Link here.
Thanks to Zelienople for playing us on your podcast. There's some great stuff on there. It's actually been way too long since we've seen Zelienople play.
------------------------------
For this podcast, I decided to focus on local music from my hometown of Chicago. This mix is obviously not comprehensive, rather I tried to limit my selections to the more "out sounds" of the city. So this is a tiny portion of examples of Chicago sounds created by experimental musicians, i.e. electro-acoustic, ambient, noise, free-jazz, improvised, free-folk, etc. I found that I had to narrow down selections even when limiting my reach to this small corner of the city’s music scene, especially when it came to musicians that create long-form pieces like Haptic, Brent Gutzeit, Illusion of Safety, TV Pow etc. I also didn’t want to have too many tracks from one sub-genre (I could have devoted the whole podcast to artists from the fertile Free Jazz scene). I’m sure there are many that I forgot to include, others that I don’t know about and still those that I only have music by on the vinyl format (I don’t have the means to make digital files from LP’s) but this is a sample of what I have in my digital collection of music from Chicago.
[Podcast Available Through Link]
1. Equus Haar : Spires That In The Sunset Rise (Curse The Traced Bird Secret Eye, 2009)
2. Hail To Thee, Malthusia : Baker/ Hunt/ Sandstrom / Williams - Extraordinary Popular Delusions (Okkadisk, 2008)
3. Three Henries VI : Pillow - Three Henries (Hapna, 2001)
4. Cloudy : Kevin Drumm - Sheer Hellish Miasma (Mego, 2002)
5. Live recording : Scott Tuma & Jason Ajemian - Live at 3030 (unreleased, 2003)
6. Both Literally and Figuratively : Pan•American - White Bird Release (Kranky, 2009)
7. Used to be a guy : Male / All Are Welcome (Other Electricities, 2009)
8. Obsolete Elegy in Cast Concrete : Locrian - Drenched Lands (At War With False Noise, 2009)
9. MudSaltCrystalsRocksWater : The Zoo Wheel - First Born, Grand Days (Lucky Kitchen, 2004)
10. Night Bear : Ill Professor / The Miracle of Luck - Plustapes (upcoming, 2010)
11. Thème de l’Amour Universel : Art Ensemble Of Chicago - Les Stances a Sophie (Universal Sound, 1970)
12. Fading Cold : Boxhead Ensemble - The Last Place to Go (Atavistic, 1998)
13. Signposts (For Lee Friedlander) : Vandermark - Beat Reader (Atavistic, 2008)
14. 5th One Is The Dark : Mako Sica / Dual Horizon - La Société Expéditionnaire (upcoming, 2010)
15. Heisenberg Boulevard : Neil Jendon - Grand Omega Minus (unreleased, 2005)
Wednesday, March 3, 2010
Locrian/Cold Cave Chicago, Thursday, June 17th: Tickets on Sale now..
Cold Cave
Locrian
Date: Thursday, June 17th
Location: Empty Bottle
Time: 10:00pm
Cost: $10
Tickets on sale here.
This is REALLY going to happen this time.
Locrian
Date: Thursday, June 17th
Location: Empty Bottle
Time: 10:00pm
Cost: $10
Tickets on sale here.
This is REALLY going to happen this time.
Another Track from "Territories" Posted on Myspace
"Inverted Ruins" is the opening track from "Territories" and features Mark Solotroff (Bloodyminded/Anatomy of Habit) and Andrew Scherer from Velnias.
Link here.
You can check out another track from "Territories" (Procession of Ancestral Brutalism) at Brooklyn Vegan if you haven't done so already.
These LPs should be available for ordering any day now.
Link here.
You can check out another track from "Territories" (Procession of Ancestral Brutalism) at Brooklyn Vegan if you haven't done so already.
These LPs should be available for ordering any day now.
Tuesday, March 2, 2010
Update on Locrian c40 from Black Horizons:
link here.
2/2/10 update from Black Horizons:
2/2/10 update from Black Horizons:
2/2/10
Yeap, time for a new release. It is a C40 from Locrian, and it is one of the best tapes I've ever done. The Warmth - Privacy from God C52 was supposed to drop at the same
time, but due to it being a "printjob from hell" it is delayed until next week. In other comings up, the Tecumseh 10" is now a 12", and is at testpressing stage. Shortly.
