Some albums need a particular reviewer to get the appreciation they deserve. A reviewer who connects with, and is able to extol virtues of, the record, like a preacher patiently explaining some of the finer tenets of an obscure religion to the untrve masses. Roquentin was the man that Richmond duo Among the Rocks and Roots’ sophomore album, Raga, deserved. And needed, frankly. On other occasions, an album lands itself a reviewer who is spectacularly ill-equipped to deal with it. AtRaR’s third album, Pariah, is that record and I am that man. Knowing only that Raga scored a 4.0 and that Roqqy is on a permanent, entirely non-suspicious sabbatical, I stepped up, feeling that Pariah needed reviewing. I still feel that but I also now feel that it should have been reviewed by someone else. I expect AtRaR may feel the same if they read this.
The first thing to understand about Pariah1 is that it comprises only four compositions and yet clocks in at just over an hour and a half in length. Like its predecessors, with which I belatedly acquainted myself, this is an album for which structure is an abstract and distant concept. Drawing on post-hardcore, noise, drone, elements of jazz, and more, AtRaR explore semi-free form compositions, relying as heavily on hypnotic repetition as they do shifts in style and tempo. The concluding part of a trilogy that has explored the battle to conquer addiction, Pariah fairly seethes with an unstable anger. Far from coming to terms with life or reaching inner peace, AtRaR seems to glare at the world, baring its teeth.
Mesmerizing percussion and distorted bass lines form the spine of the record, over which rage the bellowed post-hardcore vox. A grimy, gritty blend of early Swans and Primitive Man, with some of the harsh unpredictability of Duma, Pariah rails against racism, white supremacy, and inequality (“Triumph”), as much as it paints the self-loathing of, and inner strength needed to beat, addiction (“III”). Passages of relative calm, like the contemplative, almost mournful strings introduced around 14 minutes into the title track, serve both to give much-needed breathing space and to enhance the stripped-back noise that bookends them. Devoid of breathers, mercy, or respite, “III” sees AtRaR at their rawest. The dual vocals, operating almost in call-and-response style in places, are propelled forward by d-beat drumming and thudding bass, which reaches a weird kind of groove around the 9-minute mark, feeling unstoppable. Although quieter musically, “Triumph” is by far the most uncomfortable thing on Pariah. Relying as much on unsettling static-laden electronica, and mesmerizing drumming as it does anything else, “Triumph” is built around the increasingly fraught audio from a police stop, which arrives at about the halfway point, with the balance of music and samples each serving to heighten the tension of the other.
Closing track “Love” initially offers up a sense of peace and melody not seen anywhere else on Pariah, with acoustic guitar work that could have come straight off ROSK’s Remnants, to which synths and strings are added, alongside clean female vocals. However, the layers gradually build, as more and more percussion is added, alongside squealing synths, electronica, and deliberately disharmonious vocals, making for a half-hour-plus aural soundscape that is very hard to put into words. Unusually for an album like Pariah, it is Abdul Hakim Bilal’s bass which, for me, is the star of the show. When it’s there, it gives energy, groove, drive, and a semblance of structure to the record, when it’s not there, I want it back. AtRaR has a raw, vitriolic feel to it, which the vocals, a joint effort between Hakim Bilal and co-conspirator Samuel Goff, play to, even in the slower, insistent passages of “Love” and “Pariah.” This sense is deliberately enhanced by the production, which feels claustrophobic and oppressive: each time closer “Love” crashes to its conclusion, I feel like a weight is lifted off.
Roquentin described Raga as a “manifestly real album.” The same can be said of Pariah. Exhausting and often deeply uncomfortable listening, you feel AtRaR. However, unless you are willing to focus and dedicate yourself to this record, there is absolutely no point in listening to Pariah. While I got a lot more out of this record than I expected, I cannot sustain the concentration (nor slip into a receptive catatonic state) long enough to take in everything this record is in a single sitting. Whether this is my fault or the record’s (I can’t help but feel the latter), others can decide. How then to score, or even describe, Among the Rocks and Roots’ Pariah … a deeply unsettling, chaotically emotive, exhaustingly overlong triumph? Maybe?
