Tuesday, November 24, 2009
Thursday, November 5, 2009
Boston Phoenix Feature
AIM LOW - "Our mantra throughout booking this was to make it the most negative show ever," says fest organizer Shane Broderick, arms raised at right, with Twodeadsluts Onegoodfuck
The return of the Northeast Noise and Power Electronics Festival
The return of the Northeast Noise and Power Electronics Festival
ByMatt Parish - November 5, 2009
Inside the dusty corner room of a dungeon-like warehouse basement, Karl Giesing dumps out a bag full of pedals, samplers, grimy cables, and homemade synth boxes. Their functionality seems questionable. Giesing, clad in black leather jacket, scratches his goatee, and it starts to come back to him.
Inside the dusty corner room of a dungeon-like warehouse basement, Karl Giesing dumps out a bag full of pedals, samplers, grimy cables, and homemade synth boxes. Their functionality seems questionable. Giesing, clad in black leather jacket, scratches his goatee, and it starts to come back to him.
“Shane Broderick did a backflip into my gear at the end of my last set. I’m not sure if any of it’s going to work.” Turns out everything’s fine when he plugs in — you can tell from the awful, tortured-livestock sounds suddenly bleating from his speakers. Crisis averted!
Performing as Karlheinz, Giesing plays a kind of music called power electronics, a well-worn format in experimental circles hated by plenty for its vicious noise, violent shows, and creepy lyrical content obsessed with murder, fascism, rape, and worse. There are no beats, no melodies; there’s nothing resembling a sing-along chorus. It’s Hell’s Angels without the bikes, horrorcore without the fans. “This is a very anti-social type of music.”
This weekend, the second annual Northeast Noise and Power Electronics Festival promises to cram into O’Brien’s and Jacque’s Cabaret the nastiest line-up of diseased audio spew imaginable. Locals like Karlheinz will bash heads with relatively world-famous pioneers like Consumer Electronics, Bloodyminded, and Strom.ec (from Finland), with bits of grindcore thrown in for good measure.
I meet with Broderick — who organized this edition along with Egan Budd’s Existence Establishment, and who’s headed the vile trio Twodeadsluts Onegoodfuck for almost 10 years — at his apartment on a quiet street in Medford. “Our mantra throughout booking this was to make it the most negative show ever,” he explains.
They’re off to a good start. The bill includes names like Anal Hearse and Vomit Arsonist. Broderick’s outfit is known (but not guaranteed) to strip naked, tackle audience members, and throw chairs. Others are reported to have used arc welders and tear gas on stage. Peter Sotos, a member of the British group Whitehouse, was once arrested on child-pornography charges (which were dropped), and he’s been known for decorating ’zines with swastikas. On top of all that, local anarchists Anal Cunt are playing. Seems like a miserable time all around.
Power electronics as a genre began when Whitehouse broke out in 1980, and it’s gone through remarkably little change since. It was brutal electronic noise on the heels of the industrial howl of bands like Throbbing Gristle and Einstürzende Neubauten, the last frontier of shock terror music. Scads of US and European bands followed suit, never breaking big but building tiny, fetishistic fan bases around the world. Power electronics is the end of the line, way out past the last vestiges of taste and sensibility. And it’s lonely out there.
Power electronics as a genre began when Whitehouse broke out in 1980, and it’s gone through remarkably little change since. It was brutal electronic noise on the heels of the industrial howl of bands like Throbbing Gristle and Einstürzende Neubauten, the last frontier of shock terror music. Scads of US and European bands followed suit, never breaking big but building tiny, fetishistic fan bases around the world. Power electronics is the end of the line, way out past the last vestiges of taste and sensibility. And it’s lonely out there.
I ask Giesing whether he or others in the Boston PE crew have been banned from anywhere. “In a sense, we’re banned from everywhere, because the club owners all think no one will come to see us.” This stuff was not designed to get fans — pulsing, churning growls forced from racks of electronics, mic feedback, vocalists barking and screaming. Over the phone from Chicago, Mark Solotroff, founder of Bloodyminded and the influential Intrinsic Action, puts the appeal bluntly. “I just want to see a good show. I want to be entertained, and I want to see something I can’t see at every show.”
Solotroff, who runs the label BloodLust and dabbles in freelance trend research for advertising agencies, has eased up on stage lately. “I don’t go out of my way to be mean anymore.” I ask whether it’s gotten any easier to reconcile a normal day-to-day life with one that involves walls of feedback, puking noise loops, and screaming songs like “Shotgun Held to Face by Severely Cross-Eyed Addict While Attempting To Remove Girlfriend from Known Drug House.” “When you’re at dinner with your parents and they want to know what you’re working on, you just kind of slump down in your chair, because those conversations never go well. There’s never been a point where this stuff has been socially acceptable.”I wonder whether that will ever change. “No,” Solotroff says. “And probably for good reason.”
