Controlled Bleeding finally announces its first proper complete studio album since 2002’s Can You Smell The Rain Between (Tone Casualties). With the enigmatic full title of Larva Lumps and Baby Bumps, and featuring incredible cover paintings by artist Gregory Jacobsen (also of Lovely Little Girls). The album will be released on Toronto-based Artoffact Records on double vinyl and double CD in August.
Larva Lumps is a startling record: it somehow flawlessly mixes industrial noise and prog rock into a beautifully stream-of-conscious work that is at once fairly brutal and lovingly serene. The opening piece, Driving Through Darkness, could be the title of a pop-ballad, until you realize the actual meaning of the word ‘driving’; jumping out at you seemingly in medias res, the album and track crash thru a minute of jazz-improv and clicking bass that give way to a delightful guitar, before grabbing you again on the road to darkness. The second track, Carving Song, is an industrial monster that sounds like the spawn of Test Dept. and Cubanate, and the epic, 22-minute long closer The Perks of Being a Perv, an instrumental throbbing piece of industrial-meets-prog confusion, is breathtaking.
Both vinyl and CD come with an album of bonus material, out-takes from the Larva Lumps sessions that both label and artists felt were far too strong to keep off the release. The bonus material was engineered by famed New York producer Martin Bisi (Swans, John Zorn, Boredoms, White Zombie, Bill Laswell, Foetus).
The 2CD comes in a lovely digipak. The 2LP edition is housed in a beautiful gatefold, and a bonus, collector’s item version on swill green.
Originally formed nearly 40 years ago in 1978, New York-based Controlled Bleeding remains one of the most hard to classify and avant-garde experimental projects. The band’s output ranges from brutal noise to eclectic industrial, from avant-jazz to prog-rock, and their works have appeared on Tone Casualties, Wax Trax, Broken Flag, Soleilmoon, Sub Rosa and more. Controlled Bleeding today is Paul Lemos, Anthony Meola, Mike Bazini, and Chvad SB.
Hey everyone! I’m happy to announce that my new solo album “Phenomenalism, Cartesian Doubt and Bomb #20” is OUT TODAY on Silber Records! It’s a weird record folks. It pulls inspiration from sci-fi films like Forbidden Planet, Darkstar and Saturn 3. It’s a giant krell patch on crack. The entire 73 minute long track is a self-playing composition that manages to stay within some sane musical boundaries while at the same time going to some odd places I, as a human, would never willingly go to. You can get the download OR you can get a really awesome commemorative button pack (shown below) that comes with the record AND an access code to view a special “Phenomenalism, Cartesian Doubt and Bomb #20” VIDEO by video artist William Laziza. The video, like the music, is entirely self-generating responses to the music in ways you’ve simply never seen. It’s awesome and you get to download that when you grab the buttons!
I kept a running blog during the last feature long score I composed for GUT and so I figured I’d do the same here. I like the idea of sharing thoughts along the way and whatever issues I end up dealing with while trying to create something meaningful and effective for a film.
Like GUT, Aylais written and directed by my long time friend and collaborator Elias and I’m really looking forward to this one. GUT was finished a while back and it’s nice to have a new large scale project to go into. We’re all a little more seasoned than we were before and I get a great feeling about this movie being a real success. I think it’s going to be good. I’ve read the script and it’s great. The poster art by Mike Pappa shown here is also super inspiring. The Kickstarter for the film has launched and if all goes well we will soon be on our way to making this thing a reality.
When reading GUT I’d originally imagined a score similar to something that Fabio Frizzi would have done for Lucio Fulci in films like The Beyond or Walter Rizzati’s work on House by the Cemetery. When I saw early cuts of the movie I knew immediately that none of those initial ideas would have worked. For a later re-release of the film LoveCracked (now The Horror of H.P. Lovecraft) I’d be able to hit on those classic Italian horror themes a little but not as much as I’d have liked. I only mention this because I now realize that regardless of the script, that’s the music I just imagine regardless of what I’m reading. I could listen to that stuff forever but I just don’t know if it will ever fit into anything I get put on my plate. So despite those ideas creeping into my mind while reading Ayla I doubt they will see the light of day. BUT! I DO have some great ideas in mind that I think will work… and more on that in the next entry! Until then, check out the Kickstarterpage for Ayla and if you feel so inclined, contribute and help out with the film seeing the light of day!
