Category Archives: UPDATE

Monorail Trespassing

[mt142cs] Vasculae – Spectrum Art c-44/DL
Long-delayed ‘split fracture’ album offering mirror images of past, present and future Vasculae. On the A-side, recent sessions from 2020 and 2021 — the same period as the ‘Broken Lust’ album, continuing that inward struggle of darkened clang, enveloping tonal loop stasis and (un)restrained fragments of multi-tracked grit; noise-as-all-source. For the B-side, a glimpse of the project’s inception with a side-long harsh piece recorded in 2012 during the first five-hour recording session and painstakingly edited apart/together over the course of nine years. Edition of 100, with full color covers and labels.

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Cruel Nature

Omnibadger – ‘Famous Guitar Licks Vol. III’
Stoke’s finest birthing their second (not third) LP from found sounds, industrial scuzz riffs, dubbed-out delays, whitenoise, dictaphones, and eight-tracked drums.

Waterflower – ‘All Art Is Ecological’
Waterflower (Sabīne Moore) is a multi-faceted eco-futurist artist from Latvia. Using plants and mushrooms as instruments, Waterflower creates a blend of experimental electronic music that speaks to the urgent need to protect and preserve our natural world. The album “All Art Is Ecological” challenges us to reconsider the role of art in shaping our ecological future, featuring an array of tracks. The mostly instrumental, cinematic album includes one track recorded on a found piano during tour travels, tracks with mushroom-generated music, and an improvised duet with an orchid-generated melody. The album highlights Waterflower’s interest in ecology, originally through plant and mushroom music practices, inspired by Timothy Morton’s essay that states that every artistic practice is ecological in a philosophical sense. As we are living in the age of extinction, art can help us embrace the moment and live central in our own catastrophe.

Volk Soup – ‘Incompetent Hits: The Singles Vol 1’
Volk Soup have been building a steady body of work. Over the past couple of years, they’ve been consistently releasing singles and pairing them with B-sides of equal stock. Now all compiled together, ‘Incompetent Hits: The Singles Vol. 1’ is a tidy encapsulation of a band at their embryonic best.

Gvantsa Narim – ‘Apotheosis Animæ’
Latest album from the enigmatic sound artist, who takes inspiration from religion, esotericism and Georgian polyphonic music, fusing classical arrangements, meditative drones, and ethereal atmospherics, into an aural experience of contemplative rapture. Her latest work was written in late 2022 / early 2023 and tells the dark and cold story of winter. Apotheosis and soulful whispering like the wind, where the immensity of mysticism reigns.

Eijra Woon – ‘Sophia’
Breton musician Eijra Woon, is probably known to some as a member of the groups Nádleehí and Zeijra, who oscillate between ambient, post-rock and experimental approaches. Alluding to aspects of Gnosis and the Fall of Wisdom, “Sophia” contains three studio tracks and a live track of quite different designs, each using different constellations of sound sources such as santur, various guitars, korg, metal objects, percussion and voice, maintaining an atmospheric framework. The album expresses a cathartic process both on a personal and a mythical level through four tracks. From suffering, imprisonment, doom and despair to relief and deliverance. It’s about turning deep trauma into a strength.

Of One/Whirling Hall Of Knives – ‘Recoil/Greywash’
OF ONE: Alan O’Boyle is one half of early 90s electronic act Decal, one half of Legion Of Two, all of Legion Of One, and a legend in Irish underground electronic music; releasing his sounds on esteemed labels such as Planet Mu, Rotters Golf Club, D1, Leaf, Law & Auder and Saberettes. In 2021, Alan launched his new project, Of One, releasing two albums for Front End Synthetics – the first new material he has issued since 2009. Cruel Nature welcomes Alan’s latest recording, ‘Recoil’, an epic throbbing acid-techno monster club banger. WHIRLING HALL OF KNIVES: A collaboration between Magnetize and The Last Sound, Whirling Hall Of Knives’ harsh smouldering circuits and eruptions of panicky white noise have a profoundly unsettling quality, a sense of gnawing paranoia but interspersed with moments of almost euphoric epiphany, as if in the grip of an unshakeable 4am psychosis a growing sense that the door will be kicked in at any second and the world outside will come pouring in. Psyche electronics of a particularly greasy and grime-flecked hue. Like Surgeon jamming with Dead C. Like rave gone bad.

