VOMIR – recouvre la merde (en trois mouvements) CD Out Now!

vomir-recouvre-la-merde-cd-main-cover-front-right

VOMIR – recouvre la merde (en trois mouvements) CD (4iB 008):

TRACK LISTING
1. recouvre la merde (mouvement un) (17:04)
2. recouvre la merde (mouvement deux) (20:53)
3. recouvre la merde (mouvement trois) (34:47)

Details:
– CD in Jewel Case
– 8 page Booklet (Note: Discretion is Advised)
– Individually Numbered
– Limited Edition 250 Copies

PRICE (Including Airmail Shipping from Singapore): USD18 / €13 / £11
To Purchase, Please Go Here.

VOMIR - recouvre la merde (Image 1)

VOMIR - recouvre la merde (Image 2)

VOMIR - recouvre la merde (Image 3)

VOMIR – recouvre la merde
“recouvre la merde” or to loosely translate, “Cover the Shit” embodies the dark and sick humour of French ‘troubadour’ of Harsh Noise Wall, VOMIR. In this 3-parter, Romain Perrot unleashes a no-nonsensical torrent of unyielding wall-of-noise-harshness through 3 brain-convulsing tracks delivered in one long continuous movement. Guttural avalanche of sonic boom deluges upon the listener as the 3 long textural pieces of unpleasant roar harangue the listener into psychotic submission. The grinding movement of each abysmal track succumbs the listener into a state of sonic claustrophobia through its absolutely unique monolithic tonal amplification, all streaming seamlessly as one complete orchestral symphony.

Other than copious abuse of the aural senses, the album is also visually disturbing due to the vivid reference to coprophagia. This is attributed to the creative design work of imagenumérique’s™ Felix Rosier’s innovative art direction combining photography and installation art, and a crazed mind.

“recouvre la merde” completes the entire Perrot experience by staying true to Romain’s consistent classification of the term ‘ultra shit folk’. This album clearly asserts Perrot’s psychological position about the sad state of the world we live in, reinforcing his statement (in more ways than one): “We all eat shit everyday, women more than men. The shit is everywhere. Now it’s time to overlay all this shit, and noise is one way to do it”!

Listen Loud!

=======================================================

Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007
email: gerald@4ibrecords.com
www.4ibrecords.com

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CAT NO: 4iB CD/1013/004
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ARTIST: THE NEW BLOCKADERS & CREATION THROUGH DESTRUCTION
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VOMIR - recouvre la merde CD (Main Cover - Front Right)

ARTIST: VOMIR
TITLE: recouvre la merde
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THE NEW BLOCKADERS & CREATION THROUGH DESTRUCTION – Negative Mass 12″ (Ltd & No’d 250 Copies) Out Now!

TNG & CTD - Negative Mass 10%22 (Front - Edited)

TNB & CTD - Negative Mass 12%22 (Shipping Out)

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THE NEW BLOCKADERS & CREATION THROUGH DESTRUCTION – Negative Mass 12″:

- Thick Cardboard Sleeve
– Direct Metal Mastering (Extra Loud Cut)
– 12″ x 12″ Insert
– Limited Edition of 250 Copies
– Individually Numbered (Cover Sticker, Main Sleeve & Vinyl)

TRACK LISTING:

Side A
1) Generation of Matter

Side B
1) Theory of Everything (Sample)

PRICE (Including Shipping from Singapore)USD33.99 / €25 / £20
To Purchase, Please Go Here.

THE NEW BLOCKADERS & CREATION THROUGH DESTRUCTION – Negative Mass

Here is a 2-track 12″ release that presents 2 prolific (and masked) noise making entities partnering together with the intent of inducing a breakdown of the senses through their own distinctive identity of generating relentless noise assault. This collaboration of UK noise terrorists and harsh noise pioneers THE NEW BLOCKADERS with Serbian’s harsh/static noise/wall act CREATION THROUGH DESTRUCTION (DEAD BODY COLLECTION) sees the merger of two noise genres with unique creative sound methodologies being amplified and redefined to an even greater level of sonic brutality.

The 2 tracks: Generation of Matter and Theory of Everything epitomize THE NEW BLOCKADERS philosophy of sonic nihilism through anti-art and anti-music as well as the dark and sadistic psyche of CREATION THROUGH DESTRUCTION’s Dr Alex. This is a full on display of explosive sonic violence, anguished background screams drowned further by a wall of weaving noise. This incessant ear battering of tonal destruction sustained through the complicated textured layers of brutal grating pandemonium is what nightmares are made of, and made even more disturbing by the masked anonymity of madmen.

Best Blasted Loud!