Succede, a volte, che un paio di etichette si associno per supportare il fatto che due band abbiano deciso di fare un disco insieme. E’ il caso, per esempio della Old Bicycle Records e della Off Records (la prima svizzera, la seconda belga) che, uniti gli sforzi, hanno permesso agli italiani Sparkle In Grey (capeggiati da Matteo Uggeri) di condividere lo spazio di un disco insieme agli storici Controlled Bleeding (guidati da Paul Lemos). Succede poi, che questo lavoro, Perversions Of The Aging Savant, sia decisamente bello e intrigante. Capisci allora, che, nonostante i tempi che corrono, non tutto è ancora perduto. Continue reading Iye Zine – Controlled Bleeding “Perversions of the Aging Savant” (2015, split)
Vergangenes Jahr konnte man auf der Facebook-Seite Controlled Bleedings einen Post von Paul Lemos lesen, in dem dieser das Ende der Band verkündete, zu frustriert schien er darüber zu sein, dass das Publikum die vielen musikalischen Ha(c)kenschläge nicht (mehr) mitzumachen schien. Kurz darauf verschwand dieser Post wieder und nun melden sich Controlled Bleeding mit einer Split-CD mit Sparkle In Grey zurück, auf der man den Eindruck hat, mit den hier versammelten Tracks wolle Lemos zeigen, dass er sich um Erwart(ungshalt)ungen und Kohärenz noch immer nicht schert. Continue reading African Paper – Controlled Bleeding “Perversions of the Aging Savant” (2015, split)
“Perversions of the Aging Savant” è un’opera atipica, qualcosa che supera il concetto stesso di split album, inteso come semplice progetto parallelo, per proporre un doppio viaggio all’interno di una dimensione sonica oscura e connotata da una forte densità onirica. Il tempo del disco è il terreno su cui si gioca il dualismo tra gli statunitensi Controlled Bleeding e gli italiani Sparkle in Grey, in un esperimento che riesce nell’intento di comporre in una visione simmetrica due esperienze musicalmente diverse benché sostenute dalla medesima attitudine sperimentale. L’album è strutturato in due distinte sezioni intitolate The Perks of Being a Perv e The Rant of the Idiot Savant. Ognuna delle due bandsuonauna sezione dell’album che costituisce una diversa prospettiva di osservazione dei recessi dell’inconscio e delle inquietudini umane. Continue reading Distortioni – Controlled Bleeding “Perversions of the Aging Savant” (2015, split)
Split Alben haben seit jeher einen eher schlechten Ruf. Zu oft wird die Resterampe der beteiligten Bands geplündert und ein eher halbherziges Produkt auf den Markt geworfen, was kein Mensch benötigt. Von einer echten Zusammenarbeit der beteiligten Bands ganz zu schweigen. Umso spannender war die Ankündigung, dass die US-amerikanischen Noise-Pioniere CONTROLLED BLEEDING mit den italienischen Post-Rock Größen SPARKLE IN GREY eine gemeinsame Veröffentlichung planen. Stilistisch könnten beide Bands auf den ersten Blick kaum weiter voneinander entfernt sein. Continue reading Stormbringer – Controlled Bleeding “Perversions of the Aging Savant” (2015, split)
The new Controlled Bleeding release “Perversions of the Aging Savant”, a split with Sparkle in Grey, is AVAILABLE NOW. This is the first Controlled Bleeding release featuring Paul Lemos and Chvad SB collaborating together. 7 new tracks from Controlled Bleeding and 5 new tracks from Sparkle in Grey! From haunting melodies to pulverizing noise and everything in between, this release covers a vast sonic territory. Get details HERE!!!!
Controlled Bleeding & Sparkle in Grey “Perversions of the Aging Savant”
An album cover displaying a drawing of a little pooch looking lost and worried in a post-nuclear landscape (by cartoonist Richard Sala) sets you up for a bad time from the get-go. And Crickets Were the Compass does indeed open by howling like an air raid siren, with lone guitar notes seeking somewhere to flee. His liner notes however indicate that the theme motivating Chvad SB (of Controlled Bleeding among many other things) is rooted in far more personal loss, and each track aches a little more than the one before.
The six painstakingly constructed pieces – broad, abstract electronics, ridden with strife, that range from under five minutes to almost a quarter of an hour – seem to contain slowly burning anger, as well. It could be self-loathing or it could be directed at the world, or at her. Revenge fantasies or self-destructive behavior. There is a ray of hope, though; above the worst machine-gun report of emotion (“People Keep Asking and I Say You´re Well”), an auspicious melody arcs discreetly but magnificently.
The story: While working at The Nightmare Mansion in Virginia Beach, VA. (a mostly year round haunted attraction then called The Haunted Mansion) there was a girl that came by the Mansion a few times. She had red hair, the sides shaved with a grid like pattern and a ponytail. I can’t remember her name or if I even knew it. The name Pineapple Headgirl got tossed around the place in reference to her. I can’t remember who came up with the name first. This track is a response to that. I later did a character/comic called Mr. Smileyface Headman. I thought maybe there’d be a “head-something” theme somewhere at some point but it never really progressed farther than that. I did create an animation for this around the same year. If I ever find it I’ll post it here.
Tech details: I didn’t have a guitar yet so the “guitar” in this is an organ sound from a Kawai K-1 synthesizer run through the guitar preset on a Boss SE-50 effects processor, the drums are from the Boss Dr. 220e and it was recorded on a Yamaha MT-120 four-track.