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Tanzprocesz

[tzpCS86] FUC LERRARI – ‘A Bot And His Dog’ CS
Artificial melancholy & lacrimal beats. Two sides to listen to in autoreverse while fantasizing a past life. Two sides to listen to in autoreverse while living a fantasized past.

[tzpCS87] CYDWYD s/t CS
Premeditated interpulsions & frequency training. Ultra-controlled electricity for a subjective narration of acoustic phenomena. The proof that the future will be augmented.

[tzpCS88] PATRICK LOMBE s/t CS
Back home after a year without public news. Raw songs & electroacoustic superintuitions. The limits of the experimental song pushed in its retrenchments of the impossible.

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Crimson Ward Trhauma

Beast Flower Coiffeuse – ‘First Secret Shared At Sleepover Slurry Of Rectal Tissue’
Hell in the failing daylight. This piece of meat is talking. Crimson spray, white spray “Excuse me, do you long to take an easy ride?”

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Cruel Nature

various artists – ‘Spectrum’ 2 x MC/DL
Pre-Order now / Releases 20 April/ A compilation of 23 exclusive tracks celebrating a decade of Cruel Nature Records. Available as limited-edition double-cassette and download. 110 minutes of sonic diversity. 100% profits will be donated to The Toby Henderson Trust (https://www.ttht.co.uk/), an independently funded charity in North East England which supports autistic youth and adults, as well as their families and caregivers.

Beckton Alps2 – ’60 (Don’t Go Crazy)’
Beckton Alps2 is a self-taught producer who has used various digital audio workstations, soft synths and samples, to create conceptual recordings since 1998. Informed through the personal experience of homelessness and institutionalisation – which have been a backdrop throughout his life – isolation, psychosis, dissociation and poverty play key themes in his work. ’60’ is a sixty-minute piece of field recordings, processed harmonies and a morse code generator, with the morse code spelling out themes from personal forms of madness.

DIsciplinary – ‘Porkwind’
Dual bass and drums hardcore noise-punk riff assault from North East England, featuring members of Prolefeed / Lovely Wife / Tide Of Iron / Marzuraan. A raging debut that rips hard.

Tibshelf – ‘Supreme Flounder’
Sampledelic plunderphonics cut n splice from Lee Etherington (Tusk Music / early-Posset), twisting and screwing funk hip-hop techno and a smorgasbord of prime cuts into into fresh sonic glory.

Arsenne Arthur – ‘La Lune / Le Pendu’
La Lune / Le Pendu are two electroacoustic pieces mixing distorted samples, field recording, electric guitar, Epinette des Vosges and electronic noises composed by Arsenne Arthur (also in the Toru/Carivari bands). Inspired by the Tarot of Marseilles, the two pieces making up this EP are the fantasized sound representation of the major arcana XVII and XII. The first deals with dreams and dreamlike worlds, while the second brings back to the daily life of a life that lets itself be lived. These two pieces were originally composed at the Nice Conservatory in France, to be played in acousmonium (orchestra of loudspeakers) and have been remixed and mastered for this release on cassette.

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Cruel Nature

One Key Magic – ‘One Key Magic’
‘One Key Magic’ is the second album by One Key Magic, a duo comprising of political geographer Michael Mulvihill and electronic producer Chris Tate (Score, d_rradio, Salisman). Following 2021’s ‘Worldy Noise and Electronic Atmospheres’, this new album continues the duo’s exploration of electronic phenomenon produced by RAF Fylingdales, a Ballistic Missile Early Warning station on the edge of the North York Moors. The album features field recordings by Ivor Novella award winner David de la Haye and is an immersive mix of electro-acoustic improvisation broken by moments of soaring melodic guitar. OKM is part of Mulvihill’s research looking at the clash between electronic music and electromagnetic military technologies for an Arts and Humanities Research Council project called ‘Turning Fylingdales Inside Out’ at Newcastle University.

