Unreleased Live

funkhaus trk1 2018

coachella wk2 trk4 [+ T46 se70 rinseout2 [sketches]] 2019

coachella wk2 trk1 2019

1. Subway Porno - Totally Alone
2. Stereolab - I’m Going Out Of My Way
3. Kosaya Gora - Tell Me Dove
4. Tonstartssbandht - Black Country
5. Pure Ecstasy - Alexandria
6. Black Sky Giant - The Red Chariot
7. No Paws - We Were Giants Orbiting SLC
8. Weed & Dolphins - Human parts
9. My Bloody Valentine - When You Sleep
10. Mineral - Palisade
11. Marching Church - Not Worthy
12. Vomit Heat - Pretender
13. Элен - Парень, не плачь
14. French Kicks - The Trial Of The Century
15. Weekend - Coma Summer
16. CCFX - 2Tru
17. Последнее Сопротивление - Вечер

shoegaze radio 29/03/24

My distorted trap alias, GRINDINGCRPSES returns in 2024 for a new remix of the year.

Yung Lean - Hoover (⛧​GRINDINGCRPSES⛧ REMIX)

THE SEA OF WIRES 'The Sea Of Wires' 2CD

The Sea Of Wires were a very early '80s electronic duo hailing from the industrial wastelands of Coventry. Followers of the German Electronic Scene of the time (Tangerine Dream, Ash Ra Tempel, Popol Vuh, Cluster etc), Chris Jones and Tony Murphy used elements of Kosmische Musik in their compositions, with a variety of warm synths, analogue effects, and layered experimentation.
 
This double-CD collects cassettes which appeared on their own Sea Of Wires label: "Individually Screened" (1980, then 1981 on the famous Flowmotion label); Chris Jones' "Diversions" (1981, featuring Murphy on synth); and "Beyond The Edge Of Tomorrow" (1982), representing the absolute peak of their sound. 

These tracks appeared as a double LP on the illustrious Vinyl-on-Demand label back in 2014 as part of the massive 12LP boxset "80's Minimal Synth. Wave Vol.2", but are presented here on CD for the first time ever.

"A bubbly electronic meisterwerk from the electronic Dark Ages, those very early 1980s, just as synths started to get smaller and more affordable... They mostly relied on beat-free sequencer pulses with something of a Kraut influence, plus the occasional nod to the past glories of the Radiophonic Workshop... Full of classic warm synth settings, not unlike a solid state volcanic mud pool, pumping out bubbles of sweet sounding ear gases through the smooth hot mud" (Die Or DIY).

FFO: early Human League, Vice Versa, We Be Echo, Tangerine Dream.
 
• Double CD in a matt-finish gatefold ecopak. Out 8th November 2024.

https://coldspring.co.uk/csr345cd

https://coldspring.bandcamp.com/album/the-sea-of-wires-csr345cd

Listen: https://soundcloud.com/coldspring/sets/the-sea-of-wires

Digital: https://orcd.co/csr345cd

THE SEA OF WIRES - The Sea Of Wire

3 words

Art As Catharsis is proud to announce the release of Uboa’s The Sky May Be – an overpowering record that slips between dreamy ambience and nightmarish caverns of harsh noise.

https://uboa.bandcamp.com/album/the-sky-may-be-2

Drawing elements from the trans-driven noise scene, Xandra Metcalfe’s work as Uboa condenses a wider range of influences into a frightening soundscape of its own. Fans of Purgist, Facialmess, Endon, Locrian, Nurse With Wound, along with artists on the No Rent and Triangle Records labels will find themselves right at home with this recording.

“I only take inspiration from things that immediately affect me,” says Metcalfe. “Various trans issues that do not get airtime in music in particular - trans subcultures, transmisogyny/transphobia, medication, passing, sterilisation, suicide and depression, isolation. A lot of the stuff about mental illness - depression, psychosis, anxiety etc. - comes directly from my experience as being trans in a cisnormative society.”

As the first single off The Sky May Be, Thigh High Cat Tights represents Metcalfe’s most terrifying work on the album. Driven by white noise, distortion and glitched shrieks, the song rampages beyond the realms of tangible before tunnelling into a monotone plateau of drone. Thigh High Cat Tights is the audio equivalent of a hellscape for androids – all the while serving as ambassador for the digital savagery and abrasiveness Uboa is capable of.

“Uboa was originally just for doom, noisy stuff that I did on a whim,” says Metcalfe. “Afterwards I used its anonymity to spread rumours I was a woman well before I was out, which was funny. It became a little vessel for me to escape myself at the time. I guess it helps me be myself? Sounds corny but true. That being said, nowadays I just use it to scare people, which is always fun.”

The Sky May Be offers a teetering balance between simmering moods and terrifying electronics. The record rattles with a sense of instability from start to finish – song structures are freeform and unbound by chorus or verse, harsh elements attack at random yet land perfectly, and it’s rare that any single track can be summed up as solely ambient or noise. The sum of the music is a feeling that pushes sound and mind to its limits, reaping new forms of terror and weakness as the seconds pass by. 

This unbridled creativity is in a class of its own, unshackled by the boundaries of genre or traditional construction – it’s within this freedom that The Sky May Be sets itself as one of this year’s most important releases in Australian harsh noise.

funkhaus trk1 2018

Flexesh