=======================================================

Please direct all enquiries to:

4iB Records
PO Box 206
Singapore 914007
email: gerald@4ibrecords.com
www.4ibrecords.com

> IRM – Wroclaw Industrial Festival (9 Sept 2013)

> GRUNT

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Grunt was formed in Finland during spring 1993 to create hard audio havoc. Its early incarnations operated with few other names, before settling into Grunt and making the first officially published works. After 20 years of activity, it is still going strong. Various styles of noise electronics are always hammered with such pressure it usually transforms into known Grunt-noise, even if new methods and approaches are added. Various interests, moods and approaches and different kinds of topics has been used during the years. Strong visuals and lyrics are the most well known to people.

Since early days, Grunt has been merely part of international power electronics-noise scene. There has never been desire to attract attention widely. There has never been attempts to be credible within academic noise circles, performance art or modern industrial culture. Nor promote it in media outside the core of noise-underground. However, neither there is clear desire to follow genre restrictions. When invitations have happened, Grunt has been featured in documentaries, newspaper articles, playing together with punk, metal and gothic bands as well as among performance art events.

Grunt is tightly connected to the vision of Freak Animal Records label and has also handful of other forms, what can be understood as projects of their own or simply branches slightly separated from the main project.

1993

Early years of Grunt was trying different kinds of directions. Earliest recordings was created by merely tuning down guitar strings until they were hanging loose over the guitar microphones and making rumbling noises. Lack of any kind of effects or even amplifiers made noise the most simple and primitive wall of rumbles. Early on, it was created by borrowed equipment. Lacking possibilities to experiment and test due short periods of time equipment was available. Third release, “Industrial Madness?” (Autumn 1993), various metal objects were included in making tracks. Often rhythmic industrial noise with low tuned string abuse, radio-noise, vocals, metal junk noises. Still some musical elements were tried, influenced by industrial bands like Godflesh or Einstürzende Neubauten. Half of the material remains unbearably clumsy, yet traits of what is about to come could be heard.

Early on, I had very little knowledge of noise as “scene” or “phenomena”. Early days of Grunt were influenced by the bigger names, such as mentioned Godflesh, Einstürzende Neubauten, live video footage of Swans, and Finnish punk-scene originating noise mongers who had just published their debut works in 1991/1992: Bizarre Uproar and Unseen Noise Death.

1994

Various recordings approaching the sound from a “band” perspective was made at the same time while experimenting also as solo. There exist recordings which were clumsy industrial percussion with guitars and bass playing with clear instrument sound. There was also more noisecore influenced materials, which both were bound to be left aside. In this period of not even fully knowing what exactly should be done, there was no idea who could be interested to even hear these releases. If anyone. These early tapes existed pretty much less than 30 copies made. Strong recollections of shattering this utter outsider feeling still remains in my brain. When writing to publisher of Icy Illusions compilation tape series (Czech Republic) that I would like to publish Grunt 7”, but I doubt there exists people who want noise records, he briefly explained reality is very different. I received letter explaining that in Japan there is actually labels who have put out CDs and even up to 50 titles. This information simply blew my mind and from this moment of receiving addresses of Alchemy Records, GROSS, Endorphine Factory and RRRecords (USA), I knew when next tape is done, I will write everybody and find out all what I can. Until now, I had considered every noise band be utmost anomaly and isolated case.

With the growing serious intentions, later in 1994, new era of sound was introduced. When getting first own multi-track recorder, things started to progress. Simplest possible 4-track tape recorder, with no EQs, no aux, only two lines in. Volume and panning knobs for each channel being only “post production” possibilities. With addition of one cheap plastic microphone and 12W Marshall rehearsal amp, with nothing but enthusiasm and time, things started to take better direction. More experience in making connections with the few devices available resulted creating interesting results, most of all with internal feedback.

Putting situation in context: this was a underage teenage boy living in small town near Russian border, with no information how other people did their works and at this point merely access to few international artists such as Man Is The Bastard and Gerogerigegege. I was utterly clueless about effects as well as didn’t know of existence of devices such as “analogue synthesizer”. I had never seen one and never thought how such sounds are created! Only by accident, I learned that if plugging my cheap package-stereo system in loop with 4-track (4-track output to stereo-in, and stereo headphones to 4-track input) and turning channel panning to left and adjusting graphic equalizer, I could create the sounds I liked.

Sound took direction closer to old power electronics, even if that was hardly conscious intention. Many of the recordings were buzz of electronics and feedback, radio-noise and some with vocals.

