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Podcast Episode 421: June 23, 2019 (guest artist Joseph Allred)

Episode #421 of Brainwashed Radio: The Podcast Edition is live featuring guest artist Joseph AllredJoseph Allred

Although the third full-length LP by this episode's guest is out on Feeding Tube July 5th, Joseph has a number of cassette and digital-only releases through the self-run Meliphonic Records. We discuss and listen to music from the other albums and also briefly discuss Joseph's version of "Idumæa," recorded multiple times by Current 93. Other music this episode comes from Benjamin Finger, Schnitt, Zoe Reddy, and She Keeps Bees.

photo of Joseph by Howard Stelzer


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Forced Exposure New Releases for week of 6/24/2019

New music is due from UnicaZurn, Sarah Davachi, and Consumer Electronics, while old music is due from Harry Bertoia, Yutaka Hirose, and Galaxie 500.

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Nurse With Wound with The James Worse Public Address Method, "The Vursiflenze Mismantler"

cover imageIt has been a hell of a long time since Nurse With Wound last surfaced with a proper new album on United Dairies, but 2019 is looking to be an uncharacteristically prolific year with the epic Trippin' Music looming on the horizon.  In the meantime, however, there is the endearingly strange The Vursiflenze Mismantler, which pairs Steven Stapleton and Andrew Liles with Australian vocal artist James Worse.  It is very hard to imagine an artist more attuned to NWW's surrealist whimsy than Worse, as he is best known for his poetry crafted almost entirely from made-up and nonsensical words.  Louis Carroll's "The Jabberwocky" is the obvious and unavoidable reference point with Worse's "Worsicles," but his poetry only escapes the gleeful mutilations of Stapleton and Liles on one piece here.  The rest of the album is a Dada-esque collage of chopped, digitized, and gurgling vocal sounds that occasionally coheres into some unlikely and delightful grooves.

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Big Blood, "Strange Maine 11.04.06"

cover imageCaleb Mulkerin and Colleen Kinsella’s Big Blood project has consistently been one of the most delightfully unique and life-affirming bands in the American underground over the last decade or so.  Admittedly, their major releases have been increasingly prickly, weird, and experimental in recent years, which likely explains why the duo are not nearly as appreciated as they should be: the current era is definitely not the easiest entry point for the curious.  Prior to the run of ambitious concept albums that kicked off with 2013's Radio Valkyrie, however, the duo self-released quite a transcendent run of brilliant songs on homemade CD-Rs.  It is not an exaggeration to say that the ramshackle back porch psychedelia of those early years yielded some of the most beautiful songwriting that my ears have ever heard.  This 2006 release is where that hot streak first began, preceding Fire on Fire's brief but wonderful lifespan on Young God Records by a year.  How they managed to be the driving creative force between two great bands at once is beyond me, but Mulkerin and Kinsella managed to churn out at least four stone-cold masterpieces in the span of two years and this was the first of them.

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Jim Haynes, "Inconclusive"

cover imageCompared to the last two albums I have heard from the always-fascinating Jim Haynes, this new tape features him pushing his penchant for rusting, decaying sounds into a slightly new direction. Always one for tactile, crackling sounds and unsettling noises, Throttle and Calibration and Flammable Materials From Foreign Lands were colder, sparser affairs that heavily featured field recordings and a distinct sense of isolation.  Inconclusive, however, is a more commanding and forceful cassette.  Besides featuring Haynes back into chaotic, harsher noise territories, it also shows him working in more rhythmic, vaguely industrial and power electronics sounding contexts as well.

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Robert Turman, "Flux"

cover imageRecently reissued for the second time on Spectrum Spools, Robert Turman's Flux is widely regarded to be one of the most unique and essential releases to emerge from the ‘80s cassette underground.  Originally self-released back in 1981, Flux was Turman's solo debut after a brief tenure in NON's earliest incarnation, but the only common ground the two projects share is a general fondness for tape loops and vintage exotica.  Nearly four decades later, Flux's tender, bleary, and hiss-soaked minimalism no longer feels particularly radical, but the passing of time has done nothing to diminish the album's simple and gently hallucinatory beauty.  Flux casts quite a lovely and hypnotic spell, conjuring an aesthetic that lies somewhere between Andrew Chalk and a dream set in an ancient Buddhist temple.

