July 29, 2011
"Firstly, this was recorded in 1986. 1986! Do you think Slayer or Dark Angel were about the most extreme thing around then? Think again. 'Horrified' makes 'Reign in Blood' or 'Darkness Descends' look like Jon Bon fucking Jovi in comparison; it's darker, faster, heavier, more agressive, more chaotic and more lyrically extreme whilst also being catchier and even more brutally to-the-point. From devastating blasts of relentless grindcore such as 'Eaten Alive' to insane thrashterpieces such as 'Black Breath', Repulsion fused the razor edge of Celtic Frost and Slayer with the dark brutality of Discharge and the manic speed of D.R.I, creating a work that redefined music. From the doomy intro riff of 'The Stench of Burning Death' through to that famous final yell of 'Fuck!' on 'Horrified', this remains a seminal influence on both death metal and grindcore."
"However, all of this is worth nothing if the music cannot still stand up to scrutiny. Luckily however, this still sounds fresh, invigorating and utterly, gloriously violent! The production is excellent; meaty, echoing guitar and distorted-to-white-noise bass are mixed perfectly with the clattering drums and grating vocals. It's raw, atmospheric and heavy as all fuck. The songwriting is truly magnificent; keeping the 'songs' catchy and to the point, Repulsion vary things up nicely, alternating between exhausting speed-fests and headbanging thrash with aplomb - cliff-drop stops, violent tempo changes and sudden, cackling, shrieking guitar 'solos' (a leering mockery of virtuosity) hit with impunity from all sides. And then there are the riffs! Yes, that's correct - Repulsion are a grind band who actually had real riffs, courtesy of their myriad thrash influences. There are A LOT of riffs in here, and they vary from three-chord smashing to intricate thrashing. Repulsion know both how to bolt different riffsets together and how to flow between riffs, letting them modulate and evolve, a growing pestilent cancer. Nothing is wasted. Nothing is misplaced. You will bang your head until you vomit." apple/c'd from metal-archives.com
Live in their hometown of Flint, Michigan - 1987
July 27, 2011
July 25, 2011
July 21, 2011
Vienna-based guitarist Christian Fennesz is one of the city's many artists associated with the noted Editions Mego label, which releases mostly free-form ambient and experimental electronica. Similar in some respects to the work of Seefeel or Experimental Audio Research, Fennesz's six-string soundscapes are both darker than the former and more complex and intricate than the latter, combining dense, multi-layered sheets of treated guitar and synth with thin, odd-metered electronic percussion and engaging sampler work.
His first solo work for Mego, the Instrument EP, was released in 1996, and featured four tracks of stunning, uncompromising ambient and electro-acoustic music, combining elements of experimental electro/techno with heavily treated guitar and electronics.
July 20, 2011
"He read poems from a stage with a live rodent in his mouth, its tail twitching as baseline punctuation. He tried to cut his heart out in order to hold it in his hands and calm it down. He once urinated on a heckler and tended to throw things: beer bottles, manuscripts, drumsticks, his wallet, a sandwich."
Most have heard him on the posthumous (Sub-Pop) album 'Prison' with music by Steve Fisk, so instead here's our friend with more prose, also some singing and piano. Released the year before his death in 1991... by stabbing himself in the neck 3 times.
The Sad Bag cassette (1990)
Requiem for a Punk Poet