Mick Harris & Ambre - Dys (2001)

The third and final part of Hushush's threesome-series pairs up Mick Harris and Ambre.

Going to work in his Birmingham studio, Mick Harris started reworking the samples provided by the Belgian trio into five ambient soundscapes very reminiscent of his more experimental work with Lull.

Abandoning the usual methods and rules of traditional music, Harris dishes out a main course of abstract audio soup consisting of minimal drones, hissing pops and crackling clicks whisked together with a few layers of atmospheric ambience.

Dys is easily the most abstract of the threesome-series, making it the hardest to digest for the uninitiated listener. The seemingly structureless pieces offer very little to grab on to, and the cut-up and rather hectic atmosphere remind me of the Eraserhead-soundtrack at times.

48 minutes of experimental sound collages for the mind-bending surrealists out there. Although the album may feel a bit challenging or "out there" at first, it's definitely worth a few repeated listens. Enjoy!

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(95+09MB/320CBR)

Mark Spybey & Mick Harris - Bad roads, young drivers (2000)

The second part of Hushush's subscription-threesome pairs up Mark Spybey and Mick Harris. Good times are about to be had.

Another mail collaboration, this time Mick Harris was responsible for the source material, which he then sent over to Mark Spybey, who at the time of recording resided in Klaverland, Netherlands. Additional saxophone blares were contributed by the legendary Niels Van Hoorn of the Legendary Pink Dots.

Bad roads, young drivers puts more emphasis on the rhythm than the first part of the series, but as Sfumato was practically void of beats, that should come as no surprise to the observant listener.

Fusing together dark and brooding soundscapes, wicked sound manipulations and a truckload of diverse percussions, featuring everything from minimal hip-hop beats and mangled rhythms to furious drum and bass, Bad roads, young drivers certainly brings out the best of both artists. They do such a good job at blending their styles that it's hard to tell where Harris's input stops and Spybey's begins.

An eleven-track excursion with a couple of scorching head-on collisions await you. So better jump in the back seat, buckle up and let these young drivers take you down some truely funky bad roads. Enjoy!

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(95+45MB/320CBR)

Ambre & Mark Spybey - Sfumato (2000)

Sfumato is one of the four canonical painting modes of the Renaissance, a technique that involves blurring of sharp outlines or creating a sense of movement through gradually blending tones into another.

While the Mona Lisa is the best known example of the aforementioned technique in painting, our undivided attention is aimed towards this audial equivalent, the first of a three-part subscription series that was released on Hushush Records.

The first part throws together Ambre, a joint electro-acoustic and ambient project featuring Olivier Moreau, John Sellekaers and C-drík, with Mark Spybey, a man known for his work with Dead Voices On Air, Zoviet France and Spasm.

The collabration was performed via mail. Spybey sent tapes of raw source sounds to Ambre in Belgium, who then embarked on a two-week recording session to De Haan in September 1999.

The main bulk of the music consists of deep drones, field recordings, found sounds and a multitude of ambient atmospheres. Most of the material is very minimal and abstract, with enough gradual and subtle movements in the soundscapes to keep the listener on their toes. Droning, throbbing and pulsating with life, Ambre really did a fantastic job with Spybey's source materials and fleshed this collabration to life.

This album should easily appeal to most people interested in minimalist electro-acoustic soundscapes, ambient and noise. This album is best enjoyed from start to finish, so equip yourself with some good headphones, kick back and dive into these fourteen pieces filled with pleasant surprises. Enjoy!

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(95+27MB/320CBR)

Unsane - Unsane (1991)

There must be something in the water in New York. Everything from the no wave-movement starting in the mid-70's, up to some of the most critically acclaimed names in noise rock and alternative music in the late 80's, a big load of the good stuff seemed to originate from the Big Apple.

Among the Cop Shoot Cop's, Helmet's and Sonic Youth's was another band started up by three college friends, Lawn-Chair-Blisters. As cool as the name may have sounded back in '88, I'm really happy about the switch to Unsane. Technically not a correct word, but is any term more fitting to describe this band than being sane, but choosing not to exercise it?

The trio of Chris Spencer on vocals and guitar, Pete Shore on bass, and Charlie Ondras on drums, shamelessly fused abrasive noise rock and hardcore into a feedback-heavy melting pot of anger and frustration. The result was a distorted combination of furious drum barrages, thumping bass accompanying the wailing guitar and painfully howled and screamed vocalisations serving as the icing on the cake.

