So The Qualia has a new album!! Ok, it’s actually an EP but it’s super unique… we went upstate to hide out in a barn in Medusa NY for a weekend and brought tons of shit with us. Recording gear, cameras, lights, instruments… dogs. Everything. We set out to capture the energy this band has when playing together live and we completely nailed it. No sequencing, no retake after retake… this is us and I think we sound damn awesome. Special thanks to Tim Durland for recording us that weekend, to Will McCutcheon for shooting the whole affair and of course Lars Casteen for making it all happen.
Gut (2012) film/Bluray thoughts… This choice for my COEURS NOIRS closer might be confusing to some, as it it always promoted as a horror film. The truth is Gut, directed by Elias is a psychological horror/neo-noir. One of my favorite indie films in years, Gut recently had it’s Bluray debut and I wanted to give it a once over again. Continue reading Magnificent World of Dave K, The – Chvad SB “GUT” (2016)
Sempre tenaci Paul Lemos e soci. Dopo l’interessante split dello scorso anno con gli Sparkle In Grey tornano con questo nuovo doppio album e non si accontentano, dato che mettono in circolo pure la ristampa di un vecchio e ormai mitizzato lavoro, l’esordio per la Broken Flag, Distress Signals (in due versioni, i collezionisti più incalliti sono avvisati, il tutto fa parte inoltre di una più articolata operazione di reissue). Nel frattempo sono cambiate molte cose, ovviamente, e la loro discografia si è fatta via via impressionante, dunque maneggiarla tutta è davvero dura: il suono si è fatto meno monolitico rispetto agli esordi ma non ha perso mordente, anzi, proprio grazie alle forze fresche dei compagni di Lemos, risulta all’ascolto sempre parecchio abrasivo e all’occorrenza evocativo (“Driving Through Darkness”), velocizzato a dovere (“Return Of The Quiet”), anche oggettivamente a rotta di collo, come nel caso della violenta “Trawler’s Song”, una sintesi riuscita tra urgenza punk e slanci progressive rock. Larva Lumps And Baby Bumps, oltre ad avere una copertina piuttosto disturbante, riesce nell’intento primario, credo, di farsi ascoltare (al netto di una durata corposa, si supera infatti l’ora di esercizio), tanto da permettersi il lusso di battere strade più melodiche senza perdere in credibilità (“As Evening Fades”, ad esempio, mentre è meno riuscito l’arrangiamento di “Trang’s Song”). Il mestiere serve a qualcosa, insomma…
Continued Uncategorization: Controlled Bleeding’s history goes back to the early 80’s, and if you’re brave enough to attempt headway through their confusing discography, both as Controlled Bleeding and various offshoots, then you’re much more patient than we are and you probably like mapping things out in flowcharts. Though, if you don’t and you want to get to know this band better, you’d better start liking them, and fast. As exhibited over the course of four decades, a Controlled Bleeding full-length consists of various distinct styles, and within those styles are further explorations on a variety of musical themes. Larva Lumps and Baby Bumps is a two dic package with disc one being driving, industrialized soundscapes mixed with rhythmically martial progressive rock. Bands often featured on Tzadik and Subharmonic labels like Praxis and John Zorn himself make up the meat of this disc with the 22 minute, four part closer “The Perks of Being a Perv” acting as a crowning achievement of factory floor inspired calamity and metallic guitars. The second disc takes its gestation from a vivisection and combination of free jazz, dub, and noise rock with a leaning towards instrumental pieces and “Trawler’s Song” summoning the ghost of Nine Inch Nails’ past.