“One Animal Above The Others” tape was result of this new direction, and it was mailed to labels I had heard of. As result RRRecords and G.R.O.S.S. replied and while latter was at the time way too expensive to purchase items, RRRecords and especially its recently lauched Pure CD series were instant mindblowing influence. Extensive tape trading offered possibility to quickly educate myself with vast history of genre and in matter of months, situation had moved from being clueless outsider into not only being hungry student of past, but also starting to get in touch with other noise makers – small and bigger.

Still all early recordings came out as cassette tape releases, being distributed in small editions between 15 and 150 copies, most being closer to 50. Many of them went through trading to various small noise artists as well as people from other scenes, who many disappeared from the scene, resulting that hardly anyone currently involved in international noise scene has ever heard the early recordings. In 2012 Industrial Recollections launched project to digitalize all ’90s tape material into CD format which allows whole decade worth of obscurities be heard – often for the first time!

Grunt+Finland

1995-1996

Early 1995 until summer was some of the most productive times of Grunt. Recordings during these times took place, if not daily, then at least weekly basis. 1995 was the time when Grunt slowly started to make more and more connections among the international noise community, with putting out recordings on other people’s labels and getting distributed by well known distributors of the time. It remained relatively low profile still for the upcoming years. Even if being involved with international scene, there was never intention to focus any particular side a la “harsh noise” or “power electronics” scenes, but remain somewhere between, where all the noisy sounds melt together into bizarre mix.

First live show was played in 1995. There was prepared metal object to be amplified and drum machine to create electronic effects, yet utter failures in technical know-how, and last minute changes on stage, led to doing it with traditional instruments and session members: guitar feedback, vocals, drums. Not very successful result caused long break until next attempt to perform live.

Getting introduced to first effect pedals in Summer ‘95, changed approach to the sound. While all 1995 was created with borrowed effects (of Temple Of Tiermes), in winter 1996 I would finally gather enough money to buy large guitar multieffect.

Possibities of multieffect were drastic, and use of heavy delay effect on screaming vocals and abundance of echoing metal junk and droning feedback became traditional Grunt elements what continued for years. To the point of ultimate overdose, one could say. The main influences of the time were taken from Masonna, Gerogerigegege and Ramleh.

In very first releases, my intention was to mix “political” or “social” themes among the music, but for period of time, perhaps by strong influence of Japanese noise, I intentionally rejected “message”. Focus was purely on sound and vocals were aimed to be sonic effect, just like in Masonna, Hijokaidan or Gerogerigegege. I remember writing with contacts abroad, discussing about never-ending topics such importance of content vs. pure sonic content as well as which is more inspiring, the sheer energy of Japanese noise or dark and strong subject matter of power electronics/industrial noise. It seems weird now, that even in some (lost?) ‘zine interview I recall explaining how I try to reject cliches such as porn or violence, because they are done already. While such content actually is the best known side of Grunt’s later works! While releases from ‘93-‘95 dealt with state, religion, death, pollution, waste, junk, military, etc. ‘95-‘97 was slowly bleeding into absurdity some vague weirdness.

1997-2000

From 1997 you can see another clearly new milestone of Grunt. From experimenting simply by terms of what effect results what kind of sound and how to layer things to make it interesting, it felt necessary to move into better constructed recordings. There came need to focus more into planned and composed recordings. All these intentions and approaches bleed over each other in chronology, but 1997 marks the time when Grunt returned back to using lyrics. And not only occasionally, but predominantly.

While in past recordings were never processed from pre-recorded sound, in late ’90s method of creating loops out of pre-recorded source sounds became trademark of Grunt sound. In early days I had obsessive attitude against “pre-recorded” sounds, as if they were not as real as the ones you could create on the spot. I did not manipulate tapes, but create each track from live electronics or physically made sounds.

This new 1997 sound was hardly anything new for Grunt, but simply refined approach which made distinctive difference in typical ‘96 versus typical ‘97 or ‘98 recording. Crushing, heavily repeating loops with near random metal junk noise and feedback on the top, with furious effected vocals and spoken word samples. Those were they key ingredients what perhaps made tapes such as “Europe After Storm”, “Someone Is Watching”, etc. rise above many of low profile Grunt tapes and eventually be re-issued on CDs for wider circulation much earlier than most other ’90s works.