Then will come an Anakrid LP and a Yellow Swans / Oakeater split LP. The Swans album that just dropped, that is not their last record. This one, given the way I
tend to release things, will be. It will also be worth the wait, especially since it is shared with Oakeater. Watch for all this come summer. I am on the move.
Thank you to everyone for their continued patience and support. This label means the world to me, and no, it is not dead. You will all know when it is.
Small Doses: Territories Delayed Slightly
Link here.
From Small Doses:
From Small Doses:
One of the packages of Locrian LPs on their way to Basses Frequences HQ was accidentally routed to Italy somwhere. We’re pretty sure it is now France-bound, but as soon as its delivery is imminent, we will all make the LP (and me the cassette) available. I’ll keep things updated here.
I’ll also have the Heavy Focus Benefit compilation 2cdr ready for purchase at the same time!
Creaig Dunton (Brainwashed) on "Territories"
Link here.
Locrian, "Territories"
Written by Creaig Dunton
Sunday, 28 February 2010
Looking back, it has only been a bit over a year since the Greyfield Shrines LP, my first exposure to these guys, yet in that year I’ve heard as significant amount of development and change in their work. While that release was reminiscent of the intentionally minimalist drone of Sunn O))), subsequent work has brought in greater elements of noise, electronic music, and post-punk alternative. This LP is perhaps the ultimate culmination of that, being released by no less than four labels and featuring guest appearances from members of Bloodyminded, Nachtmystium, Yakuza, and Velnias.
At War with False Noise/Basses Frequences/Bloodlust!/Small Doses
The change and evolution of their sound is immediate once "Inverted Ruins" launches. The carefully controlled feedback of Andre Foisy’s bass guitar and the simple echoed stabs of Terence Hannum’s synths could be on any of their releases, but the addition of live drums from Velnias member Andrew Scherer and the distant, disgusted vocals of Bloodyminded’s Mark Solotroff push the sound closer towards rock territory, while synthesizer drones and digital noise pull it in the opposite direction. The song slogs along at the pace of stoner rock, but there’s far more noise experimentation going on for it to drift into caveman riff-heavy Sabbath territory.
The long "Procession of Ancestral Brutalism" embraces the squall of black metal, but with a distinct sound and structure that contradicts the genre’s infatuation with muffled flatulent production and cookie monster vocals. Aided by Nachtmystium’s Blake Judd on vocals and guitar, it’s not surprising that it conjures images of black metal, but the complex layering of guitars over Hannum’s almost prog-rock synth lines and Scherer’s freak out drumming, all with a cavalcade of vocal parts sounding like Mayhem and Can battling it out with neither side dominating the other.
The closing "The Columnless Arcade" features the same line-up, with the addition of Yakuza’s Bruce Lamont on saxophone. The screamed tortured vocals and rapid staccato guitar also give a metallic sheen to the proceedings, but there is a greater aridness to the track, a bit more light let in. Shades of the post-punk guitar sound that appeared on the recent 7" split with Harpoon are here as well, giving a purer tone and color than other artists are usually able to muster.
Between these longer pieces linger a few shorter, more sparse instrumental bits that are no less captivating. The sustained organ and insect saxophone of "Between Barrows" have a meditative quality that fits well between the louder, more boisterous tracks. Similarly, "Antediluvian Territory," which sits as the penultimate track, is a sparse duet of organ and guitar, which soars and rings on with a melancholy beauty that calls to mind, at least in mood, some of the best moments of the Cure’s Seventeen Seconds for some reason.
This time last year I thought these guys were doing something different in the field of drone metal, which has continued to be an overly cluttered genre, but I wasn’t sure exactly what that difference was. While I have been concerned at their prolificness over the past year, their output has never been superfluous or unnecessary. Territories stands as the full realization of the tapes, EPs, and split 7" singles that the band has issued in this time, perfectly encapsulating their dark, dystopian sound with the ideal balance of pure heaviness and pensive drone. Topping this one will be tough, but I’m thinking they will be able to do it in time.
