Reviews

Yeah I Know It Sucks

Artists: Network Of Individualized Sonic Extremism
Title: Monolith
Keywords: experimental ambient drone noise power electronics Pennsylvania

Carriry’s opening track of this compilation gives an instant bulge of alarming sounds, sounding similar to something you would expect to hear on a alien space craft that is ready to crash & is in panic mode. Somehow the expected bang of a crash never comes & instead the alarms fade away to make place for an enormous sci-fi mood in which the electric wires are making their noises & there is no alien janitor available to fix it.

Skin Contact easily takes over but makes the alien soundtrack sounding less panicky & actually more homely & ultimately more comfortable. If anything, the odd and pleasant movement of the noises made me think of a friendly tentacled alien brushing its teeth & taking the time to do it efficiently.

Fischkopf Sinfoniker’s Black Sky is deeply painted, layer upon layer of galactic darkness makes it possibly the darkest sky around. But it’s also a vibrant immersive one… one that isn’t so very much full of life, but instead is alive itself. Growing and expanding like a skyline with a never ending need to expand.

Mortem Obire’s mechanical Abyss takes the listener on a 25 minute journey of mechanic sounding ambient drone. A session in which somehow the air is melodic like a slow slipping gas that slips into places normally hidden from our view. Somehow the music feels like something you would expect to hear at a secluded ritual like the one in Bohemian Grove, with elitist scarifying their souls to some kind of deity.

Ursidae’s stasis is a strangely breathtaking beautiful track. It’s dark and minimally haunting, like a soundtrack for a mysterious movie in which something extreme would happen & this would be the surreal peace before the storm…

Corvett takes this vibe over but seems to transform it into a session of warm tension. It is as if soft humming backdrop noises of electric devices are secretly planning to take revenge on the person’s that they usually serve.

Naked Lynch is adding plingling piano bits from forgotten times to a certain atmospheric sadness that masquerades as dark ambience. It sings slowly and it feels somehow very rude to speak or make other noises through. It deserves our respect.

Subversive Intensions shows the listener how it would sound when you clean a never ending belt. If you always have wanted to know? – seek no further! Even though the title might suggest otherwise; the cleaning process does stop & has a nice scrub feel to it. It also comes along with the sound of a nice hygienic cleanness.

The track by Gripper is a lot louder, making dangerous & tedious sounds of spacious danger appear like snippets to crawl under your blankets for, just so not to encounter the sight of aliens in search for a test person to inspect the depth of a human’s buttocks.

The compilation ends with a lovely peaceful drone that sounds nicely mellow. It floats for a perfect ending, making the whole listening session one to feel contempt with. You could go and hear it all at the following link:
https://voidofnoise.bandcamp.com/album/monolith
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Yeah I Know it Sucks

Artist: Subversive Intentions
Title: You Can’t Win
Label: Forever Escaping Boredom
Catalog #: FEB-036
Keywords: Folk Noise, Electroacoustic, Soundscape
Reviewer: RTF

Subversive Intentions is the brainchild of Brunswick, Maine-originating, but otherwise roaming Nick Dentico, and features partner Stephanie Boucher on the project’s first live album, You Can’t Win. According to the album description by releasing label Forever Escaping Boredom, You Can’t Win is a collection of “folk noise utilizing contact mics, kitchen utensils, a violin bow, ukulele, and other odds and ends.” Although one could easily entertain themselves for hours trying to pick apart the different sounds on this album, such focus on minutia takes away from the synergistic experience Subversive Intentions conjures. By taking this eclectic instrumentation and running it through a series of echo and loop effects, Nick and Stephanie have come up with a rather unique and often beautiful take on noise, a genre that is becoming increasingly known for parroting more famous acts and recycling the same ideas from piece to piece, project to project. On the track “Ab Etterb Ooks Helf,” for example, a ukulele strum is echoed throughout the piece, while bright, shimmering metallic sounds loop back around in a soothing repetition, accompanied by samples of dialog and other noises that drift in and out. The overall effect brings to mind the swirling ambient rituals of Lustmord without the oppressive heaviness, instead embodying a tone that is both uplifting and disturbing.