Katie Gerardine O’Neill – ‘Into The Beyond’
‘Into the Beyond’ is the new album from Dublin based artist and musician Katie Gerardine O’Neill. Spanning 12 tracks composed using a variety of tape recorders, reel to reel archival tapes, digital software, and more, O’Neill presents a follow up to her mysterious existential musique-concrete meditation ‘Message Green’ by diving even deeper into the sublime mystery of the universe with ‘Into the Beyond’. Fans of O’Neill’s deeply textured ambient noise art will be pleased to hear this work develop further sonically on tracks such as ‘Matrimony’, ‘Stormy Wobble’, and epic string drenched ‘10 Voices’. O’Neill returns to wordier self-expression on tracks such as ‘Vacuum’ and ‘Sleeper’, made when O’Neill spent a day with a Roland MS-20 in now disappeared JaJa Studios. Epic ode to the void and the importance of self-compassion ‘Animal’, is a Broadcast-esque slow-core ballad championing overcoming strife through determination and wonder. The track ‘Talk’ sees O’Neill lean into a dubby trip-hop reflection on love and loss that displays her poppier abilities. The closing track ‘Vue de L’Intérieur’ reflects an ever-present theme in O’Neill’s work; an unbreakable hope, joy, and romantic fascination with all things mysterious and unknown.

Austin Cash – ‘Judsonia’
An evocative slice of ambient Americana, told as a hallucinatory radio drama, based on Austin’s experience of living and growing up in rural Arkansas. “I recorded Judsonia in a room which had one chair and one lamp. I had a notion that it would be sort of a radio drama that played through the speakers of a car which was passing through that small town in Arkansas. It came together over a period of a few months where I was collecting sounds and recordings which didn’t clearly relate to one another until it was time to assemble them. At that point, the various pieces fell together into one long piece that now makes me think about liminality. Being in between political boundaries, inside and outside, old and new, sleep and consciousness, town and country. When I made it, I was reflecting on several years (maybe a lifetime) of making decisions that were not in my best interest in one way or another. It’s not exactly an original thought, but it seemed like the essential quality of at least my own behavior was a persistent push and pull between self-preservation and self-sabotage. Sometimes we get to live in that space in the middle.” – Austin Cash

Halalchemists – ‘Annihilation Men’
Shadowy North East England noise-makers plunder and rework archive material from mid-2000s performances and a classic 1983 The New Blockaders show at Newcastle’s Morden Tower.

Ddrome – ‘Power City’
Jamie Davis is the drummer with Dublin improv group Zeropunkt. ‘Power City’ is his second outing as Ddrome for Cruel Nature, following 2021’s ‘Beyond The Thunderddrome’. ‘Power City sees a shift away from the long format tracks of its predecessor. The familiar drum/drone collision still being in evidence augmented at times with more space and the bare bones of melody.

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Moremars

Grisha Shakhnes –  ‘The Heaver’ CS

“The Heaver” is the new sound work by Grisha Shakhnes (aka Mites). It includes four new long compositions, recorded on Tel Aviv during June of 2021. Released on a limited edition of 100 cassettes, including download code. On “The Heaver”, Grisha Shakhnes works with structure, textures and length, using mainly field recording, tapes and lo-fi electronics. He improvises and manipulate sounds very gently, creating foggy soundscapes of broken sounds, electronic hums and noises, mixed with pre-recorded material from urban life.

Matthieu Fuentes – ‘Ily, Almeria’ CS

« Ily, Almería » is the second album by French composer and performer Matthieu Fuentes, who debuted in 2021 with a promising album on Penultimate Press. It features ambiguous sources and unknown presences recorded from 2018 to 2022. Manipulated and re-edited on a computer and a Revox B77 reel-to-reel tape recorder. Matthieu’s music sprung from the “musique concrète” tradition, using elements and fragments of electroacoustic music, field recording and sound art.