Review by; Kevin Stewart-Panko
Review originally published in Outburn #86
Controlled Bleeding have run the gambit over the course of their 30+ year career. To say that the Boston based act is eclectic is a gross understatement. Controlled Bleeding cull from Industrial, ambient, experimental, free jazz, post-punk, noise, rock and dub genres to create their unique sound. The band issued their latest offering at the tail end of summer. The new album titled; ‘Larva Lumps and Baby Bumps’ IS unlike any album that I have heard ever. Continue reading Metal Titans – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
Background/Info: Controlled Bleeding was set up in the late 70s. The band hailing from New York rapidly became an influential name at the experimental- and industrial music scene. They’ve released an impressive discography, but this new studio-work can be easily considered as a milestone in their career. “Larva Lumps & Baby Bumps” is the first new studio-album since 2002! Founding member Paul Lemos remains the captain of the crew while he’s assisted by another ‘old’ member Anthony Meola plus Mike Bazini and Chvad SB. This is a double album featuring a total of 12 tracks. Continue reading Side-Line Magazine – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
Paul Lemos has been releasing experimental albums through the Controlled Bleeding moniker since 1985. Fans of groups such as Swans and Coil also recognize Controlled Bleeding as a pioneering act in this ilk. “Experimental” is a catch-all phrase that not only denotes non-traditional compositions but also stylistic combinations. Controlled Bleeding’s “Larva Lumps and Baby Bumps” shows Lemo stirring an electro stew of industrial, prog rock, jazz, and metal. The 2CD digipack album features a ton of harsh, layered noise to melt listeners’ brains. Continue reading Metal Underground – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
Chvad SB is a composer and experimental musician. He performs in the bands Controlled Bleeding, The Qualia, and Tongue Muzzle. He also composed the score for the independent horror movie called “GUT.”
Controlled Bleeding is one of the longest-running and most influential experimental music bands around (having to date released over 30 albums). They are most well known for their Wax Trax period (starting with the EP Songs From The Grinding Wall. Founding members Paul Lemos and drummer Tony Meola teamed with Chvad and Mike Bazini to create their most recent release “Larva Lumps and Baby Bumps”
I included a song from “Larva Lumps and Baby Bumps” on my “Soldier Girl Driving” #Spotify Playlist which started the conversation between Chvad and myself that resulted in this interview (Twitter magic at work).
Josh: I really enjoyed the new album, let me give you a chance to let you say whatever you would like people to know about it.
Chvad: I’m really just relieved that people dig the record. Response overall has been really positive and I was definitely more than a little stressed out about that. I’ve released a lot of music and I certainly don’t mind criticism… that’s part of the package when you record and release material. I was worried about crapping all over a well-established and credible artistic gesture. That gesture being Paul’s work with Controlled Bleeding and his previous collaborators. I listened to Bleeding in High School and those records were a big deal to me. I didn’t want to be the new guy that ruined the band. Fortunately, that doesn’t seem to be the case. Continue reading On Pirate Satellite, interview with Chvad SB (2016)
Controlled Bleeding Discusses New Album “Larva Lumps And Baby Bumps”
Controlled Bleeding is a name synonymous with experimental music that crosses any and all boundaries – if you think you know weird, get ready to redefine your definition!
The band just returned with “Larva Lumps and Baby Bumps,” released at the end of August via Artoffact Records.
With the album out now, we checked in with Paul Lemos (guitarist/co-founder) to hear more about the eclectic mix of industrial, progressive rock, jazz and heavy metal on display.
xFiruath: OK, so that’s a fabulously weird-as-fuck album title. Is there any specific meaning behind the phrase and is this a “concept album” so to speak with a connected theme across the songs?
Paul: For me there is a unity to the five pieces that make up “Larva Lumps.” Although there is no underlying concept to the music, the record provides a sort of aural journey, climaxing with the 23 minute “Perks of Being A Perv” which spirals out of into the void by the time it’s over.
xFiruath: When were these tracks for “Larva Lumps and Baby Bumps” written and what was going on in your life that inspired their construction?
Paul: The five tracks that make up the first disc were put to tape at various points during the past four years, in the aftermath of the deaths of my two long time band-mates, Joe Papa and Chris Moriarty. I was left in a musical limbo and did nothing for a few years until I picked up my guitar and stated playing with my old friend, drummer Tony Meola. We had not played together in more than 25 years, since our days at CBGB, way before the recording of “Knees And Bones” (the first C Bleeding album recorded in 1983), and I hadn’t touched a guitar in very long time. We had no intention of forming a band, and were just fucking around, jamming in a rehearsal studio.