Like the whole record, loud and violent, the cover of a decapitated man managed to stir up some mixed emotions. Wearing a jacket of the Members only-brand, whose tagline just happened to be "when you put it on, something happens", the headless bloke goes to underline the absurd black comedy and anger of the band even further.

Hard, pissed off and catchy as hell, these boys piss vinegar and shit anchor chain. Enjoy!

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(80MB/320CBR)

Halo Manash - Par-Antra I: Vir (2004)

Aural Hypnox has been releasing first-rate dark/ritual ambient records for a good five years, and as the previously featured Zoät-Aon-release proved to be quite succesful, at least by the amount of downloads, for this feature I decided to go with the first ever release to come out on the Aural Hypnox-label, Par-Antra I: Vir.

The first part of the Par-Antra-trilogy, and the only part of the trilogy released so far, is entitled Vir, the latin word for man. Drawing inspiration from the "triad formation of night, sky and time", the album is a meditational journey into the dark depths of Man and the aim for a heightened consciousness laid out in nine tracks, each represented by a sigil.

Although all of the track titles consist of esoteric wordplay with the Finnish language and won't "open up" to the uninitiated, the music still speaks volumes and will capture your attention. This I promise.

The soundscapes are comprised of a blend of organic and synthetic sounds. Shamanistic percussions, moaned, whispered and chanted vocalisations and windbones exist in perfect unison with hypnotic guitar drones, analog synthesizers and a wide array of samples. Everything boils down to a ritual that feels scary and enchantingly beautiful at the same time.

The esoteric path to the Vir is best walked alone, with Halo Manash merely acting as a guide. They are careful not to interfere with the seeker or to reveal any answers along the way, leaving interpretations of the found knowledge pretty much to the listener. Whether he is open-minded enough to find his path is up to him and his instincts.

Truely enthralling electro-acoustic ritual ambience of the highest class. Warmly recommended!

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(95+44MB/320CBR)

Cable Regime - Assimilate & destroy (1992)

After their first full length album, Life in the house of the enemy, both Cable Regime and Permis De Construire Deutschland were interested in the idea of a remix album.

After recieveing the prepayment from PDCD, Cable Regime once again set foot into Avalanche Studio and began remixing Assimilate & destroy, a track previously featured on their first full length, with Justin Broadrick.

Four different remixes and an untitled medley, comprised of the previous four remixes, placed end-to-end in a single continuous track, found their way onto the EP. With funky remix titles such as "Open sore in the pit of hell mix" and "Stupid vulgar son of a bitch mix" one surely can't go wrong?

As this happens to be the first material by Cable Regime that graced my ears, I'm simply going to answer "Of course not. Psychedelic and drugged out industrial rock remixes can never be wrong". While looping this disc in the background, I recommend digging into "The naked lunch" by Burroughs. A rather confusing, but growing experience.

Hope you enjoy!

"Systematic, systematic world control. Magnetic. Genetic. To match your soul."

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(95+34MB/320CBR)

James Plotkin & Mark Spybey - A peripheral blur (1998)

It must have been a weird day in New York, back in 1996. Two men improvised an unprepared soundscape in front of a festival audience at the Brooklyn bridge anchorage. Their performance turned out succesful and it sparked their interest to collaborate further with a recording project.

To recreate the conditions of their shared performance, Mark Spybey sent tapes containing first-take improvisations of vocals, ethnic stringed instruments and various toy sounds to James Plotkin, who then laid out multiple layers of his manipulated guitar sound into the mix.

Although the source sounds are rendered beyond recognition, the end result is a very fluid and minimal ambient album. Totally void of beats, the album progresses through the use of simple looped melodies surrounded with gentle washes of noise and drones.

It's always a joy when artists manage to complement each other. Not only on an audial level, but on their artform and aesthetic as a whole. Not too many albums manage to pull off the feeling of fluffy warmth and calmness where you can get sucked into, with an indescribable sense of dread and danger looming in the sonic textures, at the same time.

Five sound collages of headphone enjoyment dedicated to the insomniacs amongst us, especially the chosen few reloading the front page numerous times a day. Hope you enjoy!

