The ten tracks are based around field recordings that have been augmented with actual composed musical parts, like clusters of dark lower register piano that echo through recordings of rainfall and fields of mysterious clattering and clanging noises, Carpernter-esque synths, and distorted accordion drones and wisps of bowed cello strings that appear in between strange smooching and slapping sounds, a door being loudly shut a recurrent sound that reappears throughout the album , droning insectile buzz, nocturnal forest sounds, random laughter, deep gong-like reverberations, brutally loud crashing metal, heavy footsteps, and crushing walls of white noise. The label informs us that these ten compositions were centred around field recordings, with the addition of cello, piano, accordion and voices. Jim Haynes, Aquarius Records. Some of the most chilling moments on the album appear on the third and the final tracks: Sudden Infant for instance, very recently, and last year Dave Phillips. So much for my expectations.
He was also the man responsible for that Dead Peni record released in on Blossoming Noise, and was the drummer for Fear Of God, which was like the Swiss equivalent to Napalm Death way back when. After the dissolution of Fear Of God, Phillips would go on to become involved with even more intense and visceral approaches to sound, leading him to the aktionist noise performance ensemble Schimpfluch-Gruppe. The label informs us that these ten compositions were centred around field recordings, with the addition of cello, piano, accordion and voices. From beginning to end, this is an intense and agitated performance that has long empty fields of quiet torn apart by sudden eruptions of unsettling noise. This is a record that is all about embracing field recordings and sound collage in a, quite frankly, terrifying way. Ultimately, this was intended as a purgative process, but there can be no doubt that in the performance of these mental excavations, a large amount of psychic spew and filth has also ended up on the grooves of this record. A male voice, pitchshifted to a demonic other, laughs and grunts amid spiralling snippets of a female voice caught somewhere between orgasm and pain. Phillips was one of the co-founders of hardcore group, Fear of God, and after their break up has been producing solo work under his own name. Those performances involved a mattress wired up with numerous contact microphones and the two engaging in rather violent sex, with the noises of the groaning mattress tossed back at the audience through explosive amplification. A creepy record, not for the weak of heart and mind. O, per lo meno, siate consapevoli del fatto che potrebbe turbare i vostri sonni per molti giorni a venire. Not much information on the cover to go by, but depression has not be made that clear in quite some time. Throughout the layers of breathy vocals, groaning, minimal piano keys, swirling rumbles seemingly beamed in from the ether, cracking sounds, accordian, dissonant tones, birdsong and so on, an alarming amount of space and restraint is given to retaining an atmosphere that soaks on all from sombreness to something more distinctly menacing. The performances and recordings of Schimpfluch-Gruppe would be excruciating affairs, combining short blasts of brutal noise with transgressive bouts of vomit-and-blood play, these aktions on the surface of it confrontational and disturbing. The former member of Fear Of God, a grindcore band, is connected to the Schimpfluch gang these days and his concert was a carefully constructed set of noise and silence. At that time I had never heard of him yet after those comments I started to see his name everywhere. You will probably start to feel queasy and sickened around the middle of track three, with consists of 12 minutes of orgasmic groaning voices, slowed down and mangled in various hideous ways, and overlaid in nasty loops like coiled serpents. They are mistaken, and should check their history lessons. Sudden Infant for instance, very recently, and last year Dave Phillips. At the conclusion of this track, Phillips turns to his accordion which sways between two dour notes and a series of nocturnal recordings. I just heard too much of that, I guess, in those grey forgotten days. Un grand disque de la zone grise. Worrying stuff; and rest assured, there is plenty worse to come on this album of dissonant, dark and deeply disturbing compositions. Dieci tracce senza nome, per un disco ammaliante che — e il titolo enigmatico ci sta tutto — stimola la fantasia e i sensi, incuriosisce ed affascina, terrorizza e mette a disagio, mentre ci si continua a chiedere che cosa siano i suoni catturati nei solchi del cd. Like I said, nothing conservative noise here, but quite a depressing album altogether. Normally I would complain about the length of such a release, but somehow it all seems to make sense here. Those HCB boys have gone and done it again!
Video about sex and the city sound clips:
Sex and The City Movie Soundtrack
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