Another mighty KTL opus, but this album feels rather different from the previous three: IV is the first full-length album by Peter Rehberg and Stephen O'Malley to have not been based on commissioned work, and consequently should be a more conventionally 'album-like' affair. To a certain extent that's probably the case, and these six compositions run through a broader range of ideas, all very carefully constructed and finely polished... in a terrifying sort of way. Some of this refinement might have come about thanks to Jim O'Rourke's hand in KTL IV. The renowned polymath takes production credits on the album, meaning that KTL can now list themselves alongside artists as diverse as John Fahey, Wilco, Sonic Youth, Faust, and even Beth Orton, as a proud recipient of the O'Rourke treatment. Opener 'Paraug' suggests there's been no toning down however, getting us underway with a familiarly brutal wall of guitar noise, instantly getting the blood rushing, but next up, 'Paratrooper' takes on a markedly different identity: Atsuo of Japanese metal titans Boris joins the duo on drums for the twenty-one minute epic, which transpires to be quite a departure for KTL, taking on a more overtly rhythmic, industrial tone than has ever previously been evident. The noise-sculpting here would seem to be a nod to some of the influences cited by Rehberg and O'Malley as being integral to the record's overall sound (e.g. Caberet Voltaire, Swans, Fushitsusha, This Heat). 'Benbbet' is another pronounced shift away from the more customary dronesing malevolence we've become used to, taking on a far more subtle trajectory characterised by electronically severed shards of noise - spluttered out arrhythmically, like a faulty, gurgling Pan Sonic record. Rehberg's electronics start to run the show with some scuzzy modulations on 'Eternal Winter', all very much reminiscent of the darker Pita material, before finally Atsuo returns with a gong in tow, on the surprisingly beautiful 'Natural Trouble', a measured and disciplined construction that transcends the doomy paradigms established on prior releases. Immense.
Cope’s Busking Tour: Manchester
I’m all blogged up, so in an effort to relieve myself I begin with the Archdrude’s visit to Manchester as part of his Joe Strummer Memorial Busking Tour which took in a whole series of historical sites of civil protest and direct action across the UK. In Manchester he played at the site of the Peterloo Massacre - something that doesn’t need much introduction (see here if you’re not up-to-speed), but requires a lot of remembering.
Amounting to an un-sanitised memorialising, replete with ranting and ritual, this was a short but fantastically poignant and entertaining set. As much as I find myself disagreeing with some (but far from most) of his psyche-heretical political sloganeering, Cope hit the right note this time - especially as the note was a ur-drone in A (probably). Three songs, finishing with ‘Pristeen’, and a minute’s silence for the fallen 15, the leather-clad Black Sheep were utterly brilliant and, as befits the protest being made, Sqwubbsy was back. I’m not sure what was more disturbing, seeing Cope’s seven foot alter-ego that close up or witnessing Big Nige on large drum, but both sights will linger on.
Visit this lot here who are campaigning for a “prominent, explanatory and respectful monument to this profound event”. I’m sure the Wessex one would concur.
Pristeen - from Peggy Suicide
I’m Living In The Room They Found Saddam In - from Citizen Cain’d
The Black Sheep’s Song - from Black Sheep
A video I took of Pristeen - apologies for the shakes, it was bloody freezing:
Seldon: maybe Wu-Tang Clan should do some shows with Watain?
Its hard to find much music better than this...
The stillness and subtle slides of the pre dawn air captured so graphically and with such precision.
Excerpt from Karlheinz Stockausen's May 1972 lecture to the Oxford Union on 'Four Criteria of Electronic Music'. Here, Stockhausen responds to a question concerning the loss of 'Humanity' in electronic music.
Jon "Metalion" Kristiansen and Bazillion Points books are proud to announce that work has begun on a compendium of the best material representing twenty-five years of outrage from Metalion's infamous SLAYER MAG. In addition to rare archival material unseen in decades, the book will include unreleased and exclusive interviews and artwork, historical photographs from Metalion's personal archive, and never-before-seen portrait photography taken by Metalion himself during the 2000s. More than just reprinting the unattainable 'zines, the book will explain the true untold story of long-running mag and the man behind it, as revealed by Metalion and longtime Slayer co-editor Ms. T. G. W. The epic METALION: THE SLAYER DIARIES will be available through Bazillion Points books in late 2009/early 2010.
