Black Lung "Silent Weapons For Quiet Wars"

Artist: Black Lung
Album: Silent Weapons For Quiet Wars
Label: Dorobo
Release date: 1994
Genre: Electronic
Style: Ambient/Industrial
RIYL: Snog, Soma, Celluloïd Mata

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Tracklisting:
01. The Banque Of Worms
02. Theme From The Black Lung Pt. 2
03. The Trilateral Commision
04. Prozac Parade
05. Somatime
06. Rex 84
07. Ridjeck Theme
08. The Battle Of Brazil
09. Supermarket Dream
10. Everything You Know Is Wrong
11. Theme From Black Lung Pt. 1
12. Death Squad Blues
13. Meat Manager
14. The Bilderberg Group
Total running time: 73' 11"

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[Black Lung - Open MySpace page]

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"Black Lung is an electronic and industrial music project by Australian musician David Thrussell, also known for his industrial bands Snog and the more ambient Soma.

The first Black Lung album, 1994's Silent Weapons for Quiet Wars, was mostly composed of instrumental tracks taken from Snog's first album Lies Inc. and the Hey, Christian God single. A year later, the album was also released on Germany's Machinery Records as Silent Weapons for Silent Wars. Thrussell disowned this later release due to the incorrect title, changes made to the artwork, and the fact that the tracks were in the wrong order, destroying the album's continuity. Several more albums followed in subsequent years, eventually outpacing the number of albums Thrussell was releasing as Snog.

In 1999, Thrussell collaborated with John Sellekaers from Xingu Hill to produce the 10" EP The Andronechron Incident, purportedly a soundtrack for an obscure Italian science fiction film. A full-length CD of the same title, containing many more additional tracks, was released in 2002 .

Thematically, Thrussell has used the project as an opportunity to indulge his fascination with conspiracy theories, with many album and track titles referencing conspiracies. Silent Weapons for Quiet Wars, also used by Wu-Tang Clan, refers to a document which came to light in the mid 1980s detailing a New World Order plan. Rhic-Edom is a direct reference to the acronym RHIC-EDOM: Radio-Hypnotic Intracerebral Control & Electronic Dissolution of Memory. The albums' liner notes frequently contain essays on various esoteric subjects, excerpted from conspiracy books or written by Thrussell himself.

Since 1999, nearly all Black Lung releases have been on German industrial label Ant-Zen." [Wikipedia]

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Einstürzende Neubauten "Alles Wieder Offen"

Artist: Einstürzende Neubauten
Album: Alles Wieder Offen
Label: Potomak
Release date: 19 October 2007
Genre: Rock
Style: Experimental Rock/Industrial

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Tracklisting:
01. Die Wellen
02. Nagorny Karabach
03. Weil Weil Weil [download]
04. Ich Hatte Ein Wort
05. Von Wegen
06. Let's Do It A Dada [download]
07. Alles Wieder Offen
08. Unvollstaendigkeit
09. Susej
10. Ich Warte
Total running time: 53' 17"

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[Blixa Bargeld interview preview for NoisescapeTV about new album]

"It seems that Blixa Bargeld’s exit a few years ago from Nick Cave And The Bad Seeds has proven fruitful for Einstürzende Neubauten. Likely it is the prolific band’s supporter project that has kept them almost continuously in the music making mode. Over the band’s 27 year history, things have changed but Neubauten’s newest album, “Alles Wieder Offen,” offers glances back over their shoulder. Getting away from the more melodic songs that trick your ear into forgetting this is, in fact, industrial rock, “Alles Wieder Offen” continues the band’s tradition of being heavy on rhythm and chanting.

The delicate “Ich Hatte Ein Wort” patters gently and offers a reflective moment while, similarly, the sharp pizzicato and smooth bowed cries of strings bleed into clanging percussion on “Von Wegen.” The lightly choppy melody of “Nagorny Karabach” sails seamlessly by as “Susei” creeps along with its low thumping. The band work silence like never before as a soft melody and subtle bass riff accompanies Bargeld for “Ich Warte.” Neubauten offer a Devo-esque new wave sound on the infectious “Let’s Do It A Dada” while “Weil Weil Weil” takes a more traditional approach with the song’s title chanted endlessly.

“Alles Wieder Offen” seems to be a test in restraint for Neubauten. How many songs can the German band last before unleashing on listeners their trademark aural assault of organized chaos? The answer might surprise you as the album remains evenhanded throughout. What is more, the album establishes itself quite differently than “Silence Is Sexy.” “Alles Wieder Offen” is a refreshing break in Neubauten’s discography." [source]

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Ben Frost "Theory Of Machines"

Artist: Ben Frost
Album: Theory Of Machines
Label: Bedroom Community
Release date: November 2006
Genre: Electronic
Style: Progressive Rock/Industrial/Experimental/Ambient

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Tracklisting:
01. Theory Of Machines
02. Stomp
03. We Love You Michael Gira
04. Coda
05. Forgetting You Is Like Breathing Water
Total running time: 38' 40"

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[Ben Frost - Open MySpace Standalone Music Player]

"The Bedroom Community label seems to be a collective of artists all affiliated with Iceland’s Greenhouse Studios. The first release, Nico Muhly’s Speak Volumes, was a set of beautiful chamber pieces “for small ensembles with electronics.” Like most classical music, I found it hard to parse on the first few listens, but after enough repetition, it began to grow in its accessibility and depth. It doesn’t take a second listen to Ben Frost’s new record, Theory of Machines, to parse its contents. There’s nothing to engage with. It simply is.

To explain: Theory of Machines is something like what would happen if an electro-acoustic improviser decided to cover Mogwai. Frost builds a sound world in each track, gradually moves towards a climax of some kind, and then backs off. It’s a simple trick, but as legions of post-rock imitators will tell you, it’s an effective one. Sure, it’s not that simple each time out. “Stomp” builds and then merely drops out its distorted melodic element a few seconds before its end, “Forgetting You Is Like Breathing Water” never really builds to any sort of definable climax at all, but the best tracks (“We Love You Michael Gira” and the title cut) both follow the aforementioned formula.

Frost real talent is for sound design. As an engineer at the studios, he’s obviously learned a lot from label head and sometime-Björk producer Valgeir Sigurðsson. As such, his command of space is particularly strong—it sounds as if you’re simultaneously right inside the piano and sitting across the room from it at the end of “We Love You.” Similarly, the drums on “Theory of Machines” sound amazingly present, despite having to fit through a huge wash of distorted guitar drone. People throw around the word “soundworlds” a great deal, but in Frost’s case it’s very much applicable. These are songs that envelop.

I recently asked Christopher Weingarten if there was a noise artist that he knew of that could permanently change how music listeners viewed the genre. He rightly pointed out that we’ll probably never be able to predict that person, but we can point to a number of artists paving the way for it happen. Sonic Youth has softened guitar rock audiences, Lightning Bolt has done the same for many punks, and Fennesz has shown the possibility for melody among noisenik laptoppers. With a few more releases like this, it may be time to add Ben Frost to that list." [source]

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