Trevor Brown. His stuff is... to use a Neil Gaiman phrase, "upsettling," and not always in a palatable way. Although I think that's the point. He did a lot of work for groups like Whitehouse and (as you can see) Venetian Snares.
^ A very worthy inclusion. I had never heard of this fellow before, but now I am surely going to check him out.
Speaking of ritualistic night musick:
These are the first two tracks of an album composed entirely on human bones. Setting that fact aside, this is still a wonderfully eerie, alien-sounding recording.
I really like that second one. The melody is highly reminiscent of certain late-period Coil tracks, what with the abundant descending Locrian scale figures. Which reminds me...
This song is markedly less (obviously) sinister on a sonic level than the previous tracks, but the ambiguous and incredibly bitter lyrical content definitely has an unsettling edge to it. The slow melodic build simply adds to the tension as the song goes on.
It's odd that I hadn't posted this one earlier. I suppose that it slipped my mind. Anyway, this album is quite the oddity: A truly surreal hybrid of tense post-punk, Dada sound experiments and ambient industrial dread. The fact that it manages to be thoroughly alien while still having recognisable instruments (and not being something like The Residents) is a feat in and of itself.
This song is, as far as I can tell, based around the climax of the film of the same name. If you know anything about the film in question, or the events that it was based on... well, yes.
Another master among the mad and depraved that some of you should already be well aware of. This track, in particular, is simply harrowing: A death mantra of five lines over an unrelentingly brutal and atmospheric background.
I realised that up to this point, this thread has seen a dearth of Ramleh. I shall rectify this.
Some explanation for the uninitiated: Ramleh were originally the power electronics project of a thoughtful, angry young Newcastle guitarist/vocalist by the name of Gary Mundy, who decided to offend a lot of people with tracks about genocide, exaggerated fascist rhetoric and general dickery—mainly to subtly make fun of Maggie Thatcher and actual fascists. When this started to get old (mainly because too few people actually got the joke), the music began to shift from pure noise to something... weirder, with the free improv elements of the earlier material half-mutating into Krautrock jam elements. Add on-off Whitehouse fixture Philip Best on vocals and electronics and the rhythm section of Skullflower, and you get instant industrial hell-rock gold.
Not everything that Ramleh released is great, but most of it is utterly terrifying, and I think that's a plus overall. Sadly, their classic stomper "Pristine Womankind"—Philip K. Dick references, ahoy!—is not on YouTube, but the raging evil of "Eight-Ball Corner Pocket" is, so there's that.
Final has a Bandcamp now. The early albums seem to be missing, but all the newer stuff is right here: https://final1.bandcamp.com/
To the unacquainted, Final was Justin Broadrick's first project, originally formed when he was 13. It began as a power electronics outfit of sorts—this early material can be heard on various compilations and the last track on the first album—but there was, from the outset, a dark ambient orientation that came to the fore when Broadrick revived the project years later. He coined the term "isolationism" (in a musical context) to refer to what he was doing with this project, and that certainly sums it up.
Oh, and here's a really long live track. It's appropriately desolate, and the cover to the album is splendid.
Comments
youre on a fucking boss run of music atm please keep this thread alive forever
all the children are dead is actually probably the best vsnares track
if i may make a contribution
its 2am here and this track is terrifying me a lot
Final has a Bandcamp now. The early albums seem to be missing, but all the newer stuff is right here: https://final1.bandcamp.com/
To the unacquainted, Final was Justin Broadrick's first project, originally formed when he was 13. It began as a power electronics outfit of sorts—this early material can be heard on various compilations and the last track on the first album—but there was, from the outset, a dark ambient orientation that came to the fore when Broadrick revived the project years later. He coined the term "isolationism" (in a musical context) to refer to what he was doing with this project, and that certainly sums it up.
Oh, and here's a really long live track. It's appropriately desolate, and the cover to the album is splendid.
I do remember that one of them is Coil's "Blood from the Air", which I can easily find another upload of.