These two dudes have been on a roll in my "book" lately, Weirding Module runs the senseless empire label which released that Canopic Lidz tape that awkwardly rules, Arnau runs the Ozono Kids label that has been putting out awesome Angeldust, M Ax Noi Mach Records and running the barcelona noise scene. It's no that their recorded output, as you'd guess, is up to par.
The Weirding Module side is a continuation of the territory that he's been digging through, mucking up and re-wiring. Low repetitive bass lines loop and roll on top of each other like so many worms in a can, burbling and boiling in clean tones that are soo deep you almost lose a filling. This dream team is followed by a floor cleaner gleam on a super sharp drum machine loop that really lacks the warmth and presence of a synth, but it's a short walk alone as the beat carries on the whole side of the tape tormented, threatened and eventually subsumed by a wave of electronics and synths that whip and whirl about finally enveloping the beat as part of it's mermaid vomit sea algae jam, harsh and patient enough to soften glass.
Arnau's side is more a dentistry nightmare to the outerspace grease of the WM side. Thick electronic layering feels like a fuggin sonic weapon, all the while remaining warm. This side is also distinct from WM's with the presence of vocals. A lot of times, voices can be a hard match for the limitlessness of "noise" and as a result, at it's worst, can un-do all the hard work an artist has done to create something interesting, by grounding it, making it totally tangible and often times just a background to the voice. In the best case scenario, as is close here, the voice and the noise become the good cop/bad cop, or really, the bad cop / bad cop with the antagonism of the voice only becoming more palpable because of the shrill, skittish electronics teetering above you. This is well played out here especially at points where Arnau is practically whispering, like a stalker in the closet. Throw in some drum machines, gasping electronic and shortwave interference and you've got yrself a hot tape!
comes in real nice two color silkscreen on black paper, numbered to 100,
black tapes.
still available from the label:
http://www.senselessempire.com
Showing posts with label senseless empire. Show all posts
Showing posts with label senseless empire. Show all posts
CANOPIC LIDZ "Da da vinci code" c40 (Senseless Empire)
man! i don't know what you guys do on yr days off but me, i spend them browsing through old pen and pixel album covers on the internet or, if i'm alone, jamming a tape with one in my room unfolding the totally destroyed j-card in joy (is it still a j-card if it folds out 100 times, each with a different ad for a record you know probably never came out?). well, when i got this tape from senseless empire boy was i psyched, other than the deathbombarc cd, this is the first time i can think of cash money / no limit style art/aesthetic gracing the front cover of a 'noise tape.' now, don't get me wrong, it's not a 'bling-bling' affair with butts and diamonds in the sky and cadillac driving from beyond the grave. nope, the cover is just a sarcophagus, tut's, and some reggae-gradient background with the text across top and bottom, but it has that something special- that feel. you know?
the tape/music itself is sort of on another level, though the connection is still maintained through simple beats, mostly loops accompanied by keyboards/synths and some weird ass production choices. whereas Beats by the Pound would usually use cheap keyboards it seems Canopic has often eskewed the thrift store scores for more sophisticated equipment, a variety of synthesizers and unidentifiable electronics accompany the stuttering, staggering beats. Side A is a lot more of a rawkus affair, disjointed beats with heavy wheezing noises filling the voids and rearranging yr mind, the second side has a much "softer" feel, at times a hair away from a secret passion of mine, soft rock. though it never does get there and stays firmly in the 'gross sound' township.
This tape could have easily been a gem at a flea market, just imagine it on a fucked up old maxell, a 4-track demo made by some kid listening to old cabaret voltaire records, writing self-mutilation fantasy poetry, then going into his room and making these beats crying off his goth make-up at the thought of facing another day in this cruel world full of worthless humanity and his heavy all encompassing desolation (and his love of rap tapes from the american south in the early 90's).
full color art, spray-painted tape, in an edition of 100
still available from the label:
http://www.senselessempire.com
the tape/music itself is sort of on another level, though the connection is still maintained through simple beats, mostly loops accompanied by keyboards/synths and some weird ass production choices. whereas Beats by the Pound would usually use cheap keyboards it seems Canopic has often eskewed the thrift store scores for more sophisticated equipment, a variety of synthesizers and unidentifiable electronics accompany the stuttering, staggering beats. Side A is a lot more of a rawkus affair, disjointed beats with heavy wheezing noises filling the voids and rearranging yr mind, the second side has a much "softer" feel, at times a hair away from a secret passion of mine, soft rock. though it never does get there and stays firmly in the 'gross sound' township.
This tape could have easily been a gem at a flea market, just imagine it on a fucked up old maxell, a 4-track demo made by some kid listening to old cabaret voltaire records, writing self-mutilation fantasy poetry, then going into his room and making these beats crying off his goth make-up at the thought of facing another day in this cruel world full of worthless humanity and his heavy all encompassing desolation (and his love of rap tapes from the american south in the early 90's).
full color art, spray-painted tape, in an edition of 100
still available from the label:
http://www.senselessempire.com
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