After a couple of months, playing with a series of bass loops, we started sounding good, and invited keyboardist Mike Bazini down to fill in the sound. The results were exciting, so we decided that this would be the new incarnation of Controlled Bleeding, a pretty haphazard, premature decision. We simply went out and played, as we had in the studio, jamming to these endlessly repetitive loops. We played a bunch of gigs at DIY dumps in Brooklyn, local barbecues etc… just having some fun, but no one much enjoyed what we were doing. Finally, the project disintegrated, but the idea of playing to loops, playing our balls off just as we had years ago, survived and took shape in the recordings on “Larva Lumps.” Continue reading Metal Underground, Paul Lemos Interview, Controlled Bleeding (2016)
Larva Lumps and Baby Bumps Is the Overture for a New Era of Controlled Bleeding
There is much to admire about a band that’s been around for forty years with seemingly countless releases that touch on almost every conceivable genre. But more than anything else, Controlled Bleeding deserve admiration for their devotion to their whims. In 1990, the band released Trudge on the famous Wax Trax! label. Rather than exploiting this visibility with more industrial dance music, Controlled Bleeding followed up with collections of peculiar dark ambient music (Golgotha, 1991) and excruciating power electronics (Plem Bag Spattered, 1990).
This is how it goes with Controlled Bleeding. Examining their catalog, and taking into account the various side projects that tend to include the same personnel, it’s impossible to ever say exactly what kind of music it is that Controlled Bleeding make. As Paul Lemos, the last core band member still alive, has said, Controlled Bleeding’s sound is essentially whatever he “deems it to be.” In interviews, Lemos has offered various explanations for the band’s stylistic itinerancy: short attention spans, low tolerance for boredom, or lack of technical skill. However, this self-effacement is undermined by the fact that Controlled Bleeding are completely reliable, never failing to craft interesting music of high quality no matter what genre they choose to attack. Continue reading Heathen Harvest – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
I don’t really review music here at The Rotting Zombie, mainly because I know virtually zero about it and I find that music more than anything is extremely subjective. Larva Lumps and Baby Bumps is the latest album from Controlled Bleeding who formed in 1985 and over the years have dipped into many different genres, this is their first album since 2002.
I wouldn’t say this music is horror focused at all really, I received an email from a PR guy with a link to the album and to my sheer embarrassment I promptly forgot about it until I received a follow up email a few weeks later. This review comes from my guilt at having forgot to reply to the initial message. Larva Lumps and Baby Bumps as the blurb describes it is ‘an eclectic mix of industrial, progressive rock, jazz and heavy metal influences’. Over two sides there are 12 tracks, most of these are around 6 minutes in length though the side one finisher The Perks of Being a Perv is a meaty 22 minutes in length that was an experience to get though, at times it reminded me of a boss battle theme from the Silent Hill videogame. Continue reading Rotting Zombie, The – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
Larva Lumps and Baby Bumps
Release Date: August 26, 2016
Founded by Paul Lemos in 1978 Controlled Bleeding is a band that commands respect. With a near literal ton of releases, the band are probably best known to the masses as a pioneering industrial band, although they have never stuck exclusively to that style. In addition to a series of reissues, the band is also offering up a double-disc of all new material entitled Larva Lumps and Baby Bumps.
