But I realize this is all privilege. If you want to explore new music there are some great stations, online and on real waves well 'real' waves such as WFMU, out of New Jersey, who every now and then raise some funds and have a Irregular Die - Various - Noise Attack (Cassette) CD out.
As a bonus there is a piece by Bruce Gilbert from an ancient cassette release by Touch. It captures the atmosphere of the Fylkingen compilations quite well, I'd say.
Like the tower of Babel: many different voices, and each has it's own language. Again the maestro presents dispatches from the collision of natural and human force; a narrative of cause and effect and above all: of Irregular Die - Various - Noise Attack (Cassette). Following urban explorations and industrial tribulations, Nilsen now moves into travelogue territory.
Guided by Benny's trailblazing hand the listener is transported to Alpine regions; hiking through aural meadows and mountainscapes — these impressing their impact forcefully upon body and psyche. Nilsen currently lives in Amsterdam, the city of the great Paradiso-concert venue. Not a place where his music, bordering on sound art, can be heard quite often. Another Gran Paradiso is brought to sonic life through Benny's reflections on a couple of fortnights spent around the highest mountain peak of the Alps.
The busy, over crowded, jitterbugging city sound scapes are left behind. At Gran Paradiso it's not the sea-level horizontal plane that is evoked, a juxta- posing and compression of human activity — however diverse: still in the humanoid bandwidth. Here massive forces of nature are at play vertically and challenging.
Going with the flow here is adapting or loosing out to Donnerwetter and cold winds, living with nature, moving with Irregular Die - Various - Noise Attack (Cassette) herd of sheep, the rush hour of life with the elements. In my mind Chris Watson always stuck as the poet of field recordings. His works open themselves to multitudes and changing perspectives; one needs to make the aural space for oneself — oblique clues steer in directions but the course may or may not be overtly clear.
Nilsen's work is not per se less poetic, but to me seemed to move in a more prose-like manner. A narrative which is not even forced upon the listener in a strict way, but which uses more 'words' to arrive at a sequence of events, dialogs, dramatic development.
His album then, also: not as much a collection or bundling of poetic gestures and hints, but rather concise groupings of short stories; thematically joined at the hip. One might conclude then that Nilsen has upped the ante quite a bit on Massif Trophies for some notion of myth and legend expands his narratives to grandeur and grander epic scale. However: Benny's deft and gentle touch doesn't overplay any hand here.
His manipulation of the aural material doesn't go for the Wagnerian 'extra large', instead it focuses on the minutest of details. Canny tinglings of cows bells can become uncanny when you zoom in extremely closely. Rumbling lightning storms and gusts of wind are all to impressionistically 'painted' when sensed from somewhat afar — moving closer, closing in?
Nilsen manages to marry myth and legend to the factual and actual; the man-made narrative of man trying to make some kind of sense of the elemental forces of nature he finds himself in and up against. Somewhere between a stumble and a fall and soaked to the bone from never ceasing drizzles, Massif Trophies opens up vistas to peak through the cracks in the crust of our daily habits, however far removed or: still close to?
Cracks too to open oneself up to the question of how much nature is left in present day mankind; how un natural our way of living has become and what nature was trying to tell us all along.
May we heed the stories nature is telling is from way up high in the Alps through Benny Nilsen's aural trophies he brought home his exploration travels. That one was 21 years ago and since there hasn't been any new releases by Tele:funken. I must admit, with time passing, water under bridges and these sort of excuses, that I don't remember much of those earlier works, but I am happy to report that Static Caravan will release a full length album shortly of new material and this lathe cut 7" is a forecast of that.
Two electronic instrumentals. Lovely but perhaps not a sure-fire winner, hit wise. One waits for some vocals to kick in but that doesn't happen. Now this is surely some great, radio friendly material. Can't wait for that full length. Before you think I am losing it and in need of a well-deserved holiday, yes, I did review the other one before, but now I have the proper copy, so let's see what I got wrong.
EAN is a remix project that includes master of label ceremony Geoff. The first piece is electronic with a sort of rap to it, which I don't get very much.
I am lost there. The other side is quite more interesting I would say, with a melancholic down beat rhythm, and layered wordless humming moving around more lines of electronic sentiments. In an odd it sounded like that first song of Radiohead's 'Kid A', whatever it is called, but smoother and without words. Quite nice. I must admit I haven't heard the originals of either song, so I can't say that much about how different these pieces are, but certainly the Memory Band remix is a lovely introspective piece.
