Sneer's Emporium of Sound (lyric, blues, bass, psychedelic, punk)

Sneer · 01-07-2009, 11:41 AM

25

Part Chimp
I Am Come

1. "Bakahatsu" - 1:33
2. "War Machine" - 3:21
3. "Hello Bastards" - 3:37
4. "Do You Believe In Waiting To Die" - 2:38
5. "Punishment Ride" - 4:45
6. "Bring Back The Sound" - 3:30
7. "Dr. Horse Part Two" - 3:29
8. "Fasto" - 3:03
9. "I am Come" - 4:20
10. "30 Billion People" - 6:05
11. "A****a No Bakahatsu" - 3:45

One of the loudest bands ive ever heard, and that is no overstatement. With all instruments turned up to the absolute optimum, this is an album which aurally attacks you, but in a good way.

It begins with Bakhatsu, a barrage of distortion and feedback.

Before your brain can reacclimatize itself to its surroundings the driving opening riff to War Machine grabs hold of it will not let go - that is until the song explodes into a cacophony of drums, distorted bass and feral guitar work - by which point theres nothing left to hold. The quiet-loud dynamic is used to powerful effect here, offering brief resbites in the verse as Tim Cedar screams I WAS BORN IN A WITCHES CAULDRON, before the song again comes crashing in around your ears.

The next song, Hello Bastards, is built upon one of the heaviest riffs you are ever likely to hear. It literally explodes out of the speakers, engulfing you in haze of noise which is strangely soothing.

This is an album which to some may sound like an endurance exercise. It really is an acquired taste. The sheer loudness and level of distortion is, at times, uncomfortable. Yet the band arrange their songs in simple structures that manage to attain a sense of accessibility. They implement quiet-loud dynamics to great effect, one minute the album will literally recede to a tiny, barely heard pluck of guitar strings before exploding into an onslaught of noise.

It is also an album set out perfectly. When you think its becoming too intense and relentlessly loud, suddenly a quiet intro or interlude will intersect, before again crunching into chaos.

Regardless of the sheer ferocity of this album, it is laden with riffs and hooks that will bring a big smile to your face, or perhaps more accurately, incite the biggest erection of your life. It is a masterful piece in evoking mood and tension, the imperious Do You Believe In Waiting To Die slowly building in intensity as Tim Cedar questions life and his fear of death - before it literally rips your face off with its ending. Fasto, equally, is 3.50 minutes of insurmountable agression.

There are of course, weaknesses, the end song for one is unlistenable, distortion taken to the absolute extreme, whilst there isnt too much variation or diversity present on the album at all.

Yet if you're looking for an album that will melt your brain, get the heart racing but also leave you feeling strangely calm afterwards, this is it.

Dr_Rez · 01-14-2009, 07:09 PM

Quote:

Originally Posted by Stu

25

Part Chimp
I Am Come

1. "Bakahatsu" - 1:33
2. "War Machine" - 3:21
3. "Hello Bastards" - 3:37
4. "Do You Believe In Waiting To Die" - 2:38
5. "Punishment Ride" - 4:45
6. "Bring Back The Sound" - 3:30
7. "Dr. Horse Part Two" - 3:29
8. "Fasto" - 3:03
9. "I am Come" - 4:20
10. "30 Billion People" - 6:05
11. "A****a No Bakahatsu" - 3:45

One of the loudest bands ive ever heard, and that is no overstatement. With all instruments turned up to the absolute optimum, this is an album which aurally attacks you, but in a good way.

It begins with Bakhatsu, a barrage of distortion and feedback.

Before your brain can reacclimatize itself to its surroundings the driving opening riff to War Machine grabs hold of it will not let go - that is until the song explodes into a cacophony of drums, distorted bass and feral guitar work - by which point theres nothing left to hold. The quiet-loud dynamic is used to powerful effect here, offering brief resbites in the verse as Tim Cedar screams I WAS BORN IN A WITCHES CAULDRON, before the song again comes crashing in around your ears.

The next song, Hello Bastards, is built upon one of the heaviest riffs you are ever likely to hear. It literally explodes out of the speakers, engulfing you in haze of noise which is strangely soothing.

This is an album which to some may sound like an endurance exercise. It really is an acquired taste. The sheer loudness and level of distortion is, at times, uncomfortable. Yet the band arrange their songs in simple structures that manage to attain a sense of accessibility. They implement quiet-loud dynamics to great effect, one minute the album will literally recede to a tiny, barely heard pluck of guitar strings before exploding into an onslaught of noise.