Locrian, "Territories"
Written by Creaig Dunton
Sunday, 28 February 2010
Looking back, it has only been a bit over a year since the Greyfield Shrines LP, my first exposure to these guys, yet in that year I’ve heard as significant amount of development and change in their work. While that release was reminiscent of the intentionally minimalist drone of Sunn O))), subsequent work has brought in greater elements of noise, electronic music, and post-punk alternative. This LP is perhaps the ultimate culmination of that, being released by no less than four labels and featuring guest appearances from members of Bloodyminded, Nachtmystium, Yakuza, and Velnias.
At War with False Noise/Basses Frequences/Bloodlust!/Small Doses
The change and evolution of their sound is immediate once "Inverted Ruins" launches. The carefully controlled feedback of Andre Foisy’s bass guitar and the simple echoed stabs of Terence Hannum’s synths could be on any of their releases, but the addition of live drums from Velnias member Andrew Scherer and the distant, disgusted vocals of Bloodyminded’s Mark Solotroff push the sound closer towards rock territory, while synthesizer drones and digital noise pull it in the opposite direction. The song slogs along at the pace of stoner rock, but there’s far more noise experimentation going on for it to drift into caveman riff-heavy Sabbath territory.
The long "Procession of Ancestral Brutalism" embraces the squall of black metal, but with a distinct sound and structure that contradicts the genre’s infatuation with muffled flatulent production and cookie monster vocals. Aided by Nachtmystium’s Blake Judd on vocals and guitar, it’s not surprising that it conjures images of black metal, but the complex layering of guitars over Hannum’s almost prog-rock synth lines and Scherer’s freak out drumming, all with a cavalcade of vocal parts sounding like Mayhem and Can battling it out with neither side dominating the other.
The closing "The Columnless Arcade" features the same line-up, with the addition of Yakuza’s Bruce Lamont on saxophone. The screamed tortured vocals and rapid staccato guitar also give a metallic sheen to the proceedings, but there is a greater aridness to the track, a bit more light let in. Shades of the post-punk guitar sound that appeared on the recent 7" split with Harpoon are here as well, giving a purer tone and color than other artists are usually able to muster.
Between these longer pieces linger a few shorter, more sparse instrumental bits that are no less captivating. The sustained organ and insect saxophone of "Between Barrows" have a meditative quality that fits well between the louder, more boisterous tracks. Similarly, "Antediluvian Territory," which sits as the penultimate track, is a sparse duet of organ and guitar, which soars and rings on with a melancholy beauty that calls to mind, at least in mood, some of the best moments of the Cure’s Seventeen Seconds for some reason.
This time last year I thought these guys were doing something different in the field of drone metal, which has continued to be an overly cluttered genre, but I wasn’t sure exactly what that difference was. While I have been concerned at their prolificness over the past year, their output has never been superfluous or unnecessary. Territories stands as the full realization of the tapes, EPs, and split 7" singles that the band has issued in this time, perfectly encapsulating their dark, dystopian sound with the ideal balance of pure heaviness and pensive drone. Topping this one will be tough, but I’m thinking they will be able to do it in time.
Monday, March 1, 2010
The One True Dead Angel on "Territories"
Link here.