Every once in a while, an album comes along that is intensely hard to describe and this is certainly it. One moment it’s ambient and fluid and five minutes later it’s challenging every ideal you have about music. Disc 1’s 22:30 journey “The Perks of Being a Perv” is probably the best example of this. It flows in and out of heavy, industrial guitars to distant, pulsating, effects laden soloing. The last roughly one-third of the song is dissonant scaling to an oompa backdrop. On paper, nothing in this song should work but it’s the tune I find myself returning to over and over again. Continue reading 1340mag – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
Paul Lemos of Controlled Bleeding interviewed about “Larva Lumps and Baby Bumps”
“Larva Lumps and Baby Bumps” marks the first full new album since 2002 from Long Island-based experimental band Controlled Bleeding. A double album, it contains a unified set of 5 pieces (‘Larva Lumps’) as well as a set of more primal instrumentals (‘Baby Bumps’). Controlled Bleeding emerged in the late 70’s with founder Paul Lemos as the only consistent member. For much of their career, the group was rounded out by Chris Moriarty and Joe Papa, both of whom have since passed away. Larva Lumps and Baby Bumps emerged from Lemos solidifying relationships with new collaborators, again taking Controlled Bleeding into new musical directions. In a phone interview, Lemos discussed the new album and Controlled Bleeding’s long career.
It’s been a while since there was a full new Controlled Bleeding album. What factors inspired you to return now with “Larva Lumps and Baby Bumps”?
“I don’t feel that I ever really stopped working on Controlled Bleeding music. I would always take long breaks, to find my bearings again. Because you start getting into a rut, and you start playing the same things. Sometimes by leaving it, you find new inspirations. I’d been doing different projects, such as compiling different archival things. For example, there was a box called ‘Songs from the Sewer of Dreams’ that came out in Germany, and that had one side of completely new music on it. And then ‘Odes to Bubbler’ had new work on it. So it’s been coming out in a more fragmented fashion. The inspiration, I suppose, is just kind of solidifying a relationship with two new collaborators and being inspired again by their input. This is a new record, but some of the music dates back five years ago.” Continue reading Chaos Control Digizine, Paul Lemos interview, Controlled Bleeding (2016)
The Gregory Jacobsen cover wrapping this double album is a thing of warped beauty, but in no way prepares you for the flash flood of fret gymnastics it contains. An opener that literally takes your breath away, “Driving Through Darkness” is bloody brilliant, all hot proggy curves and carbolic rubs with a satisfying Pere Ubu-like underbelly chugging away all superconductive, combustive and ravenously hungry. A reactive tangle that daisy-chains the dexterous, tugs at your brainbox, dances in your head like those blue-skinned aliens of Star Trek. Things briefly tapping the serene in lovely and delicate touch-points, before burning up on über-kraut-fuelled re-entries. Continue reading FREQ – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
US band CONTROLLED BLEEDING has been a feature of the US music scene for more than three decades, and especially in the first 20 or so years of their existence they were a prolific band on most levels. For the past decade or so they have been relatively quiet though, but they have now marked their return with the double album “Larva Lumps and Baby Bumps”, which was released through Canadian label Artoffact Records in the late summer of 2016.
The US experimental-music creator Chvad SB was introduced a couple of years ago. His latest release Phenomenalism, Cartesian Doubt and Bomb #20 (available on bandcamp), although only a one track single is best heard when you have plenty of time to wrap yourself in the contusions as it lasts for over seventy three minutes.
Created by using feedback loops made, not by computer or human input, rather by a modular synthesizer. Phenomenalism, Cartesian Doubt and Bomb #20 was a concept first considered back in 2014 and took four months to complete the recording. Despite being randomly generated loops the track has a hauntingly hypnotic organic sound.
Some of the systems art of the late 1960s and early 1970s—for example, Sol LeWitt’s modular lattice sculptures or Mel Bochner’s number grids—embodied a certain regularity of form. A systematic regularity, one might say. A basic element might be repeated at constant intervals or an input sequence subjected to a defined operation. By contrast, some other systemic artworks—integral serialist compositions, for example–produced surfaces of unpredictable, irregularly occurring events from an underlying set of rules. In either case the systems generating the artworks featured a certain autonomy requiring little or no ongoing oversight from the artist. Chvad SB’s Phenomenalism Cartesian Doubt and Bomb #20, a long piece for modular synthesizer, leverages carefully crafted feedback loops into a soundwork that essentially plays itself.
