Chvad SB cameos as the drooling psycho crawling on the floor…
The new issue of QRD is up and features a new interview with Chvad SB. Check it out here:
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, Ayla is 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 Kickstarter page 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.
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!!!!
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.
Review by; Stephen Fruitman
“Harrowing Nurses”, the new side project pairing Chvad SB and Josh Conley, have released their debut track, “Matter” on the new compilation Subterranean Passages Vol.1 on Venusaeon Records! Grab it here:
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.
AVAILABLE NOW: http://www.silbermedia.com/comps/kaijutemple
Listen to “Mainland March” by Chvad SB NOW:
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.
Review by; paul_guyet
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.
Review originally published here:
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!
Review originally published here:
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.
Review by; Alkayl
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.
Review by; FZB
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.
Warper Party site:
“Chvad SB is an enigmatic figure, even though he’s been musically active for over twenty years. During this time he has worked with such groups as Controlled Bleeding, Things Outside The Skin and Tongue Muzzle among others, and has also dabbled in film music.”[Our review of “Crickets Were the Compass”]
How would you summarize this past year on an artistic and personal level?
Personally and artistically? Both stable. The past few years have been pretty stable actually and I can’t state enough how much I love that. I have an impossibly difficult time creating when my life is off balance. I can draw no separation between my personal life and creative life. If one is a disaster, so is the other. I had a few years of turmoil not too long ago and only now do I feel like I’m genuinely prepared to embrace my artistic ambitions fully again. I’ve been working on material consistently but in some cases… it seemed like I was only hanging by a thread.
Which album have you listened to most often this year (not necessarily released in 2014)?
This year I think the most listened to album has been the slicnaton record “autoscopy”
What was the best gig you’ve attended?
I’ve seen a lot of shows this year and for sure The Damned/TSOL show I went to for Halloween was the absolute best. Lots of fun. Best show ever? Probably that time way back when my brother and some friends and I drove an 18 hour round trip in one day to see Godflesh play back in 96 I think.
What was the best non-music related cultural experience you’ve had?
This past year I began spending time at a new dojo, meeting and training with new people and ideas. That has been fantastic for me. I began training 28 years ago and the people and environments I get exposed to through this have been massively influential to me.
Was there an event within this past year that has significantly influenced your philosophy and outlook on life, or your perception of the world around you? For instance some specific place you visited, people you met and so on?
I think this year for me was one spent trying to recognize the value of past experiences, the value of things I’ve learned over time and applying them. I’ve been fortunate enough to meet some pretty fantastic people in my life and I’ve not always been open enough to let some of their words sink in. This past year I guess I’ve had the piece of mind to let some of those things matter more. So no big shifts or revelations. Just some settling really.
What was your greatest disappointment in 2014?
In my life, none. I’m pretty happy with 2014. There’s always a ton of negative stuff happening in the world at large and it isn’t that any of that escapes me but I try to not let it consume me. I have a great girlfriend, a great family, a great cat, great friends and my work has been mostly received well. No complaints here.
Your plans, hopes and expectations for 2015?
I have a back-log of material in various stages of completion I’d like to see get out of the door. I’m in early stages of possibly creating a new live band to focus on heavier ideas again. I’ve been wanting to do that for the past few years but haven’t had the emotional wherewithal to deal with the outrageous amount of crap that goes along with that. I think I have enough patience in reserve to engage with that stuff again though so I’ve been talking with old and new collaborators about getting that off the ground.
Interview by; Przemyslaw Murzyn
The cover art of Crickets Were The Compass depicts beautifully in ink and watercolour a grainy, post-apocalyptic landscape strewn with grim, colourless debris. A solitary dog stands in the foreground, dolefully glancing about; after an unspecified disaster, life has inevitably found a way. As much is reinforced by brief elaborations upon each of the tracks’ titles, such as ‘It Haunts Her’ (“She was scared. The storm outside hammered the walls and lit up the sky. We found solace in sound.”) and ‘Crickets were the Compass and the World Goes ‘Round’ (“Directionless I listened for something to guide me. The crickets called from all directions at once. I stood still.”). Combined with the album’s images and compositions, these brief passages give the impression of survivors or travelers in desolate and unwelcoming places, faced with the numbing challenges of life in the wake of massive and abrupt change.
The music itself contributes to this setting in various layered articulations of thick, distorted drones, live instrumentation and gritty textures. The chief (but by no means sole) source of each of these appears to be the guitar. Alongside producing low-end grimness, it also often takes on a cleaner role, with lonesome, aimless picking delaying into the distance on several of the pieces. Analogue synthesizers and unidentifiable samples provide additional texture. A running evocation, sometimes impersonated and sometimes probably directly sampled, is that of radio, now vacant of living broadcasters and transmitting only the stiff indifference of empty frequencies; the sound of the absence of others. As it crawls along, the record’s style is definitely consistent and strongly focused on representing its themes. Despite this, each piece has something of its own characteristic arrangement. ‘It Haunts Her’ opens the album with a buzzing, slow warble rather resembling a siren – drearily and dutifully continuing to sound out long after the dust has settled. ‘People Keep Asking And I Say You’re Well’ begins with radio-like feedback manipulations, gradually accompanied by a slow, shapeless synth motif and introverted guitar twangs. ‘There Isn’t A Day That Goes By’ stands out particularly, portraying a dance of looped quavering feedback and undulations of slow-attack lead noodles. The whole thing rolls about in a murky mid range, but retains a lighter tone than the other pieces. “But there are moments”, reads its subtitle.
Besides periods such as this, the relentless and discomforting gloom of it all makes for quite a dreary listen. Chvad SB manages well to soundtrack a forlorn, speculative narrative of life after disaster that recalls literature such as McCarthy’s The Road. The album’s limited source material and resulting sameness of texture hammers home a sense of entrenched desolation and destitution, unlikely any time soon to change significantly. The world painted has lost much of its colour and, in a slightly disconcerting way, has entered its own kind of relaxed state. There is, of course, a suggestion of allegory. “[Of] coming to terms with fond memories”, as the press release puts it, “& letting them go.”
Review by; Edward Trethowan
Chvad SB knows what it means to be harsh. On Crickets Were The Compass Chvad SB makes sure to keep things distorted. Everything filters through a similar sound of slow collapse like at any moment true hell could be potentially unleashed. Thanks to Chvad SB’s idea of restraint this never quite happens. Instead the pieces tend to hover allowing for external events to move the pieces forward. Beautiful in their gradual decay the songs are incredibly grimy and feel remarkably agile.
“It Haunts Her” opens the collection up with great dread. Buzzing continues for the duration of the song as lonely guitar plucks haunt the empty space. Things get considerably more abstract on “A Hair Before Sundown” which plays with the harsh noise accompanied by what sounds akin to a children’s toy. Echoing around the space the toy gives off a sense of playfulness in the harsh foreboding realm. Minimalism defines “The Dust Cloud Permeates” which appears to fall into an expansive droning groove before it completely loses itself. Retro sounds come into play in the anxiety-ridden piece “People Keep Asking And I Say You’re Well”. Little pings help give off the sense of something truly unsettling. Noises here tend to be a bit harsher than elsewhere on the album.
Towards the end Chvad SB goes towards nicer territory. “There Isn’t a Day That Goes By” is a fairly bouncy happy song that feels oddly cheerful. For the finale Chvad SB continues with the lighter touch allowing the digital decay to melt away revealing a keen ear for melody. “Crickets Were The Compass” is a disturbed oftentimes deranged album in the best way possible.
Review by: Beach Sloth
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