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Cacophonous Revival Recordings
Websites: amongtherocksandroots.bandcamp.com | facebook.com/amongtherocksandroots
Releases Worldwide: December 8th, 2023
bran(...)pos - INTERROSPECTIVE p.1&2
the latest full-length bran trauma
(don't call it a traumedy)
INTERROSPECTIVE p.1&2 presents a twin pair of bran new long-form compositions totaling 50 minutes of blistering & blissful sonic meditation and assault.
p.1: The Shitty Karma of Swatting Flies
p2: Wartime Care and Maintenance for D.Muscipula
Available digitally and on cassette.
Трупнокалиберный Гноемёт - Skull Smashed By Ice Pick
from Earth Rejoice The End Of Reichwing / Abra-Ka-Stabra (2020) by Gorgonized Dorks / Трупнокалиберный Гноемёт
by Massimo Magee
An improvisation for no-input mixing board and effects, recorded 21 November 2020 in London by Massimo Magee.
Cover painting: Untitled by MiHee Kim Magee.
released March 2, 2021
Supertramp - Crime Of The Century #vinil #amrecords #discoscbs #cbs #tambememminitape #id170019 #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #turnetable #tocadiscos #gradiente #d35 #gs11 #museudovinil #noise https://www.instagram.com/reel/C0ceEaHg8X3/?igshid=OTk0YzhjMDVlZA==
wolf's kompaktkiste transmission002 20150702
for telepathic bubblebath radio
Slipknot #vinil #RoadrunnerRecords #idRR86551 #LimitedEdition #Reissue #ThisIsAnIAmRecording #TYS #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise https://www.instagram.com/p/C0ZQMY7OfUU/?igshid=OTk0YzhjMDVlZA==
Slipknot #vinil #RoadrunnerRecords #idRR86551 #LimitedEdition #Reissue #ThisIsAnIAmRecording #TYS #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #tocadiscos #gradienteD35 #gs11 #noise https://www.instagram.com/reel/C0ZMnzUOq-o/?igshid=OTk0YzhjMDVlZA==
Exodus - Persona Non Grata #cd #nuclearblast #shinigamirecords #rimosa #idnbsr163 #cdpost #cdcollector #cdcollection #discoécultura #discocollection #compactdisc #digitalaudio #gradiente #s96 #philco #ph180 #ambivalent @dimensional169 #noise https://www.instagram.com/reel/C0ZEBvBuigZ/?igshid=OTk0YzhjMDVlZA==
The impacts of the road 'renewal' projects in the Bellingen/ Gleniffer area
The stated rationale given for the $5.3 Million 'Road Renewal Program' was to boost tourism and businesses of the Promised Land and the Never Never River. The clearing of vegetation and lining the soil with bitumen and cement incidentally also eased access for the government's logging corporation (Tuckers Nob State Forests).
The year long road construction alone caused air pollution, noise, erosion, habitat loss, and greenhouse gas emissions.
The long term effects for wildlife and residents have been the loss of a livable habitat: Intensification of traffic on Gleniffer Road and Roses Road. Speeding, night time noise from traffic. More garbage in the 'gutter'.
Many fossil fuel enthusiasts are going for their ritualistic 'Sunday drive' on The Loop Drive to the Promised Land. Hoards of wanna be 'bikies' are now attracted to cruise the loop with their souped up machines. No, 'bikie gangs' are the others, here we have the fat grey nomads that finally can afford the 'Easy Rider' Harley-thingy-toy.
The area is also a niche for many local motorbike riders that are exceeding the 94 decibels limit in the age of electric motorcycles. People actually move to the countryside to enjoy the freedom of lawlessness in under-policed areas.
Bellingen Road Renewal Program $5.3 Million
Noisy vehicle report: EPA action
#Bellingen #Gleniffer #GlenifferRoad #RosesRoad #BellingenShire #LiminalLandscapes #RuralPolicing #lawlessness #roads #impacts #noise #motorcycles #cars #freedom #ClimateEmergency #MobilityDesign
Free download codes:
Various Artists - moon musiq - Small Sounds for Small Bugs
"30-second tracks about bugs"
If you need an aggressive soundtrack for your justified rage and our dystopian present, might we recommend our 5th full-length as C2, PENTALOGY which celebrated it's 5th anniversary this year.
Beat focused with a few introspective detours.
As always, catalogue is free or donation in #solidarity . If you have the means, donations are gratefully received.
