracks  also  sound  very  different  from  each  other  along  with  a  great  amount  of  A  Capella  style  vocals  being  utilized

  Grim  black  metal  screams  are  also  added  into  certain  sections  of  the  recording  along  with  the  songs  also  mixing  in  elements  of  ambient,  ethnic,  dark  rock,  industrial,  dance,  space,  jazz  and  classical  music  and  vocals  are  also  the  main  instrument  on  the  recording.  The  production  sounds  very  dark  while  the  lyrics  cover  nightmare  themes. 

  In  my  opinion  The  Voices  is  a  very  great  sounding  mixture  of  experimental,  avant  garde,  A  Capella  and  extreme  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Prison  of  Fear"  "Soulless"  "What  I  Hate"  and  "Let's  Not  Pretend".  8 out  of 10.

https://maskedeadrecords.bandcamp.com/album/if-nightmares-could-sing
https://www.facebook.com/TheVoices-344132869254232/
https://thevoices2.bandcamp.com/

Horror Italiani/Torso/Vntistvndvrd Records/2019 Full Length Review


  Horror Italiani  are  a  duo  with  members  from  Brazil  and  Switzerland  that  plays  a  mixture  of  noise,  experimental,  drone  and  Italian  horror  soundtrack  music  and  this  is  a  review  of  their  2019  album  "Torso"  which  was  released  by  Vntistvndvrd  Records.

  Dark  soundsccpaes  and  horror  movie  style  synths  start  off  the  album  while  all  of  the tracks  are  also very  long  and  epic  in  length.  Atmospheric  sounding  drones  are  also  utilized  quite  a  bit  throughout  the  recording  as  well  as  the  music  also  getting  very  experimental  and  avant  garde  sounding  at  times.

  All  of  the  music  is  instrumental  while  elements  of  dark  ambient  are  also  added  into  some  parts  of  the  recording.  All  of  the  tracks  also  sound  very  different  from  each  other  along  with  the  music  also  capturing  the  atmosphere  of  a  horrifying  nightmare  at  times  as  well  some  noises  also  being  added  into  some  parts  of  the  recording.

  Horror  Italiani  plays  a  musical  style  that  takes  experimental,  drone,  noise  and  Italian  horror  soundtrack  music  and  mixes  them  together  to  create  a  sound  of  their  own  while  also  keeping  everything  instrumental  and  the  production  sounds  very  dark.

  In  my  opinion  Horror  Italiani  is  a  very  great  sounding  mixture  of  experimental,  drone,  noise,  and  Italian  horror  soundtrack  music  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  duo.  RECOMMENDED  TRACKS  INCLUDE  "Parte  I -Atto  II"  and  Parte  II  -Atto  II".  8  out  of  10.

https://open.spotify.com/album/2JxPgSCnYIGOynBhuroJYF 

    

Wednesday, January 22, 2020

Autumn Tears/The Air Below The Water/2020 Double CD Review


  Autumn  Tears  are  a  band  from  Billerica,  Massachusetts  that  has been  featured  before  in  this  zine  and  plays  a  mixture  of  neo-classical,  cinematic  score  and  world  music  and this  is  a  review  of  their  self  released  double  album  "The  Air  Below  The  Water".

  Operatic  female  vocals  start  off  the album  while  the  music  also  brings  in  a  great  amount  of  cinematic  soundscapes.  Violins  and  cellos  are  also  a  very  huge  part  of  the  recording  along  with  some  songs  also  adding  in  a  decent  amount  of  tragic  sounding  pianos  and  the  music  also  brings  in  a  lot  of  neo-classical  elements.

  Orchestras  are  also  utilized  quite  a  bit  throughout  the  album  while  also  giving  the  music  more  of  a  symphonic  feeling.  When  snare  drums  and  percussion  are  utilized  they  bring  in  more  of  an  epic  atmosphere  along  with  all  of  the  tracks  sounding  very  different  from  each  other  as  well  as  adding  in some  goth  and  ethereal  touches.

  Trumpets,  French  horns,  flutes,  clarinets  and  trombones  are  also  added  on  some  of  the  tracks  along  with  some  male  vocals  also  being  utilized  at  times.  Some  of  the  songs  are  also  long  and  epic  in  length  along  with  one  track  also  introducing  nature  orientated  field  recordings  onto  the  album,  as  the  album  progresses  a  brief  use  of  whispered  vocals  can  also  be  heard  and  the  recording  also  adds in  a  good  amount  of  world  music  influences.  The  production  sounds  very  dark  while  the  lyrics  cover  darkness,  esoteric  and  mythological  themes.

  In  my  opinion  this  is another  great  sounding  recording  from Autumn  Tears  and  if  you  are  a  fan  of  neo-classical,  cinematic  score  and  world  music,  you  should  check  out  this  double  album.  RECOMMENDED  TRACKS  INCLUDE  "Sentient  Idols"  "The  Air  Below  the  Water"  "Closer  to  the  Sun"  and  "And  The  We  Disappear". 8  out  of  10.

https://autumntears.bandcamp.com/.

      

Monday, January 20, 2020

Dark Awake/The Last Hypnagogue/Steinklang Industries/2020 CD Review


  Greece's  Dark  Awake  has  returned  with  a  new  recording  which  continues  his  mixture  of  martial,  dark  ambient, neo-folk  and  neo-classical  and  this  is  a  review  of  his  2020 album  "The  Last  Hypnagogue"  which  was  released  by  Steinklang  Industries.

  Ambient  style  synths  and  soundscapes  start  off  the  album  along  with  some  drum  beats  a  few  seconds  later. When  whispered  vocals  are  utilized  they  give  the  songs  more  of  a  ritualistic  feeling  as  well  as  adding  in  a  touch  of  black  metal  while  touches  of  goth  can  also  be heard  at  times.

  Elements  of  martial  can  also  be  heard  quite  a  bit  throughout  the  recording  while  some  of  the  songs  are  instrumentals.  All  of  the  tracks  also  sound  very  different  from  each  other  along  with  some  operatic  female  vocals,  spoken  word  parts  and  ethnic  instruments  being  added  on  the  recording  as  the  album  progresses.

  When  percussion  is  utilized  it  gives  the  music  more  of  a  shamanistic  and  martial  atmosphere  along  with  one  song  mixing  the  percussion  with  neo-classical  style  synths,  touches  of  neo-folk  can  also  be  heard  at  times  and  the  album  closes  with  a  cover  of  Throbbing  Gristle's  "Persuasion"  which  also  introduces  clean  male  vocals  onto  the  recording.  The  production  sounds  very  dark  while  the  lyrics  cover  an  invocation  to  reincarnation  and  the  continuing  awareness  that  every  moment  of  life  is  lived  to  the  fullest  potential.

  In  my  opinion  this  is  another  great  sounding  recording  from  Dark  Awake  and  if  you  are  a  fan  of  martial,  dark  ambient,  neo-folk  and  neo-classical   RECOMMENDED  TRACKS  INCLUDE  "Visuddha  (Chakra  Drinking)"  "Voudon"  and  "Einsoph".  8  out  of  10.

https://darkawake.bandcamp.com/album/the-last-hypnagogue