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Limbs Bin, "Blast Anthemics For A New Generation Of Ecstatic Youth"

cover imageGleefully jumping between noise, grindcore, power electronics, and just plain bizarreness, Josh Landes’s Limbs Bin is the premier noise artist of Pittsfield, Massachusetts, and with releases such as this 7" it is not hard to see why.  The components of Blast Anthemics for a New Generation of Ecstatic Youth are pretty standard:  feedback electronics, drum machine blast beats, and a healthy helping of yelling.  It is the way Landes mixes these together, however, along with an appropriate amount of silliness, which makes this single stand out.

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Benjamin Finger, "Into Light" and "Pleasure-Voltage"

cover imageKeeping up with Benjamin Finger’s tireless work ethic in recent years has been an increasing challenge for me, but it has been a worthwhile one, as he manages to maintain a consistently high level of quality and sometimes surprises me with an especially inspired detour or two.  Also, his trail of recent releases is not unlike a fun scavenger hunt, leading me from one cool small-press label to another.  In the case of Into Light, that small-press label is Berlin’s Forwind and the album is a solid example of Finger's warmly hallucinatory dronescape aesthetic.  Pleasure-Voltage, on the other hand, falls into the "inspired detour" category, as Finger debuts an unexpectedly muscular trio with avant-garde violinist Mia Zabelka and extreme music super-producer James Plotkin.  The latter album, released on another Berlin label (the eclectic and adventurous Karlrecords), is the more significant by virtue of being unlike anything else in Finger’s discography, but both releases have their share of bright moments.

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Junkie Flamingos, "Lemegeton Party"

cover imageConsisting of three distinct artists whose other projects are all rather different, Junkie Flamingos is not quite what I would call a supergroup, but instead a three part collaboration that reflects the artists' distinct styles, but in a singular presentation.  Featuring Alice Kundalini's electronics and vocals (of death industrial project She Spread Sorrow) and music from electronic artist Luca Sigurtá and Daniele Delogu from the folk tinged Barbarian Pipe Band.  The sound of Lemegeton Party makes sense, with layered, noisy synths, processed vocals, and dramatic bombast, and it all comes together as a challenging and fragmented record, but with a catchy, pleasant sounding undercurrent.

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Chop Shop, "Primer"

cover imageActive for over 30 years but with a relatively small discography, Scott Konzelmann's Chop Shop has made a career of releasing only the utmost quality works, although they have largely been in unconventional formats and extremely limited editions.  Primer collects two of his earliest works, 1987's Power Pieces Positive Force and 1989's Scraps, albeit in slightly modified forms, and gives them the deluxe treatment, not only resulting in a higher profile for the releases (since vinyl is the most important format these days it would seem), but also giving wider exposure to these important, extremely difficult to find early works.

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The Eye: Video of the Day

Charlene

YouTube Video


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Review of the Day

David Maranha, "Noe's Lullaby"
Rossbin
David Marhana, known for his work with his brother Andre as the duo Osso Exotico, here presents a new composition that seems equally as informed by Swans and Godspeed You Black Emporer! as by minimalist classical music. Throughout the "Lullaby"s hour (nearly) of music, several patterns cycle over and around each other. The content of each is taken from (melo?)dramatic rock music; a steady bass drum kick, three succinct high-hat hits, a peel of guitar feedback. There's no mistaking the oppressive death-rock gloom that hangs over the work, with rhythmic bass thud anchoring it to an unchanging pace. Images of guitar distortion pedals (most notably a DOD pedal, conspicuously marked "Heavy Metal"), 1/4" guitar cables and a snare drum serve to hammer home the RAWK connotations. Yet, despite the many references to what might be percieved as an energetic or cathartic genre, the music does not evolve or build to any climactic noise; rather, all of the elements present at its beginning of the CD make appearances several times, and then "Noe's Lullaby" simply ends. The composer includes the phrase "to play LOUD" (caps are his) in the sleeve text, but the music isn't loud-sounding at all. So volume doesn't seem to affect the music very much (I resent a composer telling me how to listen to his or her music, anyway). Neither is it particularly narcotic, as its title implies. I tried going to sleep to it, but the threat of a big loud climax, while never actually arriving, seemed possible at every moment.

 


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