Solotroff, who runs the label BloodLust and dabbles in freelance trend research for advertising agencies, has eased up on stage lately. “I don’t go out of my way to be mean anymore.” I ask whether it’s gotten any easier to reconcile a normal day-to-day life with one that involves walls of feedback, puking noise loops, and screaming songs like “Shotgun Held to Face by Severely Cross-Eyed Addict While Attempting To Remove Girlfriend from Known Drug House.” “When you’re at dinner with your parents and they want to know what you’re working on, you just kind of slump down in your chair, because those conversations never go well. There’s never been a point where this stuff has been socially acceptable.”I wonder whether that will ever change. “No,” Solotroff says. “And probably for good reason.”
THE NORTHEAST NOISE AND POWER ELECTRONICS FESTIVAL November 6 at Jacque’s Cabaret, 79 Broadway, Boston November 7-8 at O’Brien’s Pub, 3 Harvard Ave, Allston $25 21+ http://lasciviousaesthetics.blogspot.com for full line-up and ticket info
Wednesday, October 28, 2009
Apex Fest III - NYC
FRIDAY NOVEMBER 13 + SATURDAY NOVEMBER 14 2009
APEX FEST III [TWO DAYS OF DARKNESS]
featuring performances by
ADERLATING
APHELION
THE AUSTERITY PROGRAM
THE BIRD CAGE THEATER
CHAOS MAJIK
COREPHALLISM
GNAW
HECATE
RISE OF BECAUSE
SEWER GODDESS
STATIQBLOOM
STROM.EC
T-FAKTOR
UNEARTHLY TRANCE
THE VOMIT ARSONIST
XIPHOID DEMENTIA
dj sets by
JAMES PLOTKIN (KHLYST/JODIS)
LEECH (UNSOUND NYC)
TENEBRE (UNSOUND NYC)
ISADORA (UNSOUND NYC)
DARRYL HELL (HELL LAB/SK6)
SEAN RAGON (CULT OF YOUTH)
THE CHRONIC YOUTH DJSTHE BLACK OIL (215 NOISE)
ADMISSION IS $25 PER DAY OR $40 FOR BOTH DAYS
PRICE INCLUDES LIMITED FESTIVAL TSHIRT + POSTER
DUE TO VENUE CAPACITY, ENTRY IS STRICTLY LIMITED TO 50 TICKETS PER DAY FOR ADVANCE TICKETS: http://www.annihilvs.org/APEX_FEST_III
Friday, September 4, 2009
Northeast Noise & Power Electronics Festival
Lascivious Aesthetics & Existence Establishment Present:
NORTHEAST NOISE & POWER ELECTRONICS FESTIVAL ll
November 6th - Jacques Cabaret - Boston, MA
November 7th & 8th - Obriens Pub - Allston, MA
CONSUMER ELECTRONICS
PETER SOTOS
STROM.EC
BLOODYMINDED
EUGENICS COUNCIL
TWODEADSLUTS ONEGOODFUCK
JAPANESE TORTURE COMEDY HOUR
MARTIAL CANTEREL
ANAL CUNT
FIRE IN THE HEAD
YELLOW TEARS
THEOLOGIAN
KARLHEINZ
CATHODE TERROR SECRETION
SUFFERING BASTARD
COREPHALLISM
PHARMAKON
JOSH HYDEMAN
XIPHOID DEMENTIA
SHALLOW WATERS
SHARPWAIST
NURTURE ABUSE
STILLBIRTH
VOMIT ARSONIST
SEWER GODDESS
ANAL HEARSE
BEREFT
SCARD
Tickets will only be available at the door for Night 1
Tickets are on sale now for Nights 2 & 3 through:
Wednesday, September 2, 2009
Corephallism Reviews Continued...