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(95+20MB/320CBR)

Main - Hydra-Calm (1992)

Once upon a time, there was this band called Loop. Founded in 1986 by a bloke called Robert Hampson and his wife Bex, the band played a fuzzy mixture of psychedelic rock, and managed to release a handful of albums before the group started to wind down in 1991.

It was during this period when things started happening rather quickly. As Godflesh and Loop were touring the UK, Paul Neville was considering leaving The flesh to concentrate on Cable Regime, while Robert Hampson laid the foundation for Main with fellow Loopster Scott Dawson and released the first 12" titled Hydra. After the tour was over, Loop was laid to rest and disbanded, Neville left to concentrate on his new project and Hampson joined the ranks of Godflesh for the Pure-album.

As we know now, his visit with the band was a rather brief one and after appearing on a handful of tracks on Pure and the '92 European tour, Main's Calm 12"EP came out and Hampson left Godflesh behind to focus on Main full time.

So .. after another rather long-winded rant let's get over to the sounds. Judging by the album title, it should come as no surprise that Hydra-Calm collects both EP's on CD, with an additional track, "Thirst", exclusive to the disc. Although later-era Main-material leans more into the isolationist ambient side of things, this album is still heavily rooted in the psychedelic roots of later-period Loop. And unsurprisingly, the disc closes the gap between both bands with a high note.

The key elements are both repetition and rhythm. Throw in a healthy dose of ambient soundscapes, guitar drones, feedback and some minimal mechanic beats, and you've got Hydra-Calm: A great abstract and experimental ambient record, which is almost mandatory for those "zone out"-sessions on headphones. Join the trance, feed the collapse!

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(95+38MB/320CBR)

Cable Regime - Life in the house of the enemy (1992)

Welcome back after a short summer break. Everything should be returning back to normal during the next few weeks, and updates should start dropping more frequently.

With the welcome out of the way, there's been a few requests for more Cable Regime waiting in my inbox. As I aim to please, we'll be going through the rest of the Regime discography that I have at hand in irregular intervals. We'll begin the series with the first full length, Life in the house of the enemy.

As the story goes, Permis De Construire Deutschland wanted to release an album by Cable Regime, and after the boys gave their OK, they got and spent most of their prepayment, presumably on something that had nothing to do with the recording process whatsoever, unless we're talking about an inspirational process here, and were left with a few rehearsal tracks and no full length album.

Luckily fellow Birminghamian Justin Broadrick was in possession of an 8-track and soon the Regime was booked in Rich Bitch Studios for a recording session. Steve Hough recalls the album "(...) was recorded pretty much live as I remember, at a rehearsal room using boundary mics". After a final mixing and production job at Broadrick's own Avalanche Studio, the album was ready to be released.

After this rather drawn-out history lesson, I'd better let you dig into the music without any further diversions or lengthy "reviews". Enjoy this fatal concoction of Big Black's drum machine fury combined with the Godfleshesque howling guitar and feedback attacks, this is psychedelic and noisy industrial rock in it's purest form. Highly recommended!

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(95+08MB/320CBR)

DJ Frane - Frane's fantastic boatride (1999)

This is your chance to join the easygoing lifestyle of the Dude from Big Lebowski. Without the nihilists and somebody pissing on your rug, of course. Just swing on that ol' bathrobe and put on some comfortable slippers instead. We're going on a boatride.

Frane's fantastic boatride is truely an overseen classic in instrumental hip-hop. Combining the tagline "beats to blaze to" with psychedelic and progressive elements into downright funky jams. This is audial bliss featuring fearless sampling, some live instruments and Frane's wicked scratching.

Throw those elements together as an "aquatic" concept album, and you've got quite a trip on your hands. To be enjoyed in a tropical environment while immersed in warm water, preferably with some of your favourite herb. Alternatively a city flat with a bathtub will just have to do.

Now if you'll excuse me, I am going for another dip in the warm water.

Enjoy!

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(95+14MB/320CBR)

Zoät-Aon - Star autopsy (2005)

I took many unnecessary steps to bring much needed coolness into my life this summer. I tried everything from cold drinks to conjuring the mighty Blasyrkh by listening to some Immortal. Horgh and Abbath failed me miserably and only managed to raise the overall humidity by casting down a palmful of pisswarm rain. Thanks a bunch guys! It was time to dig out the big guns.