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No Part of It

Dave Fuglewicz – ‘Selected Works, 1990-1997’
Dave Fuglewicz began experimenting with electronics in the 1970s, and then later only started meddling with recording techniques in 1984. Yet still, he waited another six years before he released his first tape in 1990, which was incidentally the year he claimed to have bought a 4 track recorder. Fuglewicz referred to the period between 1990 and 1997 as his “analog years”, since he began to “go digital” in 1998, and continued to create steadily until his passing in 2021. Since distribution was mainly limited to “the cassette underground”, those of us who care to know can benefit from the intimate knowledge that through limited resources and grainy home dubbed cassettes, and although he was almost self-defeatingly humble in many ways, Dave Fuglewicz created some exceptional, spirited recordings. This collection was compiled with the hopes that the work of Dave Fuglewicz will find a wider audience than it did while he was alive.

SHARKIFACE – ‘Climax In A Process’
It’s hard to believe that this is the first full-length release by Sharkiface, the solo project of Angela Edwards, whose trail of achievements and accolades began in the 90s, in Austin, Texas. Starting with her experience booking and doing tour management for Daniel Johnston, she then moved to the Bay Area and quickly became an important staple, collaborating with local exploding psychedelic stalwarts Hans Grüsel’s Krankenkabinet, Tarantism, and (rumor has it), Caroliner Rainbow, among many others. Sharkiface has toured the United States steadily, with some stints in Europe and Japan, and has been featured at fests such as San Francisco Electronic Music Fest, No Fun Fest, Colour Out of Space, and Ende Tymes, to name a few. For “Climax In A Process”, Sharkiface brings out career-spanning material, but also newer tracks, freshly inspired by her experience achieving an MFA in Electronic Music at Mills College, where she studied under “expert noodle wranglers” such as: Zena Parkins, Laetitia Sonami, John Bischoff, Chris Brown, Tomeka Reid, James Fei and Kala Ramnaf. Although Edwards’ actual process remains somewhat mysterious, it is readily evident that voice is a main impetus for her work, which is, at times, processed through various extremely rare electronic instruments, tape delays, samplers, and other custom devices.

DEATH FACTORY – ‘Vol. 3’
Just in time for Michael Krause’s 35th anniversary as a [home] recording artist, “Vol. 3” is here, collecting material mostly from around ten years ago, with the exception of one track, “…More Disturbing American Policies”, which was for the long since defunct Terry Plumming label in 2001. Being that “Vol. 2” was last released in 2007, we here at NO PART OF IT HQ thought it’d be prudent to continue the series, which initially focused on bringing out-of-print or unheard recordings back into the light once more. For “Vol. 3” two tracks come from releases on the late great NO VISIBLE SCARS label, who put out Death Factory’s “Chilling Impressions” and “Maschinen Unter Kontrolle” to a perfectly primed audience rearing for VHS grit and low grade horror. To round out what would, in a perfect world, be a nice double vinyl LP, “Prophecy” is an unreleased, side-long piece that didn’t make it onto Death Factory’s massive self-released “Prophecy of The Black Spider” 2xC60 tape set (2009), bringing what this author thinks is a montage of the project’s best works (as of this writing) to a close. Although his first live performances didn’t really happen until 2005 or so, Michael Krause has been active since 1988. His first known appearance was on a track with Scott Marshall of the legendary (in some circles) Chicago noise outfit Burden of Friendship, for the 1990 compilation “What Is Truth? (Volume Three)” on Panic Records & Tapes. Over time, Death Factory’s sound has developed into a peculiarly isolationist form of refined, yet still somewhat crude sonic revelry; rife with obscure samples, scrap metal, deathly synth patterns, and monstrous effects, all woven into a unique brand of concrete horrorscape that is as unpretentious as it is inimitable. Not just for fans of industrial noise, people who like genuinely intuitive experimental music, as well as kraut-rock-inspired psychedelic electronic sounds would also find plenty to chew on with this release.