HEATHEN HARVEST REVIEW:
Corephallism S/T 3"CD (Apop Records / Lascivious Aesthetics)
Corephallism is a solo project released by a member of the power electronics duo Twodeadsluts Onegoodfuck. This is a very short release (on a 3", professionally-created CD) with minimal artwork depicting a nude human body behind a veil. Over this is a well drawn black metal-style logo for Corephallism. The artist has a very particular control over sound that gives an impression upon the listener that this release has an intensely fetishistic importance to the creator of the sounds. Track one, "Speaking in Tongues," opens with a very eerie, Dr. Phibes-like and ominous keyboard/organ tone that reminds me of a visit that I once made to the Southern Jurisdiction Scottish Rite Masonic Temple in Washington DC. In the main temple chamber, where ominous stained glass windows get progressively clearer as they rise toward the peaked ceiling (culminating in a tiny ceiling window for the sun or moon to shine onto the altar during particular hours), there is a large organ that stands before the altar on a raised platform. As I passed by the platform, I was astounded to see that the musical book that lay open on the organ was titled "Famous Movie Music," as opposed to some sort of book of arcane ritual music. No greater an authority on the subject than Anton Szandsor Lavey himself once stated that he appreciates the sinister aesthetics of heavy metal and gothic styles in music, but that the truly Satanic music in the world would have easily repeatable melodies that readily embedded themselves into the listeners mind. Ironically, this automatically disqualifies the majority of music that readily identifies itself with the horned one and his dark minions. The music on this release is in its own realm, and a very personal one at that. I suppose what Lavey was getting at directly was that the Satanic intention within music would be best served by spreading the message of the creator to the widest audience possible. Also he was a man from a really different time period, and the idea of atonal or non-melodic music was something that he frowned upon and did not understand the appeal of. However, life goes on, and in the year 2009 people are putting out 3" digital compact discs with no catchy melodies, instead containing harsh and abrasive noise. And that brings us back to this release at hand from Corephallism. The lush and opaque mastering by Namanax's James Plotkin gives this disc an "oomph" straight out of the gate that sets it apart from many others within this genre. Overall, the music itself certainly can stand on its own in relation to that of its harsh noise peers, but with a strong melodic subtext that is easy to overlook on the first listen. This is definitely a release to hang on to and enjoy for some time to come, despite its brevity. Overall, the sound of Corephallism is that of the overwhelming uncertainty and dread of the universe and the powers around us that conspire to crush our very souls. This is a project to watch out for, and hopefully this guy is planning a full-length release of this stuff in the future because these are some fantastic sounds on here. In many ways, the exorcism/invocation of emotion that is common with noise and black metal-influenced artists is a form of modern tribal shamanism, and this release has a very serious and introspective feel that is quite effective. The vibe here is complete doom with no hope of redemption, thick and pulsating walls. Highly recommended.
THE NOISE BOSTON REVIEW:
COREPHALLISM - S/T 3” CD single (Apop Records/Lascivious Aesthetics)
This is someone’s soundtrack to a really, really bad day. The work of Shane Broderick, best known for his work in the noise project Twodeadsluts Onegoodfuck, Corephallism channels the inner demons and twisted conflict of both soul and psyche. These two brief snippets of electronics and noise evoke moods and conjure thoughts of someone about to commit a vile and violent act with no explanation or apology. A piece of music that can evoke such strong and dark imagery is either the work of a genius of no commercial potential, or someone who needs to be locked away before he disembowels your children with a salad fork. Either way, this CD is as compelling as it is repulsive, like a late night violent car crash on a dark highway.
Corephallism S/T 3"CD (Apop Records / Lascivious Aesthetics)
Corephallism is a solo project released by a member of the power electronics duo Twodeadsluts Onegoodfuck. This is a very short release (on a 3", professionally-created CD) with minimal artwork depicting a nude human body behind a veil. Over this is a well drawn black metal-style logo for Corephallism. The artist has a very particular control over sound that gives an impression upon the listener that this release has an intensely fetishistic importance to the creator of the sounds. Track one, "Speaking in Tongues," opens with a very eerie, Dr. Phibes-like and ominous keyboard/organ tone that reminds me of a visit that I once made to the Southern Jurisdiction Scottish Rite Masonic Temple in Washington DC. In the main temple chamber, where ominous stained glass windows get progressively clearer as they rise toward the peaked ceiling (culminating in a tiny ceiling window for the sun or moon to shine onto the altar during particular hours), there is a large organ that stands before the altar on a raised platform. As I passed by the platform, I was astounded to see that the musical book that lay open on the organ was titled "Famous Movie Music," as opposed to some sort of book of arcane ritual music. No greater an authority on the subject than Anton Szandsor Lavey himself once stated that he appreciates the sinister aesthetics of heavy metal and gothic styles in music, but that the truly Satanic music in the world would have easily repeatable melodies that readily embedded themselves into the listeners mind. Ironically, this automatically disqualifies the majority of music that readily identifies itself with the horned one and his dark minions. The music on this release is in its own realm, and a very personal one at that. I suppose what Lavey was getting at directly was that the Satanic intention within music would be best served by spreading the message of the creator to the widest audience possible. Also he was a man from a really different time period, and the idea of atonal or non-melodic music was something that he frowned upon and did not understand the appeal of. However, life goes on, and in the year 2009 people are putting out 3" digital compact discs with no catchy melodies, instead containing harsh and abrasive noise. And that brings us back to this release at hand from Corephallism. The lush and opaque mastering by Namanax's James Plotkin gives this disc an "oomph" straight out of the gate that sets it apart from many others within this genre. Overall, the music itself certainly can stand on its own in relation to that of its harsh noise peers, but with a strong melodic subtext that is easy to overlook on the first listen. This is definitely a release to hang on to and enjoy for some time to come, despite its brevity. Overall, the sound of Corephallism is that of the overwhelming uncertainty and dread of the universe and the powers around us that conspire to crush our very souls. This is a project to watch out for, and hopefully this guy is planning a full-length release of this stuff in the future because these are some fantastic sounds on here. In many ways, the exorcism/invocation of emotion that is common with noise and black metal-influenced artists is a form of modern tribal shamanism, and this release has a very serious and introspective feel that is quite effective. The vibe here is complete doom with no hope of redemption, thick and pulsating walls. Highly recommended.