This one isn't either, but it on lathe cut, so you have to play it on a turntable anyway. I got the digital files so I am not sure how it translates to the medium of lathe cut. The most interesting question of course is 'how does music of Orphax stand when it is in a much shorter time frame'?
Both sides are little over four minutes and in each Orphax explores a single sound source, which is worked out a bit dissonant, hence the title. On the first this is the sound of an organ which in the bigger schematics of Orphax is hardly oddbut the horns on the other side surely is. Both pieces work absolutely great within the given time frame.
In both of them Orphax works well within the given time limit and the 'Organs' piece is wandering about with some majestic drones but with the quicker evolution of things has a strong 'song' like character, while 'horns' stretches that out even a bit more, in a very melodic vein.
I was thinking here of Steve Roden's shifting patterns but with a fine pop- melodic touch. This is a side of Orphax we haven't heard before and can we please have some more?
Here we have two new releases and I started with 'Psychic Driving Treatment', because this is a collection of pieces from concerts, studio outtakes and 'other rarities' recorded in the first five years of their existence. The line-up for the first is also bigger, including people as Eric Lunde, who had a mighty solo career later on. In the most ancient recordings it is perhaps quite remarkable how 'non- noise' the band sounds. Partly, I would think, this had to do with the way some of the music is recorded, which is very low-key at times, like a microphone in a basement the first five pieces for instancebut there is also room for guitar feedback, industrial drumming 'Strange Town'more post-rock guitars 'K.
Sometimes Boy Dirt Car is way more abstract than that as they show in the opening songs maybe the band's oldest? If this is in some way chronological of course, which is something I don't know. At the end of the disc there are a couple of live recordings from and it shows their more common industrial music leanings with percussive stabs, vocals through a bunch of delay pedals, feedback and aggression.
It makes all of this into a highly varied bunch of pieces, covering a wide territory of music and not necessarily always very noise based. I'd say this is not just for die-hard fans, but also for those who like their current sound and want to have a slice of history. And what about the current sound, you ask? The feedback of 'The Wrong Planet For LL Stoner ' is a highly controlled affair indeed, but also in their tape manipulation of a more guitar based sound, in 'Stratosphere', shows more idea of how to create a composition as opposed to the more free form improvised noise attacks of decades ago.
Also the way Darren Brown uses his voice, more reciting poetry like than singing, is quite a break with the past. But then some of the other pieces have that industrial vibe of yesteryear 'A Molecule That Has Broken Free'and throughout this too sounds quite diverse; from sound collage to rock band with poetry, from shady electronic experiment 'Test' and 'Parking Lot' and improvised noise, it shows a great variety in approaches and within the limited time frame nothing sounds boring or overtly long.
Curious how an old band sounds today? This is a great one. Like with the previous, there is a conceptual angle to it; "electronic manipulation of background noise of audio tapes and vinyl records.
I play no instruments in this work", he says. Hardly something new, but, along with the use of radio waves, one of those easily accessible sounds anyone can use to do his own music, I guess, with or without electronic manipulation.
What Robert does here is somewhere in the middle ground of playing vinyl loops and using massive amplified blank tapes, all of which comes to the listener in a very looped version. Very rarely one hears vinyl used and then slowed down to a very complete stand still. But unlike some other people in this direction, Robert is not interested in playing some minimal techno music with a scratched record, but in each of these six pieces well, maybe not the first short opening piecethe sound is looped and densely structured.
This is a kind of ambient music of some forceful nature. There is extended use of delay and reverb going on, making it both 'easy listening' at a somewhat lower volume and 'pretty intense' when a bit louder.
There is quite some minimalist approach to these pieces here, in the pieces respectively but also throughout the six pieces all together. Only the final piece seems to be a bit different, with some added voice material. That makes this an album that is perhaps best regarded as one piece in six parts; perhaps best as a requiem for a dying medium?
While no expert on the Polish language, it is no rocket science to think that 'Transmisja' probably means 'trans- mission' and here we have eight pieces that are all called 'Transmisja' and music wise this is a further exploration in the world of deep space, via a whole lot of low humming synthesizer drones.