ILLUSION OF SAFETY – ‘ORGAN CHOIR DRONE’
“Organ Choir Drone” features a range of instruments and recorded objects, as per usual for Daniel Burke’s ongoing project, Illusion of Safety, extant as a prominent force in experimental music since 1983. In this particular case, recording artist Arvo Zylo was invited to arrange and sequence a wealth of audio, from finished products to source material to “ready-mades” and everything in between. In some cases, Zylo provided “treatments” of certain events, but mainly it was less a collaboration, and more a pursuit of a “perfect album”, with several revisions, and maybe more minute details belabored than usual. After lots of pontification on the importance of “killing your darlings”, both Burke and Zylo agree that “Organ Choir Drone” is another quality recording deserving of the Illusion of Safety stamp of approval. However, if the listener doesn’t like it, Arvo says that they can blame him.

WILT – ‘CRYPT GLOOM’
WILT has been the main project of James P. Keeler (sometimes solo, sometimes with others) since 1998. Keeler is a graphic designer, visual artist, writer, and multi-instrumentalist, all of it dark always, and as WILT, they rightfully refer to themselves as “Masters of Depression and Decay”. Although they have had their work referred to as “noise ambient” or sometimes simply “dark noise”, which is poignant enough, WILT are especially nuanced. Keeler has collaborated with some heavy-hitters; Cornucopia, Skin Crime, Gruntsplatter, The Rita, and Prurient, to name a few, but it’s hard to compare their brand of industrial-infused, “bleakened” noise, in addition to what often, if we’re honest, inevitably traverses “horror soundtrack” territory, to anything else. After 25 years, WILT continue to not only reinvent the wheel, but show that there is an ongoing intellect and subtlety to their widely cast, yet intricate web of perpetually evolving sound. With “Crypt Gloom”, an unmistakably gothic trajectory continues on into the mist of coffin-smoke synths and foggy swamp organs. “Crypt Gloom” is Part Three in a trilogy inspired by the poetry of Percy Bysshe Shelley, an early 19th Century English poet who risked “political and religious libel” for his atheist/materialist philosophical views in his time. Part One of WILT’s trilogy is “A Deep Reflecting Gloom” and Part Two is “Crypt Hymns”, both released on cassette by Self Abuse Records.

Leslie Keffer – ‘Pollutes’
Although Leslie Keffer started making noise music with radios and voice in 2003, she hadn’t worked outside of her proverbial rural isolationist vacuum, nor had she been truly influenced by noise music until after her first tour. Once she was performing with radios live steadily for a year or two, initially opening for touring acts in Athens, Ohio, a small town where she did booking at a local bar, she found that she didn’t have time to seek through all of the radio static for more nuanced sounds in real time, so she learned to work more in the moment. Accordingly, Pollutes represents Keffer’s first release that is maybe “self-aware” as noise music with a surrounding narrative history. It might be her most harsh work up to that point, but it’s also unique in that it incorporates a vintage Echoplex tape machine for an added analog feel, as well as a toy piano on the final track. Rather than recording onto minidisc as she did before, this series of excursions was recorded direct to tape, initially self-released on home-dubbed cassettes with no digital editing (and no guitar pedals!) of any kind.

BLOOD RHYTHMS – ‘GOOD GRIEF’
Following their Horror Pilation series of 6 LPs, Arvo Zylo and Leslie Keffer did finish one more drone release in 2022, if only as a matter of chance. Keffer was grieving the loss of a loved one, and Zylo sent her a drone, as a “gift”. The audio was made from several different elements, but especially including purported “healing frequencies”, for symbolic value at the very least. This “gift” also based itself off of a one minute long track called “Grief” that Keffer had recently contributed to a compilation. In its original form, the initial 40 minute piece is yet to be released. However, Keffer and Zylo did create three finished pieces from the base materials, almost out of force of habit, since they were in such a zone from creating over six hours of material for the Horror Pilation series. With Good Grief, there has already been a body of work established, and this is an additional look into that process, as well as a finished product in itself.