There was never intention to make too similar sounding releases. Grunt is usually labelled as “power electronics noise”, even if that is perhaps just half truth. There is brutal edge of harsh noise and use of different sound sources, what is missing from many of those who rely solely on synthesizers and/or computers. There’s no limit on the sound sources or subject matter what Grunt uses. It always reflects the state of mind of current period of time. Most often intent of diversity of sound would slightly confuse the progression. Musical intent of many releases was to create diversity. Something what you could find most of all from compilations of the ’90s. “Noise Forest”, “Come Again II”, “Dedication”, “Tension State Collapsing”, “Neuengamme”, “Journey Into Pain” and such were often higher influence than individual bands. There was no intent to make releases that were “pure” something, but attempts to build releases where diversity is wide enough to sound almost like compilation. This method has its advantages, but also in reality it meant that there hardly was a REAL album of Grunt released until very late. Bunch of splits, collaborations, sometimes build from tracks of various sessions. First Grunt CD “Perfect World” was pretty much just collection of unrelease yet unrelated tracks what happened to lay around. “Terror And Degeneration” was published in various forms during the years. “Europe After Storm” was solid 30 minutes tape, but when re-issued on CD, live tracks and bonuses were included making it rather compilation than real album. Basically one could say first real recording intended as album of Grunt was “Seer of Decay” as late as 2006!

Perhaps this was also advantage. To me it always appeared that Grunt hardly belonged among “the real noise bands”, let’s say K2, Richard Ramirez, Macronympha and such. But it didn’t stop from co-operations. I also felt with such a random and chaotic approach, Grunt was hardly to be grouped with conceptually and musically solid bands like Genocide Organ, Con-Dom or Brighter Death Now. But also ended up sharing stage with those and operating among same distribution networks. This lack of clear direction allowed to keep moving. Even after bigger profile power electronics CD, Grunt could make follow up as ltd 50 copies harsh noise tape. And it would still make sense – at least to same extent as anything happened in past.

Grunt has hardly ever played with mystery. Project has been so closely related to Freak Animal as label or my works as “journalist” within the genre, it must be obvious Grunt hardly is fruits of actual outsider or isolated “independent” artists. It is without no shame influenced by others, inspired by others and mirroring itself with entire history of genre(s). Grunt never attempted to copy very narrow style, therefore vast amount of influences eventually melt into what is Grunt.

In 1998, seeing Con-Dom perform live in Stockholm, Sweden, was first possibility to see how “noise band” performs live. With failure some years earlier, Con-Dom’s approach of relying heavily on backing tapes and focusing simply on vocals, appeared as only possibility. Especially when sound of 1998 was something what I felt was impossible to re-create on stage. 3 live shows played between 1998-2000 was always based on tape playback, where live vocals and some minor additional electronic noise added live feeling. It took until first offer for gig abroad in 2002 to finally decide to abandon all background tapes and focus on real sound creation in live situation.

By the end of ’90s entire Grunt approach had changed for publishing. It was no longer so important to have releases. It felt more interesting to focus on less, yet more content focused releases. While looking at gaps in discography, it appears as if I stopped making noise in same scale. This is merely illusion. Fact remains turn of millennium spawned vast amount of Grunt related side projects as well as involvements in other bands/projects. And extensive live activity in form of Grunt.

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2001-2004

While most of ’90s works were created in relatively quiet methods, moving into new millenium meant also changes in volume for some releases. Some of this era Grunt recordings (“Last Grip To Sanity”, split LP with Taint and split tape with Strom.ec) have been utilizing loud recording methods. First time also analogue synthesizers were used among other things. Doing studio-live recordings with PA system, and later mastering or editing the final touch. This gives new touch to the sound, compared to material which is created with low volumes by using field recordings, electronics/effects or other such sources.

Some of the processed field recording/sample/vocal based tracks could be heard on V/A “Don’t Hunt What You Can’t Kill” 3xCD, “Hanging high on every streetlamp” card CDr, etc. As opposed to studio-live violent recordings, some of these are very high-tech and crystalline sounding.

Since most of Grunt material is being released quite late after it’s completed (for example most of material released 2000-2003 dates back to ‘97-‘98), it’s hard to pinpoint form what Grunt has in specific moment. For creator and future listener they manifest in entirely different light. For example, big part of most relevant Grunt recordings of 2004 were scattered into split tape, tour compilations and left unreleased until 8 years later finally whole thematically & sonically suitable material was collected as “Long Lasting Happiness” CD. Some of the best recordings of the time remained unheard for nearly decade!

After doing first all-live sound live show in 2002, it was noticed that live situation brings new kind of challenge for creating material. First gigs were still about learning how to manage to create desired sound live, but after 5 shows in 2004 it seemed that right tools and methods had been found.

2005

Early 2005 was released 5 vinyl LPs of Grunt. Half LP versions of stuff what earlier came on CDr. Despite large number of releases, there wasn’t really properly done “album” for Grunt. All solo LP/CD releases have been collections of previously released tape/CDr material, or live recordings.