It is also an album set out perfectly. When you think its becoming too intense and relentlessly loud, suddenly a quiet intro or interlude will intersect, before again crunching into chaos.

Regardless of the sheer ferocity of this album, it is laden with riffs and hooks that will bring a big smile to your face, or perhaps more accurately, incite the biggest erection of your life. It is a masterful piece in evoking mood and tension, the imperious Do You Believe In Waiting To Die slowly building in intensity as Tim Cedar questions life and his fear of death - before it literally rips your face off with its ending. Fasto, equally, is 3.50 minutes of insurmountable agression.

There are of course, weaknesses, the end song for one is unlistenable, distortion taken to the absolute extreme, whilst there isnt too much variation or diversity present on the album at all.

Yet if you're looking for an album that will melt your brain, get the heart racing but also leave you feeling strangely calm afterwards, this is it.

Well I will definitely give this a listen tonight and report back to you shortly.

Piss Me Off · 01-15-2009, 08:57 AM

Quote:

Originally Posted by RezZ

Well I will definitely give this a listen tonight and report back to you shortly.

Really do, i'm creaming over it right now.

Dr_Rez · 01-15-2009, 01:20 PM

Quote:

Originally Posted by Piss Me Off

Really do, i'm creaming over it right now.

I would like to also but having trouble finding it.

Sneer · 01-15-2009, 01:21 PM

If you can wait a day or two i'll have it upped for you

Dr_Rez · 01-15-2009, 01:25 PM

Quote:

Originally Posted by Stu

If you can wait a day or two i'll have it upped for you

That would be great thanks.

Sneer · 01-21-2009, 12:41 PM

20

The Plot To Blow Up The Eiffel Tower
Dissertation, Honey

"Exhibitionism" – 1:02
"Sometimes I Wish I'd Lost a Leg" – 1:33
"One Stab Deserves Another" – 2:49
"Funeral Procession" – 1:28
"For Marcus" – 2:53
"Johnny, You're All Grown Up" – 2:12
"Her Health Violation" – 1:37
"Attached to the Hip" – 3:12
"Circuit" – 1:51
"It's in His Kiss" – 1:37
"Comeback 1968" – 1:19
"Safety is Of" – 2:33
"Monotonous" – 1:25

Sadly, this band split up in 2006, but fortunately their brief existence spawned two great albums. Many prefer Love In A Fascist Brothel, indeed i thoroughly recommend it, but for me this is the better album. The reason for this is primarily the fusion of punk and jazz i feel is more apparent here than on their latter work.

The album begins and ends with poetry excerpts from Kailani Amerson, but in between this calm reflection is 30 minutes or so of uncontainable energy and aggression. The strength of it is its unpredictability. One minute the album will burst into a flurry of power chords and fuzzing bass lines before suddenly, without warning, receding into a slow, sanguine jazz improv with a sax solo... before again exploding with punk intensity.

The band were known for their confrontational, wild live shows. This is conveyed perfectly on the album. There is an urgency and desperation, evident in songs such as For Marcus and Safety Is Of..., that underpins the entire duration of the piece. Consequently, you cant take your ears off of it as it twists, weaves and at times pummels its way through post-punk, spazzcore and all out noisecore influences.

Yet for those thinking this album sounds like a melieu of different styles and genres meshed into one, incoherent, disorientating whole, you'd be incorrected. Yes, its intense, yes its unpredictable, but there is a maturity both in the songs and the layout of the album as a whole. Complex time signatures, purposefully placed jazz resbites and at times an accessable,well choreographed pop sensibility (listen to Attached To The Hip for a great pop song drenched in a punk aesthetic) make this album hugely rewarding to the listener IMO.

