Friday, June 18, 2010

Review - V/A - Bullshit Detector

Here's a review of the Bullshit Detector comp I submitted a track for.
The concept of the comp was a noise homage to  anarcho punk and hardcore legends.
Initially I was going to do a cover of "So What" by CRASS but in the end decided to do a cut up tribute to Annie Anxiety entitled "Muneca"

V/A – Bullshit Detector 2008 CDR
Now THIS is a BAD ASS noise comp!!! First of all, fucking awesome idea. Bullshit Detector offers noise remixes and re-interpretations of anarcho-punk, hardcore, and metal songs. With many of the people on the punk/hardcore/metal end of the “extreme music” spectrum doubting the power of noise/industrial let them doubt no more and look no further then Bullshit Detector 2008.
There’s not one track on this compilation I dislike. Every artist delivers their best here with an absolutely consistent lineup. Concrete Violin offers a great opener with “Annihilation (Crucifix)” featuring some top-notch vocals. Fire in the Head follows up with “Clutches (Nausea)”, his screamed vocals over a low distorted drone with great windy noise washes makes for a stunning wall of unforgivable industrial noise. The mighty Guilty Connector is up next with “Tears And Tears (Angry Filth Mix)” a throbbing LFO synth pulse and harsh noise brewing above it clocking in around 2 minutes. Many of these tracks are just that short, with no intention to impress or evolve Bullshit Detector is 100% noise kills punx dead.
Following Guilty Connector’s spastic assault is Halthan with “Is There Anybody There? (Flux Of Pink Indians)” a more subdued thick noise rumble with up-front vocals which leads into Travis Morgan’s “Mueca (Tribute To Annie Anxiety)” probably the track with the most variety here. Blasts of harsh noise, layers of experimental feedback loops and cut-up vocal samples. Next Noisewerrrk uses guitar loops in his more traditional remix of “Meanwhile (Discharge)” which if I didn’t know any better could just be a strait-up nasty power electronics assault. Nyarlathotep’s “Onward Christian Soldiers (Icons Of Filth)” does some interesting things with a bass guitar before throwing us into a virtual industrial blender of what I can only assume is a swirling barrage of mutilated punk rock. Even Shallow Water’s “Our Life, Our World (The Mob)” offers a great change of pace, offering up the longest track here by slowing things down to a wall of droning noise to slowly and relentlessly build up their seething wall of distortion to a soaring torrent of monolithic noise.
Finally we’re down to the last three tracks, the final bastion of brave souls who dared to stand up to mutilate these once classic tracks. Sistrenatus’s “Multinational Corporations (Napalm Death)” is my favorite of the disc with a fucking pummeling track of rhythmic industrial noise and incredibly scathing vocals. Yet another heavy hitter Sudden Infant picks up the second-to-last maltov cocktail to throw with “Asylum (Crass)” giving a subtle new take on Crass’s classic diatribe. Finally Wertham drops the bomb on everyone with “Polvere Fastidiosa (Indigesti)” which is probably the first track of his that I really enjoy. Once again using a looping sample like Noisewerrrrk did it’s simple, to the point and hits home just like the classic track itself delivers.
Great concept for a compilation. Flawlessly executed, the mastering and track order is perfect. Everything is loud and brutal, the tracks provide depth, evolution, variation, keep my interest and offer a new and interesting take on these classic songs. In addition every artist here just absolutely kills it. Bullshit Detector 2008 delivers the energy and pissed off attitude that lacks so much in today’s punk and hardcore world.

Black Meat - Live Spring Torsion 2005

404 Noise Fest - Pictorial

404 Noise Fest - Creative Loafing Article

404 Noise Festival: Difficult listening
Experimental sound showcase celebrates music without limitations

by Chad Radford

The word "noise" carries a gamut of loud and intrusive connotations. To most, it is the unwanted aural pollution that disrupts our abilities to think clearly. But in the annals of rock journalism, it is the hazy sonic aesthetic that connects the Ronettes' "wall of sound" to the grittier proto-punk dirges of the Velvet Underground and Sonic Youth. Stemming from the traditions of punk's subversive nature, noise has evolved into a genre of its own standing. It defies the limitations of marketable brands of music with a pure and expressive manifesto that is shared by intuition. It is a scene that exists as splintered factions of outsider musicians, bound by global, grassroots networks that embrace abstract sounds as a means of attaining artistic freedom. And it is a scene that has coalesced in and around Atlanta in a major way.