Grunt did first longer tour, 5 gigs in Japan in April. Also long time first Grunt solo show in Finland. All of these were noisier and more improvised gigs. Same methods were used in UK gigs in late 2004. This allows gigs to be spontaneous, when none of loops or sounds have been prepared in advance. Possibility of failure adds some excitement, and few times due malfunctioning minimal equipment, shows have transformed into full force random harsh noise. For new tour in UK, equipment was stripped down to the absolute minimum, removing all the unnecessary gear. No synthesizers, no samplers, no MD or CD players and so on. Shows were played without backing videos, keeping them short and to the point. Later 2005 followed with couple more live shows and growing amount of new releases, making Grunt look more active than ever before.

2006-2008

Since releasing “Seer of Decay” 2xCD, Grunt avoided any new “major works”, only live recordings on tape format and contributions for small scale releases, compilations etc. Focus of attention was on live shows around the world, and finally in 2009 there was being published 3xCD box set with live documentation of those years, pretty much all the successfully performed (and recorded) gigs from live actions 23 to 41. Few unrecorded gigs do not appear on the box set. This set sums together well the time after album, and upon its release decision was made to fade live activity down in favour of more attention to studio recordings.

2009

“Petturien Rooli” album was completed in September 2009. On and off recording process during three years resulted in most diverse and most experimental mix of Grunt releases so far. Leaving away the previously “obligatory” harsh noise blasts, in favour of more textured and detailed and experimental approach to PE/industrial-noise.

Source sounds and equipment utilised in recording included various metal objects, wood, water, stones, glass, sand, mud, concrete, tools from shovels to lawnmover to cement mixer, metallic pipes (wind instrument), radio transmissions, digital keyboards, analogue synthesizer, analogue walkman with field recordings and tape manipulations, 8-track MD, 4-track analogue tape, digital hard-drive recorder for field recordings, various effects, bass-amp, PA system, guitar-amp…. Extensive research on suitable locations or equipment to produce needed sounds was always done with the wholeness in mind. Sound varied from intentionally damaged and fierce brutality to soundscapes that are carefully EQed and adjusted for maximum range of sonic qualities. Intent was to keep the spirit of old experimental industrial-noise there. Something what was missing from a lot of modern recordings what are ultra compressed and maximally distorted to flat sterility. “Petturien Rooli” album never aimed to compete with volume and join the 0dB maximum compression club. Its dynamic variation goes from quiet to loud, frequencies from highest to deep sub-bass pulses. It could be interesting for fanatics of PE as well as those looking for more experimental edge on sound.

Since “Petturien Rooli”, this direction has only been refined further. For band to exists, it has not been important to make publications, but it exists most of all on theoretical level, but also in form of experiments. Vast amounts of recordings have been done, with no intent to publish them. There has been given attention to extensive equipment as well as stripping down everything to bare minimum. Basically rejecting the dominance of effects, returning back to more rugged and grainy elements known from earliest years.

2012:

Since “Petturien Rooli” CD (2009), there has not been much else than re-issues, live material and few compilation tracks by Grunt. It certainly have not meant anything else than preparation for the new full length assault. 10 tracks abuse diverse approaches. From tape manipulation, crushing loops, classical instruments, deep tones, concrete sounds and dry sonic elements stripped to be bone as well as multi-layered into complex compositions. Grunt pours in loads of different sound elements, different sound qualities and experimentation, yet from other end of meatgrinder emerges the solid mix of ugly power electronics in form of “World Draped In A Camouflage”.

Since publishing “World Draped In A Camouflage”, Grunt has been performing in Finland and abroad (Belgium, UK, Lithuania, Sweden,..) as 2 member unit, playing mostly variations of album tracks.

(Source: http://grunt-finland.tumblr.com/info)

> NAEVUS – Lloyd James Solo Performance at Death Disco, Athens, 19.09.2014

> EARTH: Interview with DYLAN CARLSON on 9/8/2014 at Point Ephémère, Paris

> Hidden in the Leaves; an Interview with Strength Through Joy (by Chad Hensley & Intro by Michael Moynihan – Heathen Harvest)

Strength Through Joy & Douglas P. (Lisbon, Portugal; 2006)

.:.HIDDEN IN THE LEAVES.:.

An Interview with Strength Through Joy

Introduction by Michael Moynihan

Interview by Chad Hensley

___

Strength Through Joy is an enigma and often a seeming contradiction in terms. An iron fist hidden inside a velvet glove. Taking their name from the Third Reich program which provided cultural enrichment for the common workers, not to mention Volkswagens and vacation cruises for every happy German family, Strength Through Joy deftly mixes iconography of European romanticism and totalitarian artistic imperatives with lush string arrangements and pensive lyrics to form a unified vision that’s as haunting as it is beautiful.

