So what happens when you have a group of very talented musicians from Seattle with a frontman that is possessed by demons from another world? You end up with THESE ARMS ARE SNAKES, who straight made music on their own terms from 2002 until 2009. After 3 killer albums, mad splits and loads of tours around the world, they called it quits, but their music lives on. If you ever had a chance to see them live, you know that these humans gave their all on stage and knew how to fucking work a crowd into an altered state of mind! Today, CVLT Nation would like to celebrate THESE ARMS ARE SNAKES with a gnarly video essay. So after the jump, peep the footage and say Greetings from the Great North Woods…
Reviews written by John “Guilty Parents”
This thrash happy London band deal in a ferocious brand of Spanish language euro-crust that will appeal to fans of Destino Final and Crazy Spirit. Strangely, their demo got me thinking about Jean Paul Sartre’s famous assertion that he “never felt so free” as when he was fighting in the French Resistance living under the jackboot of Nazi occupation. Crust Punk has often invoked resistance inspired imagery; raging against war and injustice, church and state. But on this one there’s a rare sense of joy that bleeds through the screams, scathing riffs and wild breakneck drumming.
Outside of hardcore, much of the last few years worth of punk and indie rock has been all but dominated by jingle jangle guitars and fey songwriting. So I guess in retrospect it was only a matter of time until more bands like Workin’ Man Noise Unit would start raising their ugly ugly ugly ugly heads. The London band’s current demo “Drinkin’ Stella to Make Music to Drink Stella to” channels classic AmRep style noise rock like a possessed spirit medium vomiting fluorescent jacketed bile over her unsuspecting séance guests.
So after a killer bong load, sometimes I start lurking the internet for cool places to hang out. One tumblr page that I always find interesting is CRIPPLED WIZARD, because it’s aways full of blackened eye candy to space out on. Humans will look back at this page in the future and be so stoked that it existed. CRIPPLED WIZARD captures the underground Arcata music scene better than any other by taking flicks of the sickest bands from the underworld, and make sure to peep his radio show! This is why CRIPPLED WIZARD is CVLT Nation’s favorite tumblr this very fucking second. Check out a superdelic photo gallery after the jump!
I’m not sure how to classify Rosenkopf. I don’t know if anyone really is. Do a quick google search and you’ll find blogspot after blogspot debating on how to properly tag this band. Is it industrial Crust? Power Electronics Goth? Death Concrete? Harsh Power Crustdustrial? the portmanteaus are endless I suppose, and truth be told it doesn’t matter one bit because Rosenkopf is going to tear your jaw from your fucking face, hand it to you, and then calmly and politely ask you to plunge into their dark steel soundscape. You’d do well to oblige. Come to the slums after the jump
Mathcore, or whatever you want to call it, is a difficult thing to pull off well. Creating a blend of cascading, chaotic noise with no discernible structure and a disregard, in many ways, for the art of song writing, isn’t easy to execute in such a way that is both interesting and just a little bit cohesive, just so it still sounds like the same band, especially now that it’s been 13 years since “Calculating Infinity” tore down so many walls, and some much has happened in its wake.
Enter Brisbane’s Idylls who have delivered this scorching new album, “Farewell All Joy”. At a mere 21 minutes, it’s a searing listen of everything you expect (and don’t expect) from the description above. Despite not reinventing anything, Idylls are still a breath of fresh air in their little corner of hardcore.
Stay tuned for a full stream!…rest the review after the jump!
This is beyond killer – Brian Stefans has done the world of underground music a great favor. On his L.A. Post Punk blog he has compiled a sonic portrait of the weird music that was taking place during this era…CVLT Nation salutes you Brian, check out what he has to say below and peep the track listings and download links after the jump!
Like the past collections, this one has a few oddities. On a whim, I decided to include a track from Neil Young’s “electronic” album Trans, a sweet one written, purportedly, for his autistic son who apparently responded more directly to the vocoder voice than to an unmodified human one. Also a little strange will be the two tracks by Peter Ivers, the first from one of his solo efforts and the latter the ditty he wrote for David Lynch’s first feature Eraserhead. Ivers was, of course, the host of LA’s New Wave Theatre on which many post-punk bands appeared. He was murdered in his apartment in 1983 in a still unsolved case. One occasionally hears about a Peter Ivers’ cult revival, and I must say I find much of Terminal Love, from which this track is taken, pretty great.
The track from Aurora Pushups might sound anachronistic — some of the members of this band played in Zolar X — but I find it really catchy. The B-side, “Victims of Terrorism,” was included on Jon Savage’s Black Hole Califironian Punk 1977-1980, and they are if anything more out of place there than here.
There’s also a cameo by ex-Dead Boys singer Stiv Bators, who moved to LA in an effort to become a punk-pop singer. Well, it’s part of the history! Seemingly out of place will be Phranc, the self-described “All-American Jewish Lesbian Folksinger,” but I thought to include her due to her previous membership in Nervous Gender (included in the first volume) and because I saw her open for The Smiths at Jones Beach back in the day.
