Sunday, December 28, 2014

Secret Boyfriend - (2015) They're Playing Themselves 2xCS

Ryan Martin’s Secret Boyfriend project (a singer, songwriter and noise artist from Carrboro, North Carolina) is described in typically verbose terms as “heart-rending but hard-edged synthesis of downer folk, small hour tape experiments, noise etudes and basement-mildewed pop for edgeland fuck-ups, wanderers and malcontents”. Martin’s music is a post-hypnagogic expression of the lo-fi rock tradition (as originally pioneered by the likes of Jim Shepard, Peter Jefferies, The Dead C, et al.). Much like those artists, he creates grainy home recordings that cut across a number of styles, in the process extinguishing the distinctions between song and sound collage, self-expression and sonic experimentation. Listeners will be exposed to guitar-driven slowcore, harsh drone, Giallo pastiche, primitive synth-pop & intimate experimental.
 "When I make music I go into -I don't want to say a dream state, but maybe a world that exists in my own mind where it's a little bit creepy, I guess."
 "I looked up and saw, if you can imagine, an invisible man walking with black paint splashed on his upper abdomen and thighs. I've never experienced anything malevolent, only weird things. I'm not sure if I believe in intelligent entities or if it's just a weird lingering energy, like the memory of a place."
"It works for some people, but I like hearing things that are all over the place, which to me makes them more personal."
"I like the physical aspect of performing—it creates a feedback loop where you're choking on something and the more uncomfortable you get, the more it influences the sounds. Ideally, I'm getting sort of personal and raw," he says. "I'm not a private masochist, just a public one. It's an externalization of whatever's going on with you, not a grim thing."
"There's a hollowness or maybe like an apocalyptic kind of mood, where you go outside and things aren't quite right, kind of desolate. Maybe it seems like it's daylight and 3 a.m. There are people with maybe no faces creeping in your periphery." 
"All these horrific monkey creatures with human faces crawling down from the trees, overpowering everything. Or being in this room full of invisible people sleeping, where you can see the dust rise off their bodies when they breathe. I recognize them as nightmares, but I'm also like, 'That's so fucked. That makes me feel so weird. I love it.'" 

Wednesday, December 10, 2014

Draveng - (2013) ST CS

All Hell ‎– AH-10
Is Dr{aveng
of Los Angeles
deadly rays break through
my flawed biohazard suit
i wont stop dancing

Saturday, January 11, 2014

MRR Record Of The Week (24 Oct 2013):


Hardcore as folk art; an American youth report…
Here is an LP that forms a look back at the end of the world with stark lyrics evoking Rudolph Wurlitzer, like incursions into desolate American landscapes and mindsets. It’s hard not to invoke clich├ęs when discussing the sounds on this record; “pummeling,” “relentless,” “charging,” all words that make me think of the delivery of a TV sports journalist or someone discussing factory machinery in motion or something. Brutal music for intolerant hardcore fans, with vocals rendered in a bestial fashion over encrusted, treated guitars and an unrelenting rhythm section.
You probably already have an opinion in regards to HOAX; they are one of those bands that get written about by people that usually don’t notice hardcore. Hardcore, of course, doesn’t need outside attention; it exists on its own terms until it no longer serves a purpose. Some bands attempt to make something that is more than a collection of easily noted influences, a totality of experience for the viewer/listener, something that transcends the endless array of underground records that will end up in the 99¢ bin, forgotten in five years by all but a few.
Does this record serve such a purpose?! I saw this band play in a cave right by the Pacific Ocean last month and listening to this LP doesn’t live up to that experience. I’ve listened to it everyday, usually whilst commuting to work, which is some sort of endorsement, although ultimately I don’t think legacy or longevity should be considerations in the MRR review section.
I’ve heard they made enough of these so everyone can have one, so don’t worry about limited edition freak-out sessions alone in your room in front of the computer. I also heard that this is their swan song. Who knows what HOAX’s fate is, or really cares; this is a time capsule for a certain sound/era of USHC, complete with a huge selection of posters by various artists and miscreants...