01-07-2009, 11:41 AM	#1 (permalink)
Sneer Let it drip Join Date: Nov 2004 Posts: 5,397	25 Part Chimp I Am Come 1. "Bakahatsu" - 1:33 2. "War Machine" - 3:21 3. "Hello Bastards" - 3:37 4. "Do You Believe In Waiting To Die" - 2:38 5. "Punishment Ride" - 4:45 6. "Bring Back The Sound" - 3:30 7. "Dr. Horse Part Two" - 3:29 8. "Fasto" - 3:03 9. "I am Come" - 4:20 10. "30 Billion People" - 6:05 11. "A**a No Bakahatsu" - 3:45 One of the loudest bands ive ever heard, and that is no overstatement. With all instruments turned up to the absolute optimum, this is an album which aurally attacks you, but in a good way. It begins with Bakhatsu, a barrage of distortion and feedback. Before your brain can reacclimatize itself to its surroundings the driving opening riff to War Machine grabs hold of it will not let go - that is until the song explodes into a cacophony of drums, distorted bass and feral guitar work - by which point theres nothing left to hold. The quiet-loud dynamic is used to powerful effect here, offering brief resbites in the verse as Tim Cedar screams I WAS BORN IN A WITCHES CAULDRON, before the song again comes crashing in around your ears. The next song, Hello Bastards, is built upon one of the heaviest riffs you are ever likely to hear. It literally explodes out of the speakers, engulfing you in haze of noise which is strangely soothing. This is an album which to some may sound like an endurance exercise. It really is an acquired taste. The sheer loudness and level of distortion is, at times, uncomfortable. Yet the band arrange their songs in simple structures that manage to attain a sense of accessibility. They implement quiet-loud dynamics to great effect, one minute the album will literally recede to a tiny, barely heard pluck of guitar strings before exploding into an onslaught of noise. It is also an album set out perfectly. When you think its becoming too intense and relentlessly loud, suddenly a quiet intro or interlude will intersect, before again crunching into chaos. Regardless of the sheer ferocity of this album, it is laden with riffs and hooks that will bring a big smile to your face, or perhaps more accurately, incite the biggest erection of your life. It is a masterful piece in evoking mood and tension, the imperious Do You Believe In Waiting To Die slowly building in intensity as Tim Cedar questions life and his fear of death - before it literally rips your face off with its ending. Fasto, equally, is 3.50 minutes of insurmountable agression. There are of course, weaknesses, the end song for one is unlistenable, distortion taken to the absolute extreme, whilst there isnt too much variation or diversity present on the album at all. Yet if you're looking for an album that will melt your brain, get the heart racing but also leave you feeling strangely calm afterwards, this is it. __________________ LastFM Sneer's Emporium of Sound Fright Team radio show** Last edited by Sneer; 01-07-2009 at 12:22 PM.

01-15-2009, 01:21 PM	#5 (permalink)
Sneer Let it drip Join Date: Nov 2004 Posts: 5,397	If you can wait a day or two i'll have it upped for you __________________ LastFM Sneer's Emporium of Sound Fright Team radio show

01-21-2009, 12:41 PM	#7 (permalink)
Sneer Let it drip Join Date: Nov 2004 Posts: 5,397	20 The Plot To Blow Up The Eiffel Tower Dissertation, Honey "Exhibitionism" – 1:02 "Sometimes I Wish I'd Lost a Leg" – 1:33 "One Stab Deserves Another" – 2:49 "Funeral Procession" – 1:28 "For Marcus" – 2:53 "Johnny, You're All Grown Up" – 2:12 "Her Health Violation" – 1:37 "Attached to the Hip" – 3:12 "Circuit" – 1:51 "It's in His Kiss" – 1:37 "Comeback 1968" – 1:19 "Safety is Of" – 2:33 "Monotonous" – 1:25 Sadly, this band split up in 2006, but fortunately their brief existence spawned two great albums. Many prefer Love In A Fascist Brothel, indeed i thoroughly recommend it, but for me this is the better album. The reason for this is primarily the fusion of punk and jazz i feel is more apparent here than on their latter work. The album begins and ends with poetry excerpts from Kailani Amerson, but in between this calm reflection is 30 minutes or so of uncontainable energy and aggression. The strength of it is its unpredictability. One minute the album will burst into a flurry of power chords and fuzzing bass lines before suddenly, without warning, receding into a slow, sanguine jazz improv with a sax solo... before again exploding with punk intensity. The band were known for their confrontational, wild live shows. This is conveyed perfectly on the album. There is an urgency and desperation, evident in songs such as For Marcus and Safety Is Of..., that underpins the entire duration of the piece. Consequently, you cant take your ears off of it as it twists, weaves and at times pummels its way through post-punk, spazzcore and all out noisecore influences. Yet for those thinking this album sounds like a melieu of different styles and genres meshed into one, incoherent, disorientating whole, you'd be incorrected. Yes, its intense, yes its unpredictable, but there is a maturity both in the songs and the layout of the album as a whole. Complex time signatures, purposefully placed jazz resbites and at times an accessable,well choreographed pop sensibility (listen to Attached To The Hip for a great pop song drenched in a punk aesthetic) make this album hugely rewarding to the listener IMO. __________________ LastFM Sneer's Emporium of Sound Fright Team radio show