Created by Richard Leviathan and Timothy Jenn after meeting in Australia, the band soon struck up a correspondence with Douglas P. of Death in June, who quickly sensed the importance of their unfolding development. Strength Through Joy fits nicely both alongside and outside of the continuum of Death in June, and admittedly there are numerous similarities in approach. These connections are even more amplified by Douglas’s contributions to their first EP, Dark Rose, as well as his overseeing of the production on all of their releases to date. Despite such strong collaborator ties, Strength Through Joy has forged its own sound and is steadily defining itself more completely with every subsequent effort.

Based now in Australia and Dublin, Ireland, the Celtic influences evident since their first recordings are even more predominant on Salute to Light, a new double CD set which has just been released through the Twilight Command imprint. Equally evident in Strength Through Joy’s expression is a beautiful painting by Völkisch artist Fidus titled Sun Worshiper adorning the front of the new release, to the swirling solar imagery on the discs themselves, one cannot help but notice a similar disposition in much of the music as well. These are not dour and gloomy songs for the self-indulgently depressed, but rather genuine celebrations of life in all its simultaneously radiant, torturous, joyful, and absurd glory.

________________________________________________

Chad Hensley: When did the band form and what is the meaning of the band’s name?

Richard Leviathan: We began around 1991-92. The name of the band is derived from the German social organization which projected an ideological and aesthetic conception of physical strength and beauty. The historical roots of the organization, however, predate the rise of the Nazis, beginning with the emergence of the Völkisch and Naturalist movements which comprised various political, cultural and esoteric elements. These were not restricted only to Germany and were evident in other areas of Europe as part of a general shift in consciousness towards an intimate awareness of the relationship between Man and the natural world, with particular emphasis on the indigenous landscape. To some extent this was a reaction to the negative effects of materialism and industrial civilization, but it was also inspired by the revival of a magical vision of the universe which could only be recaptured through a more natural expression of life. The forces that motivated and its destructive culmination in history are of considerable interest to us, not simply as relics of the past but as a vital element that continues to inform any deeper awareness of life.

Strength Through Joy Richard Leviathan

CH: One thing that immediately grabs my attention is the use of the Process symbol on both the CD and 7 inch–but the symbol is upside down. What is the significance of this?

RL: The symbol actually resembles the Process symbol by chance, significant as this might be. The design represents a fusion of four diagrams of the Volkswagen gear stick (the VW being the original Strength Through Joy automobile). This image is quite striking, and probably has some symbolic value. The complete design is also a Celtic symbol and the similarity to a swastika is no doubt another reason why it looks like the Process emblem.

CH: What concepts of the original Process Church most fascinate you and why?

RL: I have read some of the original Process material as an extension of my interest in Charles Manson. From what I can remember, the Church was seeking reconciliation of certain Satanic and Christian perspectives combined with a doctrine of Social Darwinism. There were also some pagan aspects to their vision. I tend to be generally averse towards any Christ-centered orientation, but I still quite admire what the Process was trying to do in the late sixties. Robert DeGrimston is an interesting figure, the type of person who personifies what he preaches in a bold and charismatic way.

CH: Douglas P. of Death In June both produced and played on “The Force of Truth and Lies”. How did you come to meet him and how did this collaboration take place?

RL: We met Douglas after having sent him some demo tapes from 1991 onwards. By an interesting coincidence, he had already spent some time in Adelaide, South Australia, where we eventually recorded our material.

CH: Obviously Strength Through Joy is influenced by Death in June. Why? What concepts does Death in June embody that the band identifies with?

RL: Death In June conveys a depth of musical and lyrical resonance that makes a strong impression on the listener. The themes which Douglas explores are also an integral part of this experience and express in a poetic but not inaccessible form the powerful and elusive aspects of reality which are missing from a lot of popular music.

CH: Are you involved with the occult?

RL: Timothy and myself are both interested in the magickal traditions of European paganism.

CH: A lot of material on “The Force of Truth and Lies” deals with the worthlessness of life, failure, and misanthropy. Why do these subjects fascinate you?

Timothy Jenn: I think it is a natural disposition I’ve always had. I can’t give a specific reason for this “fascination”. Simply by observing people and studying their history has led me to this position. The things you mention involve fundamental questions about existing. It may disturb some people when they discover that their life is ultimately worthless, but it can also be used, paradoxically, as an affirmation of life. Those who believe that their life is universally significant, perhaps because they think they are going to some heaven or other, usually constrict their actions in life to follow the requirements for entry. If one rejects this mode of living and accepts that life, in the abstract, is ultimately worthless because the universe and everything in it will eventually end completely, one can either say, “what’s the point in going on, then?” or take the position that, as the sum of all human activity will end in nothing, “personally it really doesn’t matter what I do”. But while life may be pointless, this is no reason not to enjoy it. Unfortunately, there are always people trying to stop the fun, and that can make existing in this futility a bit overbearing.