Living up to the project’s namesake, Subversive Intentions is subversive in that it takes the potentially abrasive and, through repetition and layering, arranges it in a cohesive and pleasant structure: a sort of joyous and playful chamber noise. Even on “Toomanyfuckingsubways,” You Can’t Win’s most aggressive track, which begins with heavy metallic banging, is soon soothed with the addition of the ukulele, some slight pulsing feedback, and other elements that turn the material into an Einstürzende Neubauten-light jam. At the music’s very essence, every track on the album is essentially a crescendo, and despite tracks like the most recently mentioned, which drastically changes its direction halfway through, the main structure involves simple loops that are then built off of with even more loops, creating the image of traditional bang-and-clank industrial performed by artists with a gauzy shoegaze mindset. It is this warm pleasant sensibility that makes You Can’t Win such an exciting, engaging, and unique album, which can appeal to both noise connoisseurs as a different perspective in the genre and novices that could use the album’s impressive textures as a gateway to the wider world that is noise music.

http://foreverescapingboredom.bandcamp.com/album/subversive-intentions-you-cant-win-c55

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noiZine

Subversive Intentions – 3 EPs
[ 2011]
genre: noise, ambient, drone, experimental

Subversive Intentions is a leftist experimental electronic harsh noise act from Brunswick Maine. Music is chaotic, atonal, arhythmic, collage of sound. If you like Merzbow, Orgy of Noise, Brighter Death Now,or Big City Orchestra chances are you like Subversive IntentionsSo he recorded an album in 12 hours as a challenge by a friend. He set out to record something ambient. He ended up with a ton of music, once he got started he just couldn’t stop. He has therefore decided to release it as an ep series. The first installment is called ‘The Sound and the Furnace’, which incorporates my initial vision of this release: capturing and manipulating the sound of my furnace firing. Its sort of an ode to winter.The second part is ‘The Shape of the Basement’. All tracks on this volume are improv noise. Nothing further was added after the initial recording, and only minor editing was done. All sounds were captured using a contact mic, these are amazing little devises that everyone should own.

‘Winter’s Wounds’the last EP is much more heavily produced. He went back and recorded saxophone, bass, anddrums to a couple tracks. Experimental sounds that could be really interesting if you give them a try. Listen and download for free via artists web pages

the Eps

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Which Way To The Beats
Monday, February 21, 2011
Subversive Intentions – 12 Hour Recording Challenge (Album Review)
Subversive Intentions was challenged to create an album in 12 hours, the following three EPs were the results.

Subversive Intentions – The Sound And The Furnace

Starts with a long, dragged out track of simple guitar tones. Sticking with the style of minimalism and ambiance, it gets a bit more appealing towards the end, or at least the tracks are shorter. The reference to the furnace also starts to become more apparent as the EP ends with a very calming machine humming white noise and space sounds.

Subversive Intentions – The Shape Of The Basement

Raw, improv sounds captured with the use of a contact mic. Very minimal noise. My guess, based on the title of this one, would be that the sounds were made with regular household items, or to be more precise, things that were already lying around in the basement, such as soda cans.

Subversive Intentions – Winter’s Wounds

Slow, cold ambiance with saxophone, drums, noise and hypnotic bass lines. Although it is the last in the sequence, it is probably the best bet as a stand alone album if you do not have the patience to dive into all 3 EPs. The most interesting and complex of the three, this is what it all builds up to…

Downloads available at subversiveintentions.bandcamp.com (or click the links above to go directly to the album downloads)
Posted by Kaye Rottingham at 10:59 PM
Labels: ambiance, download, music, noise, review

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Which Way to the Beats Blog Review

Subversive Intentions – Celebrity Death Fest

Taking cheapshots at celebrities takes no effort and some would argue the same about noise. However, Subversive Intentions does offer up some interesting listening of weird minimal ambiance and experimental looping sounds. Some tracks caught my attention, others seemed to drag on a bit too long and I might have accidentally left Billy Mays Cocaine Craze on loop for 30 minutes before I realized the track is not supposed to be that long. Celebrity Death Fest is available as a free download on the Subversive Intentions site.

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The Online Underground Review August 2008

this is a review of material I wrote under the moniker Small Sketch Notebook

Small Sketch Notebook: The Hobbyhorse” • myspace.com/smallsketchnotebook

Good idea: a collage featuring a backdrop of original music onto which text — by German Dada theorist and surrealist poet-performer Hugo Ball — is projected via one of the preloaded voices in Mac’s speech software. A sneaky, appealing facet of “The Hobbyhorse” is the way Small Sketch Notebook (Nick Dentico) cues the listener to believe the mechanized voice is delivering a predictable, easily disregarded, expository text. But if you pin your attention to that voice, you discover the text is just as vital as the music — the latter a dark matrix of stringed-instrument patterns, synthesized tones from deep space, and fast-shimmering waves of tremolo guitar. The total effect might be even greater if Dentico remixed the voice two notches louder. Rich overtones emerged when I read the text (in a blog entry on SSN’s Myspace page) while listening. Best of all would be to get more — but not absolutely all — of it straight in the ear.

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