THE NOISE BOSTON REVIEW:
COREPHALLISM - S/T 3” CD single (Apop Records/Lascivious Aesthetics)
This is someone’s soundtrack to a really, really bad day. The work of Shane Broderick, best known for his work in the noise project Twodeadsluts Onegoodfuck, Corephallism channels the inner demons and twisted conflict of both soul and psyche. These two brief snippets of electronics and noise evoke moods and conjure thoughts of someone about to commit a vile and violent act with no explanation or apology. A piece of music that can evoke such strong and dark imagery is either the work of a genius of no commercial potential, or someone who needs to be locked away before he disembowels your children with a salad fork. Either way, this CD is as compelling as it is repulsive, like a late night violent car crash on a dark highway.
FOXY DIGITALIS REVIEW:
Ah, tablecore. We’ve come accustomed to it by now, haven’t we? Still, I like this release. Corephallism is the project of Shane Broderick (mastered by none other than James Plotkin) and it delivers what it promises: ye olde death industrial[ism] and power electronics—and he does it well. I appreciate the brevity of this 3” CD, for brevity is the soullessness of wit. Borne from the “precise” use of analog synths and tape manipulations, Broderick ostensibly grapples with mental illness. Well, don’t we all. I like to call it the context of Amercan life, while others call it abnormality. Meh…fuck them. The strengths of this brief recording are in its subtle phasing and tonal sweeps juxtaposed with abrupt changes, and while there’s nothing particularly new here it’s hard to deny that, if you’re into the necropsy of audio, you’ll probably love this. The first track is intriguing, combining sacred allusions and tossing them around with some flagrant psychodrama, while the second and final journey dramatizing drowning along with a great display of phrasing. Then, the female vocals emerge, crying, out of either despair or pain or god-knows-what. That’s up to you. 7/10
Saturday, August 29, 2009
COCK E.S.P. / TDSOGF SPLIT
COCK E.S.P. / TWODEADSLUTS ONEGOODFUCK
SPLIT CASSETTE C-4 / EDITION OF 100
Lascivious Aesthetics is proud to announce the release of the highly anticipated Cock E.S.P / Twodeadsluts Onegoodfuck Split Cassette. This is a split between two of the most infamous and notorious extreme noise acts to ever come out of the United States. Twodeadsluts Onegoodfuck offers "Red And Brown" a blasting track of relentless lawnmower synth grind and vicious screaming. Cock E.S.P. counters with 'Gaping Massholes" a two minute masterpiece of beautiful layered feedback and well executed harsh noise. A limited edition of 100 Pro-Duplicated Cassettes with found photo collage artwork designed by the members of tdsogf.
$6ppd (US) / $7ppd (World) - Paypal: shanebroderick@msn.com
Friday, August 28, 2009
Peter Sotos Confirmed
Peter Sotos has been added to the line up of this years Northeast Noise & Power Electronics Festival. Ticket information will be annoucned shortly.
"Child abuse is a sublime pleasure. All the great exremes, genital torture, forced unlubricated rape, butchering; all these pleasures and more reach their pinnacle when the victim is a small child. The orifices are extremely tight and usually virgin, an absolute joy to mangle, rip and violate. The pained screams ring more shrill, more impassioned, unhampered from years of growing up fat and jaded. Virgin territory brings the fresh cries and intense reactions of crushed and forever retarded innocence. There is an added pleasure in child torture, a pleasure that lives on even after the child lay dead and rotting. Parents. The pain of the parents allows the libertine to forever enjoy his crimes. Little kidlings are precious to parents, their lives become meaningful and important because of the little bundle of love that bounces on their knees. Their grief and sense of loss is immense when their tiny gifts from god are destroyed, Their entire lives crumble and break. An excruciating pain that becomes omnipotent as the child's memory is rendered burdensome due to the brutality and masterful eloquence of the dominant. "
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