With its collection of fragmentary musical gestures, Phenomenalism sounds something like the pointillist serial works of the mid-20th century—it’s possible to hear in it a refigured echo of Milton Babbitt’s compositions for the RCA Mark II synthesizer of the early 1960s, for example. Like those compositions, Phenomenalism aggregates individual pitch sequences and timbres into a kaleidoscopic sound of playful unpredictability. Also like those compositions, the pleasure of the surface sounds requires no knowledge of the systems underlying them.
Despite album artwork that seems to channel Heath Robinson, or Henrique Alvim Corrêa’s HG Wells illustrations, sonically this experimental album is firmly routed in the 1950’s, citing the 1956 soundtrack to “Forbidden Planet” as an influence and sounding very akin to early BBC Radiophonic Workshop pieces.
The single 73-minute piece is programmed, in the sense that it is generated by a series of rules and loops rather than in the more common sense of programming a synthesizer. It’s difficult to spot these patterns though, and the ‘lead’ element strongly sounds like a human being noodling experimentally on an old analogue synth in a freeform jazz style. Despite apparently being entirely generated by patterns, recognisable musical patterns are difficult to spot in the output, to the extent that I’m not completely convinced that it was algorithmically generated; I could easily believe that somebody performed this live, but that’s not to its detriment. The progression throughout is very subtle and slight, and again it feels more organic than mathematical.
There’s an accompanying video “response”, which encompasses the whole work and which may or may not be available online (it’s unclear whether this will be made public). While the audio may have strong roots in the 1950’s, the video belongs in the 1980’s- cheesy kaleidoscope effects, strobing video feedback loops, plasma balls and Amiga-generated graphics combine to create a visual that reacts to, but fails to compliment, the audio. The video element is expendable.
The album however is a really listenable, extremely retro-facing experimental work and a marvellous way to chill out.
Perennial Long Island noise-rockers return with their first album in 14 years, as detailed and cacophonous as they’ve always been.
Since their 1983 debut Knees and Bones, the Long Island-based Controlled Bleeding’s 30-plus albums have spanned a dizzying array of genres including noise, industrial, no wave, prog, psych, dub, and jazz (just to name a few). Likewise, Larva Lumps and Baby Bumps—the band’s first album since 2002, and also their first since the deaths of key members Chris Moriarty and Joe Papa—cuts a wide swath through musical styles. But at this stage of a four-decade career defined by relentless exploration, it would be too easy for Controlled Bleeding to rest on the audacity of its kitchen-sink mentality alone. Continue reading Pitchfork – Controlled Bleeding “Larva Lumps and Baby Bumps” (2016)
Welcome, kiddies… Since I took no part in choosing this album for review, I have to imagine that out esteemed editor saw the track titled “The Perks of Being a Perv” and knew that I would make an immediate personal connection. I would ask him to provide evidence for such a vulgar assertion, beyond the fact that, yes, I totally dig this stuff. But not for the reasons you think, dammit.
Larva Lumps is a sublime (if disconcerting) ride through the avant-garde mashup of rock, noise and jazz. While much of the music is strongly guitar driven, Larva Lumps never deigns to employ accessible rock tropes. Rather, Controlled Bleeding wander through a diverse, stylized and highly abstract terrain built from alternately abrasive and calming performances, all of which play out in tight, repetitive patterns that seek a trance-state even at its most shrill.
Swans fans may find a lot of common language here, though that’s not to say that CB sound really sound anything like Swans of any era. In its frequent active moments, Larva Lumps is close kin to John Zorn’s recent Simulacrum trio, with its perpetually hot guitar soloing and hard-rocking percussion. On “A Evening Fades”, the album cools off and floats on exotic melodies and synthetic atmospheres. Then there’s “The Perks of Being a Perv”, 23+ minutes of noisy bluster and unrestrained experimental fervor with several distinct moments. It’s an uncompromising statement, and your expectations have no place in founder Paul Lemos’ vision. Accept or be churned under. Which, I guess, makes this pretty damn metal.