CH: The title track seems to imply that this world is living in the end times. Please elaborate.

RL: There is something positive to be found in the void if one has the will to embrace it as a potential source of power.

TJ: I don’t necessarily see it as a pre-apocalyptic vision of the world. It is more a portrayal of the struggle between essential truths and the misinformation promoted by social establishments. The backdrop is one of the inevitability that existence everywhere will cease. This fact is ignored by those who perpetuate the myth that all this is going somewhere. Most people don’t like to think in these terms. By keeping their lives in a progression of boxes until death, they need not think why they are actually living. Perhaps at most they believe they are doing their little bit in the progression of humanity. But they don’t really want someone telling them that no matter what humankind does, the sum of all human endeavor will count for naught.

CH: I would guess that you are not too fond of Christianity? Why? How has growing up in Dublin affected you personally?

RL: The problem with Christianity and the whole Judeo-Christian spirit is that it emerged as a foreign import into Western civilization and although it contributed significantly to the culture of Europe, it also destroyed much of its indigenous heritage in the same way as it was used against other cultures around the world. Of course, many native traditions were preserved in Christian forms, partly as a way of protecting them from dissolution. But the spiritual substance of life changed dramatically. By insisting on the sinfulness of life and encouraging resignation, Christianity bred a negative contempt for existence while at the same time promising salvation after death. This outlook could only frustrate the natural instincts of which, in their most spiritual expression, seek transcendence through the experience of this world. Thus, the Christian religion was destined to be trained with the hypocrisy with which we are so familiar, given the contradictions between its gospel of humility and the methods it needed to impose its unnatural ideology on the world. This is not to say that there have been no profound Christian achievements but the inherently negative characteristics of that religion are revealed in its general state of decrepitude in the contemporary world for which it is a totally inadequate faith.

TJ: Christianity is an inherently unnatural system of belief. It goes against every basic instinct of life. Maybe most irksome is that Man is brought above Nature because everything was put there by God to serve Man. Thus, partly through the mediation of Christianity, Man had distanced himself from Nature and I think we are seeing the consequences of that in the world today. Growing up in Dublin, it is difficult not to be aware of the history of the city. One is surrounded by historical landmarks all the time. Being aware of history makes one realize more readily one’s place in time, and the mechanizations of existence. Dublin is a city of culture, with many great artists from all fields emanating from it over the years. The closeness of their worlds has influenced me in some respects.

CH: What can be accomplished with the death of nature and culture?

TJ: The song you are referring to is written in the second person. We are not advocating all that is said here. It is a comment on the economic manifestations of society among other things.

CH: Do you follow the philosophy of the strong over the weak. And, if so, why?

RL: It is probably the principle that most clearly reflects reality. Obviously the reverse would be inconceivable. However, the distinctions between “strong” and “weak” need to be qualified. The possession of power does not necessarily suggest an inner strength and arbitrary force is not always a creative factor in the exercise of power. Strength implies wisdom as well as the willingness to act forcefully.

TJ: In any animal society, the survival of the strongest ensures the perpetuation of the species in its most adaptable form in its environment. As humankind, for the most part, has taken itself out of this process, the weaker members of the society are given an undue share of power which can only be wielded by those who seek to exploit their interests against the stronger adversary. The Christian ethos of embracing the meek and loving everybody has become akin to bathing a festering sore on the body. What’s more, these people have been given means to express their views. The weak are pandered to by reducing everything to the lowest common denominator for ease of understanding by those unwilling or unable to think for themselves. The cultures and societies of the world are demonstrating what happens when the weak are allowed some input.

CH: The song “The Blond Beast” seems to imply the Aryan Race. Do you think that any race of people is more intelligent than others?

RL: The “Blond Beast” is actually an idea conceived by Nietzsche and does not refer exclusively to the Aryan Race. It is an image of the lion and the unbridled forces of the wilderness which Nietzsche saw as the sources of the most creative cultures. It describes all conquering races who have imposed their will on the world, free of the civilizing constraints that debilitate and domesticate the “beast of prey”. Christianity and modernity were elements which Nietzsche felt contributed to the decline of life. The “Blond Beast” applies more to ancient than modern Man and while it has definite racial dimensions, it is also related to the idea of the Overman which Nietzsche associated more with an individual than a race. We are not particularly concerned with whether one race is more intelligent than another. What is more important is the existence of differences between races which are fundamental to the biodiversity of the planet. There are some scientists today who are trying to deny these differences as an argument against racism, but the conception of race cannot be restricted to an analysis of human genes. There are a host of other factors to consider like culture, environment, physical and spiritual characteristics.