What kind of spirits live inside tiny sounds? What kind of clouds float above silence? Honestly, I don’t have the answers, but when I listen to A DEATH CINEMATIC, for some reason I feel like I have the answers. This one man noise guitar doom wizard knows how to craft otherworldly sounds with the music he creates. Most of the time his compositions are wordless, but at the same time speak all of these wonderful emotions. A DEATH CINEMATIC’s newest record is entitled The New World, out now on his own Simple Box Construction imprint. His music is all about the invisible, because it’s full of unseen forces that capture your imagination. The New World is an epic 6-song journey that unfolds like the changing of the seasons. A DEATH CINEMATIC has just released a new video for the title track that offers a stellar visual to an awesome tune that features spoken word by Matt Finney. The thing about the Simple Box Construction releases is the attention to detail that this label has when constructing the packaging. To get the full scope of what I mean, you would have to see The New World in person and hold it in your hand. It comes in a wooden CD case, with a hand-bound book of 22 photos and stamped artwork. Open up your window, press play on the stream below and see where A DEATH CINEMATIC takes your mind. Check out some killer product shots after the jump, but in the meantime, peep the video for “The New World” under these words!
Not everything can be explained or looked at from what we might consider to be a normal perspective. Right now, I want to share with you a mind-warping experience that I went through, that left me almost without words. I combined two things that are so otherworldly, it took me putting them together to make sense of them. This is what happened: I watched the Hermann Nitsch’s videos that he created in 1982 of one of his performances that totally had my mind racing with all sorts of thoughts about his work. Then I put on William Fowler Collins‘ album The Resurrections Unseen, which became the perfect soundtrack for what I was watching. The Hermann Nitsch videos are broken into 6 parts, so with each one I played a different song from The Resurrections Unseen. It was interesting to hear the tension and drama in William Fowler Collins’ compositions while watching something parallel play out in Hermann’s work. As an artist, I feel that they both would like the listener or viewer to make up their own mind about their art. I find it impossible to label what I feel when I hear “Embracing Our Own Annhilation” from The Resurrections Unseen, or where my imagination went as I saw the flowing blood in Hermann’s videos. As art, both of these works can stand alone no doubt, but together, a new vortex could open up in your brain. Below you will find Part 1 of Hermann Nitsch, plus a full stream of the William Fowler Collins album out now on Type Records. After the jump, you will find the five remaining videos…this will be intense, but what else would you want it to be?
More Hermann Nitsch flims after the jump!
Land of Decay is a tape label that you can trust to release shit that will numb your brain! Their most recent tape by Number None entitled Strategies Against Agriculture is a testament to how this label is in a universe of it’s own. Created by Chris Miller and Noah Opponent, this tape examines the different textures of feedback bent around various shades of noise! Listening to Number None inspires me to ask questions about the creation of humanity and the destruction of humanity at the same. This is the kind of music that will affect everyone in different ways. This is why CVLT Nation is streaming Strategies Against Agriculture in full below, so that you can find your own meaning in Number None. Also check out the in-depth interview between Scott McKeating below and number none after the jump!
Can you recall much about the recording process for Strategies Against Agriculture? What came first, the quote or the tracks?
CDM: The tracks came first. Actually, only two of the four tracks on this version were meant for the original version, if I recall correctly. Both “Viagra/Lunesta” and “KKKamera” were late additions.
As far as the recording process, my memory is better for some than for others. “Viagra/Lunesta” is an excerpt from a larger live performance at Lord Ortmann’s old Nihilist Loft, supporting Binges and (believe it or not) Pissed Jeans. I’d say we were definitely the odd man out on that bill. I don’t remember feeling that it had been an entirely successful set that night, but listening back on it, it’s much more cohesive and interesting than it felt at the time.
“Vile Gnarl” was conceived in my basement on a sweaty summer night. It may not be recognizable now, but my primary instrument that evening was a two-bit bagpipe chanter, which Noah was sampling, modifying and looping the shit out of (largely) in real time. I believe he was also introducing some samples from an old kids toy that had a bunch of animal sounds on it. They were pretty poorly recorded to begin with, and the sound quality on each kept degrading further each time we sampled it as the batteries ran down. I may have also been playing either violin or ebowed guitar.
Much as I remember those two tracks, I have very little remembrance of the creation of either “KKKamera” or “ID-Vision.” Maybe Noah can shed some light on those two?
Full interview after the jump…
From the ashes of the 80′s hardcore band Deep Wound arose one of the most influential bands of the late 80′s and 90′s – the mighty Dinosaur Jr. What we have here is extremely rare footage from a 1986 show at UMass, plus it’s professionally shot, so the sound is awesome. I really get a kick out of watching this video, because something about the whole vibe feels pure. J. Mascis and Lou Barlow are really talented humans that created music that still makes me happy to this very day. It’s cool to see where these two went musically after being in hardcore bands – they went a different direction from most of their peers, who went down the thrash metal road. So kick back, puff a joint and let Dinosaur Jr. Live in 1986 be the guide for your THC voyage. Check out this killer footage after the jump!