On Friday, March 16, four local noise labels – Blossoming Noise, NCC Records, Sounds From the Pocket and Robot Fishy – along with other regional labels and artists, will converge on Eyedrum for an exposition of noise in the Southeast. The aim is to strengthen Atlanta's noise community and to illustrate that there is more to the music than what the word implies.

Slouching in a corner booth cradling coffee cups in the late-night ambiance of the Majestic Diner, Travis Morgan, Graham Moore and Justin Waters are at ease. These are the respective faces behind NCC Records, Blossoming Noise and Sounds From the Pocket, and they're staring at the ceiling, looking for the perfect soundbite to capture noise in a nutshell.

For all three, the music is a means to an end combining both ideology and expression. "It's about the freedom of not placing any limitations on your music," Moore explains. Morgan finishes the thought, adding "It's what punk should have been."

Moore continues, explaining that even at the onset of punk, there were managers and marketing schemes at work, creating images and enforcing rules, planting the seeds of what would become a very contrived genre. "With noise there are no rules," he adds.

Morgan and Moore play in Black Meat, testing the limits of concept and feedback, and receivedCreative Loafing's Reader's Choice Award for Best Local Experimental Band in 2006. Waters plays guitar for Mugu Guymen, melding an overblown rock dirge with aggressive rhythms.

Noise has received a fair amount of exposure in the United States recently, with bands such as Wolf Eyes signing to Sub Pop, and Animal Collective falling into the good graces of the Pitchfork contingency. New York, Los Angeles, Boston and Chicago have historically fostered scenes for experimental music, and Atlanta is no different. It boasts outlets, such as Eyedrum and Georgia Tech.'s 91.1 WREK-FM, that celebrate noise via long-running radio shows such as "Friction" and "Destroy All Music."

But there's still the issue of semantics. The word "noise" conjures images of disaffected smashing guitars and twisting knobs on distortion pedals to the tune of squelching feedback. The stereotype is not entirely unfounded. Spontaneity, improvisation and pure emotional release are all part of the agenda. But it is seldom without rhyme or reason.

Chris White, who performs as Magicicada, has developed an ear for the subtler aspects of sound. Onstage, he utilizes everything from traditional instruments, including keyboards and hand drums, to more unorthodox sound sources, such as rocks, boiling water and various found objects. During performances, he crawls around on his knees and occasionally wanders off stage only to find a new place to sit and create sounds. His scattered accoutrements are strewn about in a tangle of chords and effects devices. The sounds he creates linger between serene and foreboding in a cloud of abstract textures that are guided by his internal sense of rhythm.

White's music is not the result of random noodling, but of meticulous sound-sculpting to achieve a desired effect. "There is a common perception that there is no thought process behind what's being presented," White says. "I put a tremendous amount of thought into what I do. I spend time building specific sounds and a specific structure, and within that structure I improvise. I figure in my sounds and melodies and improvise around them, and this isn't an uncommon way of doing things."

Former Swans vocalist Jarboe, who was an active noise musician in Atlanta in the early '80s, will also perform. Her set will revisit one of her earliest from a WREK studio session titled "Walls Are Bleeding."

One act that stands out among the jarring aural clutter is Tree Creature, in which Robot Fishy proprietor Nathan Brown plays keyboards. Tree Creature crafts soothing drones that bubble and chirp in slow, meandering soundscapes. What qualifies it as noise is its reliance on texture rather than melody. Tree Creature is a shining example of the anything-goes policy. "When you're playing purely expressive music, sometimes it's pleasant and sometimes it's not," Brown explains.

This typifies what Morgan, Moore and Waters want to bring together with the festival. "The more exposure it gets the more people will get involved," Morgan adds. "There are people all over the place making or buying noise records. ... As we speak there's probably a kid sitting in his bedroom in Atlanta, listening to Merzbow who has no idea who we are."

Black Meat / Power Circus - Interview with F7 Sound

NOISE - New Wave?

Back in October, I got a chance to be backstage with Regurgitron at a noise show. There I met bands such as Soriah, Power Circus and Black Meat. It was truly a great show and I had a great time. I got the opportunity to interview Lana of Power Circus and Travis Morgan of Black Meat.

Tell us about yourself.

Lana (Power Circus)
Travis Morgan (Black Meat)

How did you get started in this noise business?
Travis Morgan (Black Meat): I started making noise around 1998 at which point I also started NCC-records originally I just wanted to start an experimental music and decided it would be a good home base for releases.