Heavyweights Gridlink and Rotten Sound have led the grindcore charge in 2023, but to discount less heralded acts carving a presence in the modern grind scene runs the risk of overlooking the next big thing. Hailing from Gothenburg, Sweden, Walking Corpse independently released an EP and debut full-length, 2020’s The Fear Takes Hold, before inking a deal with one of heavy music’s more impressive modern labels, Transcending Obscurity. Presumably named after the legendary Brutal Truth song, Walking Corpse take the essence of traditional, old school grind, including such raw, precision attributes and glass-shattering intensity of classic Brutal Truth, yet throw down other intriguing elements and influences. They craft an uncompromising, eleven-track shitstorm of teeth-gnashing, jaw-shattering grind. Can the upstart power trio harness this unhinged cacophony into a cohesive and memorable batch of songs?
Walking Corpse impress with a tight batch of songs, mostly eschewing sub one-to-two-minute jams, for more fully fleshed, yet still compact timeframes. Our Hands, Your Throat will have your head spinning once Walking Corpse are finished putting the boot into your battered body after the 34-minute explosion has expired. The sleeker sonic profile, shreds of melody and white-knuckle tension recalls fellow Swedes Nasum and Gadget, amidst shades of Nails and Antigama for good measure. Gritty undertones of sludgy hardcore, noise, and death are leveraged into the curb-stomping assault. It’s intense, unrelenting stuff, with the noisy chaotic grinding enough to scare off the less seasoned listener, though will no doubt please grind aficionados up for the challenge.
“Dreamflesh Navigator” hits like a hammer blow to the back of the head, setting a rabidly aggressive tone of face-melting grind. The frenetic attack and noisy dissonance offering a blood-pumping good time. After the blistering beginning across the first couple of tracks, the punky, d-beaten charge and groovier stomp of “Our Hands, Your Throat” offers a modicum of respite and accessibility to latch onto, showcasing Walking Corpse’s ability to shift between varied modes of destruction. Similarly, “The Wheel” stretches across nearly five minutes, deftly shifting tempos between speed-riddled blasts, crunchy slower moments, and swaggering, sludge-infected passages of grimy dread. It’s a killer, ambitious slab of forward-thinking grind. There is much to enjoy on the longer songs, allowing Walking Corpse to flex their creative muscles. However, shorter throat-stabbing grind cuts will keep the traditionalists happy (“Brainworm,” Malediction,” ‘Forever Sleep”). Walking Corpse are perhaps at their most intriguing when they wrap their razor-sharp, abrasive grind with other genre elements. “Nothing Grows Here” deftly ping pongs from savage grind blasts to violent bursts of sludge, hardcore, and technical, unhinged grooves to unsettle the nerves.
Closer “Eye of an Angry God” possesses a bonkers edge, its measured opening giving way to zippy riffs and skronky axe battery, wrapping the album in an intense, brain-scrambling manner. Our Hands, Your Throat backs its nasty, serrated riffs and tornado-like percussive battery with a tight technical bent, meshing nicely with the band’s varied execution and slight experimental inclinations. Fredrik Rojas (guitars, bass) covers impressive ground, his fleet-fingered fretboard abuse and warped dissonance encompassing elements of grind, sludge, noise and death with aplomb, firing off catchy riff-driven nuggets amidst the technically proficient chaos. Magnus Dahlin (drums, bass) smashes his kit with manic energy and finesse, while vocalist Henrik Blomqvist ties together the trio’s tight package with a solid array of hardcore-tinged barks, growls and higher-pitched screams.
There are no major faults, only nitpicks to level at Our Hands, Your Throat. It is perhaps not the most instantly gratifying grind album, taking a few listens to fully appreciate the band’s unique quirks and make sense of the more subtle hooks. The whole album can seem impenetrable on occasion, but it is worth sticking with. Sleek, though gritty production features jagged, impactful instrumental tones. However, despite a reasonably dynamic master, the solid length and noisy, relentless nature can bring on some ear fatigue. Our Hands, Your Throat catapults Walking Corpse towards the upper tier of the grind pack in 2023. Though perhaps not the best place to start for entry-level listeners testing the grind waters, Walking Corpse smashed out a varied, in-your-face slice of top-shelf grind, scalpel-sharp yet delivered with the burly force of a ten-ton hammer.