Founded in 1985 in Sarpsborg, Norway, SLAYER MAG quickly rose to underground prominence by championing unsigned death metal pioneers, printing the earliest interviews with MORBID ANGEL, MEFISTO, SEPULTURA, NIHILIST, AUTOPSY, BATHORY, TERRORIZER, NECROVORE, DEATH, and especially local Norwegian act MAYHEM. The pages of SLAYER MAG became a written gospel for the fledgling global extreme metal underground, combining eye-ripping graphics, brutally honest writing, and a relentless and sick sense of humor.
As black metal rose to prominence in Norway in the 1990s, SLAYER MAG's nearly-confidential interviews with MAYHEM, EMPEROR, IMMORTAL, DARKTHRONE, THORNS, ENSLAVED, and countless others remain the final word on the moods and motivations of those dark times. In recent years, SLAYER MAG has driven further into the heavy metal psyche, bringing overdue acclaim to unsung pioneers like ASSASSIN, NASTY SAVAGE, and HALLOWS EVE, alongside hell-possessed maniacs such as Sweden's NIFELHEIM and Australia's SADISTIK EXEKUTION.
Says Metalion: "I always have people contacting me regarding the old SLAYERs and how to get them. Since acquiring them through overpriced Internet auctions currently seems to be the only option, I thought that this would be a better deal for the die hards and uninitiated alike. It is very important to me that this book will be widely available in book stores, it would be pointless to me if it were as as difficult to get as the actual magazines. I remember Bazillion Points publisher Ian Christe trading magazines with me as far back as 1987. When I finally met Ian face to face at Oslo's Inferno festival a few years back, he told me that he had actually seen SLAYER mascot Arne Babb earlier that day. Thus, when Ian offered me this chance to work with him, I had no doubt that this would be a great thing, an ideal partnership."
"This is not a simple reprinting of old SLAYERs, but rather a deluxe version of the previous twenty-five years with some new elements. To accomplish that, not only Arne will be with us. I have recently resurrected SLAYER for at least one more issue, bringing in co-editor T. G. W., who will be my biographer for this unique book. She began collaborating with me when I put together SLAYER 19 in 2004, and when both of us contributed to Peter Beste's "True Norwegian Black Metal" book earlier this year. Her new and different perspective has proven invaluable for me in reflecting on the past two plus decades. After spending the long break since SLAYER 19 on photography education, I feel motivated to do new things now. A fire has been lit!"
Bazillion Points is "America's smallest but heaviest publishing house," founded by author Ian Christe ("Sound of the Beast", "Everybody Wants Some: The Van Halen Saga", host of the weekly "Bloody Roots" metal history show on SiriusXM). Currently in stores is "Swedish Death Metal" by Daniel Ekeroth, and upcoming releases include titles by Andy McCoy (HANOI ROCKS), Albert Mudrian ("Choosing Death"), and Jeff Wagner (Metal Maniacs).
Official SLAYER site:
Bazillion Points books:
KTL IV will be released in January 09 on Editions Mego, you can preorder the CD version now if interested. Its also going to be distributed in North America through Forced Exposure and UK/Europe via Kudos. This is the first [non-live] KTL material recorded outside of the context of theatre & film sound design/soundtrack work. 6 tracks, about an hour. Art below. Illustrations by Demian Johnston. Album recorded and Produced by Jim O'Rourke in Tokyo September 08. Atsuo/BORIS plays total SWANS batterie on the absolute excruciating track "Paratrooper" and gong on the faded smear blur of "Natural Trouble". Japanese CD minigatefold to appear in February on Daymare with a bonus disc of the demos we created for this album, in Paris 0808 (which was previously released as a small edition item for a gig in Tokyo at the time of recording this opus). Vinyl to emerge on Inoxia as a double 12" + 7" cut at 45rpm. Take it or leave it. Thanks to all the fine folks involved in this production.
Filmed at the Embassy Hotel.
Opening for Black Flag.
Soundboard audio feed.
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