Lana: I've listened to experimental & noise music for a long time now & last time I lived in Providence RI, maybe 2 years ago, I lived at the Pink Rabbit, one of the warehouses in Olneyville & there were noise shows all the time. Most everyone was making crazy creations for their next show, so I decided to make a band with my roommate at the time 'Cthulhu is Sex'.

What inspires noise anyway?TM: I think that's really dependent on the creator and the listener the ranges of topics can go in any direction as in any other genre of music or art.
Lana: My noise or noise? Can't tell you what inspires others, but what I play is what ever my mood is, kind of like painting or writing, if that makes sense.

What kind of people come to noise shows, typically?
TM: Again that can go in any direction as well. Just anyone that's turned on to the sounds.
Lana: I have seen all kinds really, depending on where you are.

How does the noise crowd in America compare to the noise crowd in other countries?
TM: I haven't had an opportunity to play out of the country yet but I can say that I am very proud of the American noise scene from the progression I've witnessed since 1998.
Lana: I've never been to a noise show in another country. I've seen noise bands from other countries play here in the states and some I did like & some I did not. I do know people in Argentina really love my sounds & want me to play there. This crowd is absolutely crazy, in a good way. They make you a huge body mod scene, hang from hooks and all that.

How do you feel noise is/will impact the underground scene?
TM: I think that's made a huge impact on influencing other acts spawning new labels, etc.
Lana: To be honest I have no clue. I do not pay much attention to things really.

Is noise the next new wave? Why or why not?
TM: No it's been around for long time in one form or another.
Lana: It was big for a while 2 years ago & to me it is not as big these days. That also is because of where I live, here in NYC it is not that big, hipster music is big here.

More about you... What kind of gear do you abuse?
TM: I use a lot of gear that changes from time to time but the things I can't do without are: dod death metal zoom trimetal dod meatbox we use a lot of other pedals contact mics chunks of stone. Graham (other member of Black Meat) uses max msp and pedals and turn tables and contact mics and other home made fun stuff
Lana: I play a homemade analog synth, circuit bent cigar box, loop station, allesis effects, mixer, rattles, toys, accordian, mic, vetor synth, at times I sample keyboards.

What kinds of other music do you like?
TM: I like all music. I live for it. Most recently I'm really into old country, bluegrass, and gospel. I also enjoy punk, metal, rap, drum n bass, industrial, just whatever. I spend a lot of my off time buying records at thrift stores, flea markets, tag sales, and antique stores.
Lana: Music that has accordians, violins..... I really love gypsy & circus sounding music these days. I like all kinds of music really- classical, electro clash, death-rock, punk, goth, 70's porn sounding tunes- hahahaha not big into country & western or hip hop.

Now, getting into noise.... Can you recommend some noise bands for people who would like to get into noise?
TM: Most people would probably answer this with like some of the essentials or something but I'm just gonna list some bands that I've been listening to a lot: lockweld - pedestrian deposit - prurient - the cherry point - oscillating innards - fire in the head - december 23rd - guilty connector - LHD -immaculate grotesque.
Lana: Daniel Menche - Atrex Morgue Brighter Death Now -Cock ESP Kostice (sp?) -Randy Yau (sp?) White Mice -Boredoms - Merzbow.

If someone wanted to get into noise, what advice would you give them?
TM: Have fun with it
Lana: Just have fun with it.

Thanks a bunch for hanging in there with me. Any closing remarks?
TM - Thanks for taking the interest in black meat you can keep up with our actions at and be sure to check out mine and graham's progress with our labels by visiting and both of us have some killer things lined up for 06.

Black Meat Vs Dec 23rd - in studio session clip

Black Meat - Live No Future Fest 2006

Black Meat Live Show Review and Pics- Tampa 10/25/05

Harsh Fucking Noise!

TAMPA, FL - Masquerade Ybor. Travis Morgan (NCC Records) and Graham Moore (Blossoming Noise) are Black Meat.

I'm sure that Atlanta was more than happy to loan Tampa Black Meat, as Atlanta finally had a quiet night. Meanwhile, Travis and Graham unleashed an all out noise assault on the appreciative Masquerade audience that was felt for blocks.

Opening with a "toe tapping" favorite, 10 minutes of potato chip munching, Black Meat then got down to business. They molded a wash of screaming and intense, computer-assisted, pedal abused noise into a breathtaking mass of nuclear waste or loud, harsh fucking noise. The kind of noise that Black Meat is famous for. Yeh, the kind of noise that can rupture the colon of a male sheep at 1000 yards. Brutal

I hope the farm animals were left at home for this one.

Pictures on this page by Michael Oster aka ReGurgiTron.