Locrian -- TERRITORIES lp [At War With False Noise / Basses Frequences / Bloodlust! / Small Doses]
Here we have an album so immense, so blackened, and so heavy that it required four separate labels to lift it off the ground and cram it down your throat. Part of what makes this one so heavy is the additional firepower they bring to the game -- their diabolical fusion of noise, drone, and black metal is augmented by additional sonic death courtesy of guests Andrew Scherer (Velnias) on drums, Blake Judd (Nachtmystium) on guitar, Bruce Lamont (Yakuza) on sax and vocals, and Mark Solotroff (Bloodyminded, Anatomy of Habit) on electronics and guitar. With the duo of Locrian backed by a full band, the result is a sound that's louder, thicker, and goes off in more directions than ever before. The opening track, "Inverted Ruins," makes this clear from the beginning, with plodding drums, bowel-scraping noise, and a serious commitment to skin-crawling dissonance. "Between Barrows" opens with an ominous cyclotron drone that could have been lifted from one of their earlier albums, but soon it is overlaid with eerie cymbal washes straight out of the Book of Khanate and more power-electronics hum, and as the piece progresses, the drone and crackling noise are embellished by dark ambient washes and eerie feedback drones, all playing out in languid but anguished fashion, like an unsettling prelude to violence. That violence finally arrives in "Procession of Ancestral Brutalism," where -- after an uneasy introduction of vaguely atmospheric ambient noise -- a buzzing guitar, pounding drums, and pained howling swaddled in mountains of reverb usher the album firmly into pure, antagonistic black metal territory. "Ring Road" returns to the more familiar pleasures of grinding, near-industrial tones and screech-laden power electronics, a deliberately grating sound that evolves into a dark, throbbing drone made even more threatening by the alienated noises that rise and fall in the background; the song eventually dissolves into a swirl of static and devolved black metal guitar wailing, like a lost soul disappearing down a rabbit hole. "Antediluvian Territory" is not quite so sinister but every bit as eerie, with a plinking guitar figure creeping across a burnt ambient soundscape of fogged-out noise and cryptic tonal dread, while "The Columnless Arcade" ends the album with an orgy of noise fed through enormous amounts of delay and echo as huge, shuddering drone action threatens to topple the entire sonic architecture into a cold, poisoned ocean... and then the pounding drums, treble-heavy black metal guitar, and hellish vocals burst forth without warning and the sonic destruction REALLY begins. What a way to end a completely filler-free album. Heavy, heavy stuff, o my brothers and sisters, heavy stuff indeed. If you haven't been smart enough to worship Locrian yet, you really should pick this up and get with the program.
Locrian
At War With False Noise
Basses Frequences
Bloodlust!
Small Doses
Locrian -- TERRITORIES lp [At War With False Noise / Basses Frequences / Bloodlust! / Small Doses]
Here we have an album so immense, so blackened, and so heavy that it required four separate labels to lift it off the ground and cram it down your throat. Part of what makes this one so heavy is the additional firepower they bring to the game -- their diabolical fusion of noise, drone, and black metal is augmented by additional sonic death courtesy of guests Andrew Scherer (Velnias) on drums, Blake Judd (Nachtmystium) on guitar, Bruce Lamont (Yakuza) on sax and vocals, and Mark Solotroff (Bloodyminded, Anatomy of Habit) on electronics and guitar. With the duo of Locrian backed by a full band, the result is a sound that's louder, thicker, and goes off in more directions than ever before. The opening track, "Inverted Ruins," makes this clear from the beginning, with plodding drums, bowel-scraping noise, and a serious commitment to skin-crawling dissonance. "Between Barrows" opens with an ominous cyclotron drone that could have been lifted from one of their earlier albums, but soon it is overlaid with eerie cymbal washes straight out of the Book of Khanate and more power-electronics hum, and as the piece progresses, the drone and crackling noise are embellished by dark ambient washes and eerie feedback drones, all playing out in languid but anguished fashion, like an unsettling prelude to violence. That violence finally arrives in "Procession of Ancestral Brutalism," where -- after an uneasy introduction of vaguely atmospheric ambient noise -- a buzzing guitar, pounding drums, and pained howling swaddled in mountains of reverb usher the album firmly into pure, antagonistic black metal territory. "Ring Road" returns to the more familiar pleasures of grinding, near-industrial tones and screech-laden power electronics, a deliberately grating sound that evolves into a dark, throbbing drone made even more threatening by the alienated noises that rise and fall in the background; the song eventually dissolves into a swirl of static and devolved black metal guitar wailing, like a lost soul disappearing down a rabbit hole. "Antediluvian Territory" is not quite so sinister but every bit as eerie, with a plinking guitar figure creeping across a burnt ambient soundscape of fogged-out noise and cryptic tonal dread, while "The Columnless Arcade" ends the album with an orgy of noise fed through enormous amounts of delay and echo as huge, shuddering drone action threatens to topple the entire sonic architecture into a cold, poisoned ocean... and then the pounding drums, treble-heavy black metal guitar, and hellish vocals burst forth without warning and the sonic destruction REALLY begins. What a way to end a completely filler-free album. Heavy, heavy stuff, o my brothers and sisters, heavy stuff indeed. If you haven't been smart enough to worship Locrian yet, you really should pick this up and get with the program.
Locrian
At War With False Noise
Basses Frequences
Bloodlust!
Small Doses
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