#40 #Antigama #BrutalTruth #Gadget #Gridlink #Grind #Grindcore #Hardcore #Nails #Nasum #Noise #OurHandsYourThroat #Review #Reviews #RottenSound #Sludge #SwedishMetal #TranscendingObscurityRecords #WalkingCorpse
'These machines may produce #GreenhouseGas emissions, #cancer -ous particulates, #noise #pollution and #congestion, but cutting down on their use challenges decades of public and private investment premised on their widespread availability. And, perhaps, more fundamentally, it runs against a sense of personal freedom fattened by a century of auto-capitalism and the dream of the open road.'
Neste Sábado ao meio dia tem #ProgramaTwoSides Trazendo o álbum da banda Kiss - Creatures of the Night Entre no site: www.darkradio.com.br ou baixe o app Dark Radio grátis para Android e iOS #noise #webradio #kissband https://www.instagram.com/reel/C0SJcXSgVGy/?igshid=OTk0YzhjMDVlZA==
Really enjoying the recently released & very tasteful Elmet Brae "EB01: The Land Compilation" - "A community compilation of #soundscapes / #ambient / #noise / #drone from Merveilles Town members and friends". Released, I believe, by @oppen. Excellent texturally evocative sonic environments. #music Recommended! https://orllewin.github.io/elmet_brae/EB01/
This album contains collections of improvisations with some minimal layering. It was a departure from other studio albums in that it was the first time I released improvisations instead of producing tracks.
It is best heard in the dim light of a mountain stream, but a sonic meditation in your own personal space will do just fine.
I have several other "outtakes" from these sessions that I am thinking about putting together as a new Bandcamp release. They're entirely different and contain more dance elements. So stay tuned!
A Ghostly Nighttime #Hum Is Invading Random Towns. Scientists Don't Know What It Means.
This mysterious buzzing noise is keeping some cities all around the world up all night. So where is it coming from?
Há 1 ano Nirvana - Bleach #vinil #geffenrecords #subpop #mca #bmgariola #bertelsmann #id1708067 #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #turnetable #tocadiscos #gradiente #d35 #gc11 #museudovinil #noise https://www.instagram.com/reel/C0NLKk3gvj6/?igshid=OTk0YzhjMDVlZA==
Nirvana - Bleach #vinil #geffenrecords #subpop #mca #bmgariola #bertelsmann #id1708067 #vinyl #vinylpost #vinylcollection #vinylcollector #discoécultura #lps #longplays #discocollection #turnetable #tocadiscos #gradiente #d35 #gc11 #museudovinil #noise https://www.instagram.com/reel/C0NLKk3gvj6/?igshid=OTk0YzhjMDVlZA==
Why your cat is afraid of sudden noises: Know more about your pet https://www.advice.news/animals/why-your-cat-afraid-sudden-noises-know-more-about-your-pet?utm_source=dlvr.it&utm_medium=mastodon #cats #habits #noise
Once a week, I pull a lateral move and go for a walk without notice cancelling close-back headphones, and, when taken in in small doses, the sonic assault of the urban cacophony can be almost enjoyed for its complexity, like a pinball for mindfulness.
@Snowshadow The article completely misses the main reason why this is potentially so dramatically good for 'the environment' (viz the #oceans).
It is quiet.
It doesn't pump interminable screeches and rumbles into the sea as with all motorised #ships and #boats causing untold #stress to #sea life for miles around.
After nearly 200 years of constantly increasing levels of oceanic #noise #pollution this is possibly the first serious step forward in reducing it.
#acoustics #wildlife #fish #whales
Noice! Have you ever heard sand sing?
Singing Sand at Great Sand Dunes
Had to make myself a cheatsheet! Solid week coming up NOV 8-16
WED - Acid Mothers Temple at Kilowatt
THU - Oxbow at GAMH;
also Bischoff & Fei, Cheryl Leonard, Jr.Mint Prince at The Lab
FRI - Laetitia Sonami, Madalyn Merkey, Paul DeMarinis , Beast Nest, Chari Glogovac-Smith at The Lab; also Nine Dog Dick at Buzzard
SAT - Anti-Matter, Tom Djll, Zach Watkins, Famous Techno at CNM;
also Danishta Rivero workshop 1pm at The Lab;
then 8pm Kevin Robinson, Matt Ingalls, Sharmi Basu, La Macacoa, Blectum From Blechdom at The Lab;
also 9pm Drunks With Guns, Flesh Narc, 9DD at BoH
SUN - F'n Turd (Flesh Narc ), Rubber O, FiLTHMiLK, Green Cat, Imprint Design at Edinburgh Castle
MON - rest
TUE - DEVO (again) at GGTheater SF
WED - Ellen Arkbro, Craig Taborn at Taub
THU - Headboggle, Matt Robidoux, Demonpattern, Extra Soft Earthquake at Peacock Lounge
The FSA #Faircamp site is online! There's a couple tweaks to be made, for example, I seem to have gotten at least one release date wrong (copy/paste strikes again), but nothing I'm worried about fixing right away.