This time I decided to root for the native alternative, Zoät-Aon, which is cold and otherworldy dark ambient created by my compatriot Jaakko Vanhala. A member of the Helixes collective and released on the Aural Hypnox-label, the music is a chilling blend of electronic and acoustic source sounds, utilizing everything from field recordings and analogue synthesizers to more ritualistic instruments like the human thighbone trumpet and Tibetan singing bowls.

Except for a few similarities in aspect and sound to the great Inade and I.Corax, which just happens to be Jaakko's other project, this is top notch dark ambient that's simply full of life and moving textures. Get entangled in the cold and unexplainable cosmos, today! Highly recommended!

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(95+49MB/320CBR)

Meat Beat Manifesto - Storm the studio (1989)

Sorry for the lack of updates lately. It's been hot and humid in Finland and I haven't been spending too much of my time inside. I'm unable to function and think in this melting heat, except for some relaxing in the shade, so I'm only going to put this one request up for grabs. Don't worry, the heat can't last forever and there should be more stuff coming sooner or later.

This my friends, is a truely groundbreaking album. And I hope I'm not the only one thinking so. Most of you know the story of Storm the studio, but for the uninitiated here's a quick rundown: Meat Beat Manifesto were recording their first album but the studio surprisingly burned down. What was salvaged from the fire came out as singles first, only to appear as reworked pieces on Storm the studio.

I'd call this album "four songs remixed into fifteen parts" if life was easy, but it's way more than that. While "remixes" are supposed to keep the sound and feel of the original tunes, these mutated and mangled entities haven't got much in common with their original counterparts.

But what was pushing new ground, was the music itself. Combining various aspects of electronic music, rock, funk and hip-hop into something I just called "weird" back when I first heard it. It's got so much things going on throughout the disc that I won't even bother to begin with describing it all. It simply needs to be heard, preferably in repeated doses, to be understood. Just so we're clear on this, this album holds a very dear place in my heart, as it opened up a whole new world of music and influenced the fuck out me.

It's the soundtrack of going to a party, only to realize that you're the only one who is totally blazing on acid. It's a bright, colourful and freaky electronic symphony! Lap it up and enjoy!

"Rock and roll music is an art form. Rock and roll is here to stay."

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(95+62MB/320CBR)

Flux - Protoplasmic (1997)

My first encounter with Flux was through a good friend of mine. The man had introduced me to bands like Dead World, Incantation and Exit-13 a few years before, and still had quite an appetite for anything related to Relapse Records.

As I had a knack for "weird shit", as he called it, he kindly went for a few extra records from the Release sub-label whenever he was putting in an order. When he acquired Protoplasmic, and I heard of the involvement of James Plotkin and Mick Harris doing the production job, I once again, like many times before, volunteered to trade the extra baggage off of him. And it paid off.

Protoplasmic utilizes many of the same elements already present on The joy of disease. Catchy guitar loops and overdubs, experimental rhythm patterns, various electronic sounds and Ruth Collins's almost narrative spoken word. Additional sung parts by both Collins and Plotkin are treated with effects and layered into various tracks on the album.

If The joy of disease had a more darker and gloomier feel, the overall vibe on Protoplasmic is much groovier and almost upbeat at times. Although much of the hypnotic ambience is achieved through repetition, the album does not feel stagnant and dull at all. Once you get your head nodding to the groove, the 55 minutes are gone long before you know it.

As much as I hate categorization and labeling, I'm still going to throw the word "progressive ambient pop" out there. Besides using the "experimental"-tag to excess, it's pretty much the only thing I can come up with to describe Flux. Fluffy and warm experimental music for the long summer evenings.

Hope you enjoy!

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(95+27MB/320CBR)

Spasm - Smear (1997)

The end of the month is coming up once again, so let's close it with a bang!

Bringing the bang for your buck is Spasm, a group consisting of Mark Spybey (Dead Voices On Air, ex-Zoviet France), Eric Pounder (Pounder, ex-Lab Report), Curse Mackey (Pigface, ex-Evil Mothers) and Invisible Records-owner Martin Atkins (Pigface, ex-The Killing Joke).