It was only natural that Joe Badon would make his Terra Kaiju comic. A story of love, sacrifice, & revenge inspired by the giant monster & samurai movies that Joe grew up on. Silber is pleased to be part of his story with the soundtrack for his baby, Kaiju Temple.
What would the fitting sounds be for giant monsters? For us, clearly experimental noise. Varying from drone to caustic, aggressive to soothing, familiar to unworldly, the sounds simultaneously reflect the individual visions of the contributors & the larger vision of Terra Kaiju. Read the comic, listen to the soundtrack, & be completely immersed in a world of giant monsters, desperation, & hope.
Featuring: Small Life Form, Chvad SB, Goddakk, IANTH, Clang Quartet, Dathon, Electric Bird Noise, Baptizer, Bryce Eiman, Emperor Sumo, M is We, Mhek, Blues Alias, Llarks, Promute, The Band That Wouldn’t Die, Northern Valentine, Remora
Chvad SB’s latest is five tracks in five minutes and it’s flat out not as good or interesting as 2014’s Cricket’s Were the Compass.
‘Followed By One’ has a lonely, lost, open feel; ‘Untouchable One’ throbs with sinister, alien intrigue; ‘Four’ is a dark, backwards ocean; ‘Three’ holds a sense of vague menace, like a deserted truck stop at four in the morning; and ‘Missing Sprout’ is reverb, delay, pedals and a guitar. They’re actually all reverb, delay, pedals and a guitar – a fact I have no real issue with, it’s just that, for an artist who’s been creating soundscapes for the past two decades, I suppose I had expected something more interesting. It’s not the duration, it’s the lack of depth.
I can only assume, based on the title (“aliquot” is defined as “a portion of a larger whole”) that these five tracks/minutes are the initial phase of something greater and, hopefully, more nuanced. As it stands, Outside the Shadow of an Aliquot Tree is too paltry a taste of a meal I’m not really sure I want to eat.
The US based experimental-drone creator Chvad SB released a new EP on the 16th – Outside The Shadow Of An Aliquot Tree.
Silber Media, whose artists regularly feature run an occasional series called five by five. Which challenges creators to produce five songs lasting a total of five minutes.
As those will are familiar with Chvad SB from fairly frequent appearances, tracks often extend to over a quarter of an hour. In a different concept entirely – in one minute – Three, which is the fourth of the five tracks on Outside The Shadow Of An Aliquot Tree, is available on bandcamp.
The latest in Silber Records’ 5in5 series comes from experimental music pioneer Chvad SB. On offer are 5 ambient drone tunes each going for exactly 1 minute. There are some interesting sounds explored with a rich atmosphere. There is the field like rural sounds of Followed by one, the heavy industrial sounds of Three, and the dark spooky Missing sprout.
The trouble is the songs’ extreme brevity don’t bode well for the ambient style of the music. With only 1 minute they all finish before they really get going and thus fail to really achieve the feeling of an audio journey. Instead it feels like just a teaser of what could be.
Overall this is quite a good effort as far as a 5in5 challenge goes. It feels like the limit of 5 minutes holds the tracks back a little, nevertheless this acts as a great preview of the band’s capability!
Check out Silber Records’ website to find out more!
Un exercice de style peut être stérile, pompeux, fat, vain, en somme dispensable. Mais cela peut également être un challenge, ainsi que le propose le label Silber Records aux aventureux : 5 titres en 5 minutes, du speed dating musical en somme. Créer une vibration propre, un univers et le faire partager en minutes.
Ici, Chvad SB se livre à des variations autour de sa guitare. Enfin avec. Les notes suspendues accrochent l’oreille en décrivant des atmosphères désolées, lunaires, emplies de mystères et d’ombres profondes. Les échos tremblent et laissent deviner ce qui se passe au loin.
Tout en suspension, ce moment constitue une bonne mise en bouche et donne envie de s’intéresse à l’œuvre de son auteur, ce qui est l’objectif a priori de l’entreprise.
Today we have another selection from North Carolina based Silber Records’ imaginative 5in5 series, that sees the label challenge bands to make five songs with a total playtime of five minutes. Outside the Shadow of an Aliquot Tree, by the artist Chvad SB, features ambient guitars, that weave alluring melodies over minimalist synth pads. The effect is as soothing as watching a late night snowfall by a warm fire. Stream and buy Outside the Shadow of an Aliquot Tree at the link below.
The new Chvad SB E.P. Outside the Shadow of an Aliquot Tree is now available on Silber Records! As a part of Silber’s 5 in 5 series… this E.P. is 5 songs in 5 minutes and it’s only $1.00 or free to stream! In contrast to 2014’s Cricket’s Were the Compass’ synthesizer dominated landscapes, Outside the Shadow of an Aliquot Tree is entirely composed of guitar passages varying from soothing & meditative to menacing & unnerving. Grab it or listen to it HERE: http://www.silbermedia.com/chvad-sb/Outside-the-Shadow.shtml