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Skinny Wolves Present, in association with DEAF (Dublin Electronic Arts Festival):
Friday 30th October
Filmbase, Temple Bar, Dublin
Tickets 12e from Tickets.ie , Road Records + City Discs
Doors : 7.30 - 11pm
Portland, Oregon based Liz Harris might have achieved a significant fan base thanks to the whispering, near ambient vocal crusades of her debut album ‘Way Their Crept’ and its follow-up ‘Wide’, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects. ‘Dragging A Dead Deer Up A Hill’ marks a departure of sorts for Liz which sees her turn down the fuzz-boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else. It is an album steeped in the world of dream-pop, a genre pioneered by the likes of 4AD’s Cocteau Twins and This Mortal Coil, and far from shy away from the reference Liz has instead grabbed on with both hands, in the process creating an album’s worth of perfect, leftfield pop songs.
John Wiese is an artist and composer from Los Angeles, California. His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work with many artists as diverse as Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Cattle Decapitation, and C. Spencer Yeh (Burning Star Core). He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States alongside Wolf Eyesand recently performed in the 52nd Venice Biennale with artist Nico Vascellari.
"Out of all of the American noisemakers, California's John Wiese is among my absolute favourites. Although like many of his peers his release schedule is almost impossible to follow, with tapes, cdrs and limited vinyl coming faster than Ron Jeremy's teenage understudy, he defined the genre with the seminal 'Soft Punk'. Taking fragments of punk and hardcore records, he pieced together an album which showed why American noise differed from European noise (and Japanese noise for that matter) and to these (battered) ears remains unmatched in the genre. Since then he's been touring incessantly and anyone lucky enough to have caught him live will know what I mean when I say his sets have to be experienced in the flesh. 'Circle Snare' was recorded on his January 2008 Scandinavian tour, a tour I was lucky enough to catch at least a glimpse of, and this disc goes some way to representing the visceral experience of the shows. Taking his trademark Max/MSP concrete experimentation and throwing it up against subtle drones, the album starts quietly, but before long we're dragged kicking and screaming into deftly separated ear-pummelling noise. This isn't quite the kind of amplifier destruction you might expect from Wolf Eyes or their Mid-West set however; there is something more technical and almost more academic about Wiese's knife-like processes. On stumbling out of the Oslo venue where I witnessed this set performed, I remarked that he was the "Autechre of noise" and I'll stand by that comment. John Wiese makes noise that sounds like everything is in a specific place for a specific reason - something rare and beautiful. It might be punk, but this punk can play his instrument better than most. Startlingly good." BOOMKAT
Featuring A.Fogarty (Toymonger / Weil Rats), I.Pawle (Sea Dog / Scented Candle) & PG Smyth (Jimmy Cake), Boys of Summer unleash some hellish slow synth ecstasy.
Check out their new "Pharaoh" CD on Munitions Family.
Whirling Hall Of Knives is a collaboration between Magnetize and The Last Sound. Collectively they have amassed some decades of experience in creating diverse, mostly electronic music under many guises and bring little of this knowledge to the table of WHOK.
WHOK originated from an invitation to do a one-off collaboration performance at the 2006 Dublin Electronic Arts Festival. This sparked further work on the sonic ideas generated and since then, data has been flung back and forth over a distance of 49km, with additional bytes gathered and manipulated at either end until, eventually, the digital dust settles.
After contributing a remix last year to Ikeaboy's 'Fazzip' 12" on Ireland's premier techno label D1, their debut full-length release 'Electric Lava' is now available on Trensmat Records long player offshoot Nute. The opening track, '2-Bar Heater And Smoke', is featured on the most current Wire Tapper – a CD series given away occasionally with the infamous Wire magazine. This will be followed later in 2009 by a 7" on Trensmat.
All but shunning rhythm, Electric Lava combines melted guitars, gurgling analogue synthesizers with shards of white noise, digital skree, sheets of feeding back effects processors, and a mighty wall of white hot static and crunchy digital throbs. In keeping with Nute's white label aesthetic the lp comes in a white hand stamped sleeve & cd.
Papercut is Gary Morrison creating droning noise atmospherics using radios, manual drive tape machines, circuitbent chant machines, and homemade oscillators