This collective goes for an hourlong attack with improvised noise rock. The tracks are constructed around Martin Atkins's somewhat unorthodox drumming, with a barrage of odd vocalisations provided by Mark Spybey. The main building blocks are the fragments of sound taken from the recording session; everything from guitar drones, blurred howls and feedback to the oddly timed speech sample.

I bet the drugs which were consumed before the recording session kicked in somewhere around the fifth track, as Ignorance is bliss marks the beginning of a psychedelic fuzzfest for the rest of the disc.

Although the improvisation is a key element of the band, it never spirals totally out of control and I think everything holds together really well. Although this big psychedelic mess can be a bit overwhelming at times, I still have to admit enjoying every second of the organised chaos. Distorted space rock ritual for the industrial age? Fuck if I know. It's atmospheric, "out there" and loud. What else do you possibly need in life?

Hope you enjoy!

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(95+45MB/320CBR)

Ashes - Ashland (1994)

As anything related to Eraldo Bernocchi seems to be highly successful with the readers, perhaps the time has come to share some of his lesser known and rare material.

Eraldo, performing under the pseudonym of Surrealistick Master, started Ashes in the beginning of 1990 as an alternative outlet for material that didn't fit under the moniker of Sigillum S. While this first album was Eraldo performing solo, except for some assistance by Nicola Bernocchi on clarinet and saxophone, on later albums he started collaborating with Bill Laswell, Raiz and a varying cast of other musicians.

The music itself is very relaxed and laid back. As much as I don't want to use the term New Age music, I'm almost willing to bet a small amount of money that this is Eraldo's take on it. Playing everything from guitars, keyboards and piano to programming the beats and organizing the sounds, the album features a wide array of soundscapes, ranging from eastern influences all the way to some tribal drumming.

Released in 1994 under the banner of Verba Corrige, the joint label of Eraldo and Pettulia Mattioli, the disc features nine tracks of instrumental ambient. This is recommended to anybody into early 90's experimental music, and especially for those of you even remotely interested in the works of Eraldo Bernocchi.

It's definetly not the party album for the weekend, instead it's a meditative and almost hypnotic disc for those long nights spent alone. Hope you enjoy!

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(95+06MB/320CBR)

James Plotkin - The joy of disease (1996)

The annual Midsummer's festival is up during the weekend. The Finnish people have a funny way of leaving their urban environment behind once a year, because Juhannus "can only be celebrated and experienced correctly at the countryside". Popular activities include lighting bonfires and consuming dubious amounts of alcohol. When you combine The Land of the Thousand Lakes with heavy drinking you end up with another highly popular activity: people drowning in those said lakes.

"So what's that got to do with anything?" I call bullshit on this highly popular holiday. I am staying at home. For once, Helsinki and it's surroundings are almost deserted. Time to dedicate my time to those good things in life.

If you've sampled any of the previous Plotkin-related releases I've shared, you've perhaps become somewhat acquainted with his guitar playing and sound deconstruction. Combining forces with Plotkin are Franz Treichler of The Young Gods and Mick Harris, providing additional samples and "atmospheres", with Ruth Collins contributing her ethereal voice in sung and spoken form.

It's hard to file this album under one particular genre, as it features such a broad spectrum of influences and different soundscapes.

Starting with the cold mechanized beats and heavy riffs of Casual murder, transforming into an almost cheerful vibe halfway through the track, which somehow reminds me of The love of life-era Swans, and ending with the looped guitar strumming and the menacing calmness of Disease as a child. This album has it all. Scattered throughout the nine songs is everything from trippy guitar loops, feedback manipulations, subtle drones and looped beats to dark ambience in the vein of Lull.

It all comes down to a form of escapism, really. I like to imagine myself and a few friends on a silent beach with the album playing in the background. Zoning out to this psychedelic and colorful album is a much better alternative than taking that final plunge into a dirty pond.

Hope you enjoy!

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(95+39MB/320CBR)

SIMM - Welcome (1998)

When I posted Tapping the Conversation, I found myself wondering what other releases could be filed under "forgotten and overlooked". I began a short, but rather intensive, staring contest with my record collection. Through all the blur, my eyes slowly began to affix on SIMM. Yes indeed! The world needs more Eraldo Bernocchi.

Sadly the case with SIMM, like with many good and promising projects, turned out to be yet another short-lived experiment, only releasing one 12"EP, this full length and a handful of compilation tracks. Both the EP and Welcome were released by Mick Harris' now-defunct Possible Recs.