Support is always appreciated, but feel free to just listen or take advantage of the "soft" paywall too.
#HowToThing #025 — Sampling, fitting, transforming & plotting 10k data points per frame using a whole bunch of underexposed thi.ng packages:
- https://thi.ng/colored-noise: using violet noise as fake data source
- https://thi.ng/matrices: fitting/transformation matrix creation
- https://thi.ng/simd: WASM-based batch processing
- https://thi.ng/malloc: Memory management for WASM/SIMD data buffers
- https://thi.ng/hiccup-canvas: 2D canvas visualization
As noted in the comments, the SIMD batch processing here is to illustrate the overall usage and handling. In this specific example, the main bottleneck is the actual canvas drawing step (esp. in Firefox, which in this case is ~3.75x slower than Chrome [latter easily manages 60fps]). The SIMD step could handle magnitude(s) more points per frame, also on FF...
As an aside, this is now already the 140th (!!!) fully documented small example project, bundled as part of the https://thi.ng/umbrella monorepo... Please do tell me at which point the prejudice of not having enough starting points & info about these packages will be fading into oblivion... 😅
Also big thanks to Maximillian Schulte for sending me off on this topic (as a tangent) via an issue on GitHub... I've been meaning to create more examples for these above packages for a while! Last but not least, hat tip & nerd sniping @demofox re: colored noise... 😎🤩
@OneBlindMouse produced this very excellent remix of 'Segment', when we were finishing up the List LP and it is now available as a single on Bandcamp.
I highly recommend giving it a listen if you enjoyed the original, or if you're wanting to hear something new and strange...an alternate mix of Possible is also included as a b-side!
“A study following more than four million people for more than a decade, for example, found that, starting at just 35 dB, the risk of dying from cardiovascular disease increased by 2.9 percent for every 10 dB increase in exposure to road traffic noise.”
music so excellent i just happily paid 8 nicker for it @bandcamp https://isntses.bandcamp.com/album/alive-at-circuit-control-mmxxiii
Band camp friday get it while it exists and is hot #music:
All sales help support #Aldercone our tiny art collective. Or get the hot any time and always on itch.io:
I'm new to this server but not to Mastodon. I run #ambient #Ambientmusic #ExperimentalMusic cassette label Histamine Tapes.
I also make #SoundArt mostly focusing on Ambient music, but occasionally #noise #NoiseMusic and #Improvised music as nd dentico and Subversive Intentions. I'm here to see more #music posts in my Mastodon feed. Here to talk about:
#fieldrecording #fieldrecordings #naturesounds #soundwalk #soundcollage #dronemusic #foundsound #improvisation
My debut album "Environmental Harm" is out now!!!
Listen for harsh noise drones to unsettle your parents and rattle your eardrums.
Now available on bandcamp (https://godteeth.bandcamp.com/album/environmental-harm) and soundcloud (https://soundcloud.com/god_teeth/sets/environmental-harm)
Live at Bears Osaka, Japan 9/9/94
Full on NOISE!!! PLAY VERY LOUD!
Live at Bears
Osaka, Japan 9 /9 / 94
Cotton Casino: Vocals
Jeff Bell: Sampler
SAM LOHMAN aka 36: Drums
I also tried turning the comparison function around, such that it looks for the furthest colour instead of the closest one, which also resulted in some interesting patterns.
I was experimenting with colour distances at work today. I need to find out how similar two colours are, so I wrote a little test program and it was surprisingly pretty.
The algorithm is simple:
1. Fill the canvas with random colours.
2. Set the first pixel (top left) to red.
3. For all pixels, find the most similar pixel and move it next to the current pixel.
To determine the similarity, I calculated the 3D distance in the RGB, HSV and YUV color spaces, which brought very different results. Now, it's quite possible that my HSV and YUV conversion functions were just broken, but that's okay.
(I recommend zooming in!)