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Crimson Ward Trhauma

Beast Flower Coiffeuse – ‘The Purpureal Puerperal’

When unbuttoned, unzipped, unlatched: Will you rejoice in blubbered entropy?

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Cruel Nature

Eugene Dubon – ‘Finish Line’
Finish Line is the debut EP from Seattle ex-pat Eugene Dubon. Seven tracks of rhythmic bass-heavy post-punk fuzz atmospherics, with Eugene’s musings on subjects such as the goldrush and clocks drolly delivered in a dead-pan style. Unapologetic and upfront.

Score – ‘COPE’
Made in six weeks at the end of 2022, COPE is Score’s seventh long player for Cruel Nature. The album was directly inspired by the musical descriptions to be found in the autobiographies of Julian Cope: Head On and Repossessed. Using Cope’s impassioned words as instructional starting points for each track, COPE references Mott the Hoople, Patti Smith, CAN, Duane Eddy, The Doors, Suicide, Dr John, Sly & The Family Stone and more. Recorded as it was written, in one or two takes in a tiny garage and drawing on an old quote from the arch-druid himself as a creative manifesto: “It had to be very cheap, very fast, very loose. I needed to be an ambassador of looseness”, COPE is an exercise in embracing limitations and existing in the moment, a lyric-less love letter to Rock ‘n’ Roll itself, and a one-word command to the fried modern human.

Kitchen Cynics – ‘Fractured Memories’
Alan Davidson’s follow-up to last year’s acclaimed ‘Strange Acrobats’, ‘Fractured Memories’ is another perfect showcase of this prolific and talented folk legend, whose work draws on his own experiences as well as the characters and history of Aberdeen. Full of charm, his albums are tender, bittersweet, packed with a dry wit and an ear for a melody that can pluck your heartstrings, whilst the words resonate deep within.

Downtime – ‘Neurotics’
A new project featuring the power duo of Mike Vest & Dave Sneddon. Noise rock slide guitar slipstream. Four tracks of power reverse riffs and dirges.
An intense sonic whirlwind reminiscent of Vest’s work with Blown Out

Neutraliser – ‘Capsule Bowed Space’
The second collaboration from Charlie Butler and Mike Vest. A 1hour 19minute immersive piece fusing bass, guitars, synths, piano and drums, creating sonic still drones, space improvisation and deep meditations, with bursts of mid paced psychedelic rock dirges and haunting space capsule static. Mike Vest is a maximum guitarist of countless bands, collaborations and solo ventures, past and present. 11Paranoias, Blown Out, Drunk In Hell, Mienakunaru, Melting hand and BONG. A master of fuzz drone tones, smashed guitars and eternity sustain, influenced by Takashi Mizutani, Fushitsusha, Tomoyuki Aoki. Charlie Butler is a Reading based artist who began a series of solo releases via Weird Beard, Cruel Nature, Fuzzed Up & Astromoon, and Panurus Productions which explore psychedelic, heavy and hypnotic sounds. He is also a member of Cody Noon, Mothertrucker and Head Drop.

All The Heavens Were A Bell – ‘A Wheel Of Burning Eyes’
ALL THE HEAVENS WERE A BELL is a hypernostalgic syzygy between James Watts (Plague Rider, Friend, Lovely Wife, Lump Hammer, Dybbuk, Möbius) and Esmé Louise Newman (Penance Stare, Petrine Cross, Fashion Tips, 1727). Using both self-constructed and commercially available sound machines, exploring the space between free improvisation and absolute intentionality, theopoetics, illness as vector, abstracted ritual, dread drone, trance-formation, black ambience, doomed electronics, hellfire submergence, and ophanim glow. WHEEL OF BURNING EYES is their second document, recorded deep in their vermillion chamber, during the spring of 2022. It is recommended listening for acolytes of Sunn O))), Coil, Deleuze & Guattari, Bastard Noise, Sarah Kane, William Blake, Les Legion Noires, Mark Fisher, Black Boned Angel, Laboria Cuboniks et al

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