While the first press was released back in 1996, this reissue came out two years later and featured two additional tracks, namely Him and Backstage sonic, created and recorded in February 1997.

"OK! Enough with the history lesson, how are the sounds?" Eraldo is up for the challenge, trust me. Combining dark and brooding ambient atmospheres, looped beats, his signature guitar manipulations and deep bass into a nicely flowing stream of ambient dub.

It's actually hard for me to pick out standout tracks, as the whole album flows very smoothly from start to finish. If I had to pick a personal favourite, I'd go with the second track, Some silences. Lovely basswork, the restrained beat and the synthbleeps emerging halway through the track. Mesmerizing stuff.

SIMM is an almost hypnotic approach to dark soundscapes and groovy beats. Very calm and laid back, but still packing some serious sonic punch, SIMM and Welcome deserve way more recognition, indeed. Highly recommended, enjoy!

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(95+47MB/320CBR)

"I'm back in the U.S.S.R .. wait, cancel that .. I'm coming back to Birmingham!"

Custard Factory calling. Be seeing you.

The Bug - Tapping the Conversation (1997)

Audio surveillance, invasion of privacy, paranoia and guilt.

They are all themes explored in Francis Ford Coppola's movie The Conversation from 1974. The troubled main character Harry Caul, portrayed by Gene Hackman, is an audio surveillance expert capable of bugging any conversation between a group of people. For a price, of course. Not to give away too much of the plot, especially for those who haven't seen the movie and plan on doing so, let's just say that one seemingly small and irrational piece of conversation will change the lives of Harry and the people involved.

Let's skip forward in time, twenty-three years to be exact. It's 1997, and this is where The Bug, at this time a co-op between Kevin Martin and Andre Gurov, better known as DJ Vadim, comes in. When you combine these highly productive musicians with the additional help of Dave Cochrane on bass, Simon Hopkins on guitar and Alex Buess on bass clarinet, you get Tapping the Conversation.

This dub-hop rendition of the movie is truely a dive into the deep end. Cochrane's basslines combined with Vadim's beats are the foundation on which the audials and visuals of the movie are reinterpreted on. While the sparse beats advance rather slowly, the textures are constantly moving with K-Mart squeezing tones from his synthesizers, some distorted guitars or the laid-back howls of the bass clarinet.

Although there is a heavy emphasis in the booklet that "absolutely no sonic or visual samples" are taken from the movie, watching the film in advance will help you enjoy the album to the fullest, as the track names are tied to scenes appearing in the movie.

Luckily for us The Bug goes beyond just reheating the suspense and feeling of the original motion picture. Instead, presenting us with their modern take on the menacing and paranoid vibe, this is infectiously catchy cinema for the mind. Enjoy!

"The issues of privacy and individuality, and issues of spying and listening, are as relevant now as they've ever been."

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(95+32MB/320CBR)

Tactile - Inscape (1996)

Although I've been busy as a bee, I managed to make some room in my busy schedule for another post.

Tactile is an experimental collective, which at the time of Inscape's release, consisted of Sentrax-label boss John Everall, Teresa Mills, of whom I know pretty much nothing about, except for some album art credited to her name on a few releases I happen to own (The Trace Decay-disc and Scorn's White irises blind just to name a few), and Dael Walker, of whom I honestly know nothing about either, except for these three links to his current ongoings which I found while skimming through Google results in my Sherlock Holmes-mode.

The music itself has a simple but working recipe to it. Everything, from beginning to the end, is comprised of fluttering drones and looped sounds. Although the album is totally void of beats and vocalisations, the flowing textures of sound and the throbbing synths drive the album forward. Inscape is constantly moving with small fragments of manipulated static and bleeping noises. The sounds wash back and forth for a moment, only to fade out into silence the next.

Judging by the booklet, the album is intended as an homage to "the goat-footed balloon man", and as a shout-out to early experimental greats including Coil, Drew McDowall and Lustmord. Even my fellow countryman Mika Vainio gets credited for inspiration.

Although the approach is rather simple, the primitive atmosphere still manages to keep me in it's grasp through the six tracks of the disc easily. For the next fifty minutes, take a ride into the cold and barren emotional landscapes of Tactile.

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(95+08MB/320CBR)