Friday, August 02, 2019

Royal Hungarian Noisemakers & Fixateur Externe - Split
Unsignedlabel US060. Enhanced CDR.
50 copies.

Dai Coelacanth - A Condemned Debtor Does Not Recognise The Horse
Staaltape. Cassette.

Crow Versus Crow. CVC013. Cassette/DL
50 copies.

Art That Came From The Artist Chandor Glöomy Who Runs The Coma Kultur Label.

Venusian Death Cell - Holycaust

Attila Vlad is a portmanteau name that like Marylin Manson and Fred Boycott sounds better than the names it was derived from. Sort of. I imagine Attila Vlad to be the sort of person who signs fan autographs with a quill dipped in red ink. Maybe he signs important documents in the same way? Ah Mr Vlad so pleased to see you, we have a few papers for you to sign, I see you’ve brought your own quill how marvelous. Maybe Attila has another name, a name that he was born with that doesn’t fit within the framework of a noise project and he decided to change it to make himself sound harder? Maybe his real name is László Moholy-Nagy and he didn’t want to be confused with the Hungarian artist of the same name. These things happen.

Attila Vlad is all over the Royal Hungarian Noisemakers & Fixateur Externe release as is Rovar17 [real name Marcel Lajos Breuer]. This being a multimedia release we have an MP4 video showing a reel to reel deck and lots of ants doing what ants do to a soundtrack of noise and vocals that may well sound like Fred Dors doing what Fred Dors does best, or was it Diana West? I forget. What these mangled vocals and searing noise blasts do sound like is Costes. A Hungarian Costes then. Sort of. The first three tracks are all versions of ‘Anyu: kád = ki-o-káá’ and these are the three noisiest tracks on the disc. Not bad either with that lunatic vocal getting stretched, looped, slowed down and Daleked over various elements that include clanging metal and machine gun noise. For whatever reason the last three tracks take a detour into more sinister territory ‘Der Hund’ has a low volume thump covered in distant voices, radio comms delivered at a barely audible level, ‘Elég Volt A Látomásból’ passes in a similar style and sounds like the conversations heard in the control room at Chernobyl just as all the dials started going full melt. Last track ‘Isten Szeme’ is almost Faust-ian with a distant honking sax and Hungarian voices slurred into one big Goulash. All tracks recorded live. Unicum may have been involved.

Dai Coelacanth. Half Welshman, half prehistoric fish. The last time we met was on a Greek Island. It all seems so long ago now. I found the tape at the side of my pillow in the morning. A delivery from the Milk Tray man of Dicta-noise. There was a piece of paper inside the cassette box that said ‘greasy space’, the words were written in pen twice over and then again with orange highlighter. A piece of paper inside the box said ‘don’t lick it’. Glued to the inside of the insert were scraps of a found shopping list [swoon], the cassette itself had once belonged to Earl Hines but had been recycled which is a must for Dai or Canthy as he’s known to his mates. It was indeed a greasy space. But is it a he? Or a She? Or a them? We have a thousand dodgy Dictaphone edits each one half a second long and culled from outdoor situations where the bleed through of buffeting wind sounds like a fireman's hose directed straight in to your ear canal. Snatches of words appear and budgies and announcements in foreign tongues, radio broadcasts are destroyed, conversations between people with middle England accents come and go, whistles and oh the madness. On yet another piece of paper there comes a type written story in which Nancy at Wiggly Green gets a ray gun or something. My brain was fried by now. That Radio 4 New Weird Britain programme never called at Dai Coelacanth’s door. A missed opportunity for both parties. Maybe they just couldn’t find him. Her. Them.

Gallooner I like to think of as a mild form of derision, as in ‘you gallooner’ something you get called when you’ve spilt egg down your shirt, a little bit like ‘you fucking gloyt’ which is the one I use at work. Gallooner is Gateshead based Graeme Hopper and is charged with constructing ‘heavily layered and complex sonic evocations and excavations’, words, which after listening to Chlorine, I agree with wholeheartedly while simultaneoulsy nodding my head ever so slowly. Where to begin? There’s Industrial Techno Noise and wide open spaces filled with dry strummed electric guitar, delightful tape squelch, Nurse With Wound creaky oddness, dogs barking and me trying to think up words to describe this disparate release. Apart from the rather abrupt ending of track one which made me think that this was edited with a machete to fit this is an engaging and eclectic gathering of sounds that leads me to believe that Mr Hopper has yet to find the groove he feels most comfortable with. This is no complaint. The long honking repetition of ‘Confessions of a Broken Temperament’ had me returning many times.

What of Chandor Glöomy [would that be one umlaut or two sir?] who sends me paper from the Netherlands that includes a little A5 black and white art book full of treated photographs, a small plastic bag with an all-seeing eye and a two inch button badge containing a geometric image that looks like Bridgette Riley’s take on the Stars and Stripes and decals [stickers to you] but no music so I go searching his Bandcamp page and find a Glöomy/Paul Harrison project called Hairs Abyss and an ep called ESP which is the first thing I’ve heard from Paul Harrison in quite some time [and if you’re reading this Paul I still have ALL those CD’s you bunged me that time in Dirty Dicks in Halifax that time and I swear to god I’ll listen to them all one day]. Mr Glöomy is an artist, a net label and a zine printer. He’s a busy Netherlanders by the looks of things and has collaborated with all manner of people including Adam Bohman, Andy Jarvis, Smell & Quim and lots of people I’ve never heard of. The Hairs Abyss ep is all subatomic electronica with patients in American hospitals being interviewed by their doctors which is no doubt taken from a disturbing 1950’s documentary about the effects of LSD. A definite retro noise feel which is no bad thing.

Last but definitely not least comes David Vora with Venusian Death Cell’s latest pean to all that is black and ungodly; ‘Holycaust’. This is where Irish Heavy Metal meets Hasil Adkins meets Wild Man Fischer meets whichever outsider one man project you care to mention. David’s been releasing his idiosyncratic brand of Heavy Metal for what seems like a very long time now (twenty five years at least) and I’m honored to have been there all the way and to witness how little his sound has altered during that period. VDC is David and a drum machine and sometimes real drums and samples from horror films, David’s vocals which are sometimes ‘vokills’ and David’s electric guitar which for the most part thrashes about like a mad thing but on ‘Holycaust’ appears to have taken on an almost Derek Bailey-esque turn. Heavy Metal Derek Bailey style played directly into the condenser mic of a 1970’s Hitachi cassette/radio and on to a wafer thin Boots C120. I’m quite sure that David hasn’t been dipping in to the Incus back catalogue but there it is at the back end of the opening track ‘Curse’ a song written in response to an unkind email, all twanging and wanging and sounding like no other guitar I know. He puts himself into his lyrics too, you can read them on the hand written insert. ‘Revenge of the Witches’ almost goes full on experimental as the drum machine goes drunken Robby the Robot as Vora’s guitar goes all tremolo-y and out of control. ‘Popeslaughter’ leaves me thinking I need not add anymore ditto ‘The Inverted Cross’. ‘No Human Cross’ is a mini classic of existential angst and a search for inner peace. They tend to be over and done with rather quickly these VDC releases and this is no different, eight songs all done and devil dusted crusted inside twenty church hating minutes. The covers are hand drawn as they always have been as are the lyrics. This time around I even got a hand written press release. I feel honored. This is the 32nd Venusian Death Cell album.



Crow Versus Crow

Coma Kultur

davidvora10 [at]

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