Strength Through Joy

CH: What does the song title “Rosin Dubh” mean?

TJ: “Rosin Dubh” is actually a misspelling to differentiate our song from a famous traditional Irish song, “Roisin Dubh”. This translates as “Little Black Rose”.

CH: Are you a religious person?

RL: If by religious you mean spiritual then the answer is yes, but I am not affiliated with any religious institution. I believe in other dimensions of reality beyond the immediate experience of the senses but these are transcendent or hidden aspects of this world rather than a paradise or netherworld reached only after physical death.

TJ: I am aware of the spirit in Nature and attempt to relate to it in my own terms. I don’t feel the need to join any organized religion to do this.

CH: Who are some of you musical influences?

RL: Our musical influences range from traditional folk and classical music to artists like NON, Current 93, David Sylvian, Joy Division, Bauhaus, and The Doors.

CH: Do you have any literary influences?

RL: I read a lot of European and some American literature. D.H. Lawrence, Celine, Burroughs, and Camus to name a few.

TJ: I have a particular fondness for old and contemporary Irish literature within a wider context of European writing.

CH: Would you call yourself a misanthropist? If so, why?

RL: Misanthropy is a reflection of the struggle of life through which the individual reacts against the lower, uglier qualities of humanity. The antagonism between Man and Humanity is a natural condition which is not exclusive to the attitude of a conscious misanthropist. It is one of the common features of life, a human trait which any misanthropist would have to consider in his endeavor to rise above humanity.

Originally published in the book “EsoTerra: The Journal of Extreme Culture”, published by Creation Books, 2011.

(Source: http://heathenharvest.org/2014/09/05/hidden-in-the-leaves-an-interview-with-strength-through-joy/)

VOMIR – recouvre la merde Album Review by Darkroomrituals (Russian)

vomir-recouvre-la-merde-cd-main-cover-front-right

Француз Ромэйн Перро – шумовик до мозга костей, с обширной кассетной и «болваночной» дискографией и богатым внутренним миром. С объемами его творчества познакомит сайт исполнителя и всяческие справочные ресурсы вроде Discogs, о внутреннем мире поведает оформление релизов. Взять, хотя бы, его новый диск «Recouvre La Merde (En Trois Mouvements)», изданный сингапурским лейблом «4iB Records». Название, которое можно перевести как «покрытие дерьмом (в трех действиях)», сопровождается в буклете наглядным пособием из специфической кинопродукции, как этот процесс, собственно, происходит. Слабонервным смотреть не рекомендуется, впрочем, и слушать тоже. Всем остальным, кому нойз не кажется орудием пытки и массового поражения мозгов, «Vomir» гарантирует больше часа если не удовольствия, то чего-то извращенно-близкого. Впрочем, ничего особенно оригинального это копание в нечистотах ценителям не принесет: это, по сути, статичный harsh noise wall-продукт, монотонный шум, созданный с помощью мусора, бытового и цифрового. Постепенно вырастает стена шума…впрочем, не стена, а, скорее, забор или даже баррикада, по ходу действия обрастающая колючей проволокой. Порой даже начинает казаться, что можно протянуть руку и ощутить ладонью фактуру этой постройки: грязную и шершавую, исчерченную трещинами и буграми колючих неровностей, тыкающимися в пальцы остротами и ржавыми углами. Запись с определенно гипнотическим, – или, что гораздо точнее, отупляющим, – эффектом, что достигается за счет пониженного уровня агрессии и давящей статичности. Можно использовать, кстати говоря, в качестве неплохого фона, когда нужно ментально отгородиться от окружающего мира. Материал «Recouvre La Merde» и сам по себе производит впечатление отстраненности – что-то шумит, что-то рвет звуковую ткань пространства, но это что-то абсолютно автономно, как, например, радиопомехи – им не нужно присутствия человека и роль творца здесь предельно номинальна. Шумит и шумит себе, повинуясь однажды запущенным или даже предельно спонтанным процессам, и продолжаться это может вечно, не нуждаясь в присутствии слушателя. Такой же монотонный и привычный акт…ну как тот самый акт, ставший вдохновением для автора, примерно с такими же последствиями, что в шумовой среде, однако, может считаться даже похвалой.

(Source: http://darkroomrituals.wordpress.com/2014/09/09/vomir-%E2%80%8E-recouvre-la-merde-en-trois-mouvements/)

> Why EARTH’s ‘Primitive and Deadly’ is the one album you should hear this week (Video)

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