Gone are the voices, the intercepted radio transmissions; Kamil Kowalczyk's spaceship has left the known universe and is now on a crash course into a black hole. Most of the time the music is dark yet relaxing but in the seventh transmission this spaceship is under electrical attack by some alien life force that even the Doctor has not seen before. The sonic screwdriver stutters here and in the eight and final piece there is the residue of that, but also some constellation; inevitable fate as been accepted and slowly this life form dies out.
Of course I could try to write lots and lots of more science fiction and space references here, but I won't. Back on earth I am inclined to say that this is a very fine release, that there is nothing in here that I haven't heard before, that there is no doubt quite some modular synthesizers hard at work and that the whole presentation is a bit too much of a low affair for my taste. I couldn't find any way to order this.
And that's a pity since the music is absolutely worth hearing. The latter might be his real name. Of the four new tapes by Throne Heap this is with forty-four minutes the longest. Dead serious Bombs Kristallnacht Grey world Electric shock American paranoia In the center it was silent Labels: CrossoverFast HC.
Unblack Metal. This is the opposite of Black Metal. Of course,only the topics. The music,the corpse-paint,the more or less black and white visual identity is heresame as in black metal. Actually,there is,but as the Irregular Die - Various - Noise Attack (Cassette) guy;the lyrics are about God,christianity. The guy standing beside this one-man band is Fire,a very pleasant person involved in more Unblack-Metal projects. This is the first album which,in this version,contains one song less,Shadow Of Death.
Psalm 42 God the glory of this people My God Final triumph Awesome God Miecz nad Leviatanem Niewolnik ciemnosci Wolanie o pomoc. Labels: Unblack Metal. The response for the first post for this band was so strong,so I put right now this second recording. Two tracks of ultrafast HC noise,maybe of a lower audio quality but of a much higher intensity. These two tracks made them legends. Both tracks lasts 1 min and 19 seconds!! A MUST!! Mentalni nered Jebo si kravu.
Labels: Fast HC Thrash. I always love to see the early days of bands who become megapopular. Armies of hell Cry war Messenger from burning hell. Posted by Alexcro at 2 comments:. Labels: Speed Thrash Metal. Again a great Punk HC band from my Pula. A great sounding demo that is probably recorded live,as one-take,and the interesting thing is that Enklava sings in Italian.
The band is made by some members of Trio Porkodio. Learn more. What might be causing rear casette to creak? Ask Question. Asked 4 years, 2 months ago. Active 7 months ago. Viewed 10k times. It was clicking awfully and louder, when on load. The bike shop changed the freewheel. It started creaking softer, still would click at fast speeds. The bike shop changed the pedals, bottom bracket.
Nothing happened, it was still the same if not worse. I started playing with the rear Irregular Die - Various - Noise Attack (Cassette) and derraulier, it got better for a little while; it got fixed the day it rained, somehow.
Here's the video where I show my homemade attempt. Improve this question. Onza Onza 1 1 gold badge 4 4 silver badges 10 10 bronze badges. Is it possible for you to replicate the what is shown in the second video? That would rule everything that is not the rear wheel.
What make and brand of bike is this? How old? What groupset? Also, you may wish to consider changing the question title to something like "What might be causing creaking cassette or rear hub? Torque the cassette to spec? Take the wheel to the shop an and show them the click? Funnily it rained and when it rains it completely masks the noise, also gist.
I think its either the cassette moving on the freehub, or the freehub moving where it attaches to the wheel hub body. There's also a chance its a spoke groaning in its hole or where it crosses another spoke. So start by eliminating things. If you can hold each spoke in turn while making the noise, and see if holding one specific spoke stops the noise, you might have a culprit. Do you have the tools to remove the cassette? If so, remove it and see if the noise is repeatable.
Lastly, borrow another rear wheel and fit it, see if you can replicate the noise on a different wheel. I did what you say anyway, sprockets are out, they seem fine, in fact when I make the sound with the hands it goes like this, I press it hard, it hits the freewheel inside to want to rotate the wheel, but I'm holding the wheel, so when I apply more rotation force, it goes, maybe half a milimiter extra while creaking.
Show 8 more comments. Active Oldest Votes. It sounds like you have isolated the issue to the rear wheel, and probably the rear hub.
Improve this answer. Argenti Apparatus Argenti Apparatus I actually bought them, but I have no idea what happened but once I took the wheel out just handling it with my bare hands would cause this youtu. Add a comment.
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