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Built For Nothing Arbor #54 LP £10.99 First full length vinyl outing for this aggressively nuanced free playing power duo featuring Zach Davis of Lambsbread on electric guitar and Ben Hall of Graveyards on drums. The strategies employed here – totally clean electric guitar with the attack amped all the way up and skittering, knitting needle style snare detonation – marks out the turf covered as being somewhere circa the whole Joseph Holbrooke/Ascension school of pummel and play and there’s a ton of brains to the way these guys skirt even the vaguest of lick-potential with silence, wowing harmonics and cracks of vibrating skin. Edition of 300 copies in screened chipboard sleeves, already completely sold out at source. Recommended. |
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Slab Brokenresearch No Cat one-sided LP £10.99 Numbered edition of 200 copies from the duo of percussionist Ben Hall (Graveyards et al) and guitarist Zac Davis (Lambsbread). This one is more in line with the excellent Cloudburst tape, with Zac moving from fast, zagging note runs through sheet metal chords and stops while Hall accelerates time in buncha simultaneous directions. This one has as much to do with cranky No Wave refusal as it does hyper-dynamic improv pugilism and it comes in a heavy screened wraparound sleeve. |
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Monolith: Jupiter Music Fellowship MF-39 One-Sided Pic Disc LP + CD £14.99 Wild pairing of two improvised/destructo units – Bark Haze (aka Andrew MacGregor of Gown and Thurston Moore of Sonic Youth) and Traum (Ben Hall of Graveyards and Zac Davis of Lambsbread). The deal is that both groups contribute a bunch of tracks without hearing what the other has done and then both recordings are cut onto the same side of an LP on top of each other. With each group hard-panned to the left and right channels you have the option of either listening to one of the performances by adjusting your stereo panning or leaving it right in the middle and hearing both groups simultaneously. The Bark Haze tracks – including a title, “Lou Reed Is A Creep”, lifted straight from The Dictators – are some of their most minimal drone-based moves, with thrumming electric guitar submerged in feedback and low-end violence. The Traum pieces are more spacious post Bailey/Oxley styled improvisations that veer into the more barbarous early Royal Trux style. Played together it makes for the kind of delirious headclash of Ornette Coleman’s Free Jazz recording, with players seemingly responding to each other across time and space and the whole thing building to a beautifully confusing knot. Excellent. Bonus CD makes for a handy way of checking out the individual tracks for when you’re too wasted to pan. Edition of 500 copies, one-time only pressing. |
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Dead In Michigan Pizza Night No Cat Cassette £6.99 Solo six-string abuse from Chris Riggs, the guitar slinger who usurped Zac Davis' seat in Ben Hall's Traum/Trauma set-up. This is some of the most extreme, extended work from Riggs yet, with growling, mechanical retorts that sound like steel strings being fed-though conveyor belts of metal teeth and elastic band soundings. Hard to believe the sound source is all-guitar, pretty remarkable. |
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Draco Hanson HN-197 Cassette £5.99 “An excellent cassette to make you feel sea sick from the guitarist of TRAUM. The A side sounds more like a thick metal cable fluttering in the wind than a guitar. Nauseating low end fluttering waves interrupted by occasional high end frantic scratches which sounds like amplified birds cleaning themselves on the wire. The B side is a barrage of high end squeals and squeaks, metallic whistles, flapping insects, stabbing needles, knife sharpening, baby animals crying, wild boar breathing, paper ripping, and more… all made with a guitar! A truly FUCKED UP recording!” – Aaron Dilloway. |
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99 Minutes Of Forever Nyali Recordings #3 CD-R £7.99 New release on the Glasgow-based label run by Kevin McCarvel and Stuart Crutchfield of Smoke Jaguar. A great set of massively cranked textural improvisations from the duo of Ben Hall (Graveyards/Bill Dixon/Joe Morris et al) and guitarist/inventor Chris Riggs, confusing process and form across a series of tracks that move in tectonic percussive waves. Hand-numbered edition of 79 copies in art paper sleeves with paste-on covers. |
