Friday, December 28, 2012
Blood Rhythms was aired this week on Wm. Berger's My Castle of Quiet radio show, and mentioned on Wm. Berger's End of Year list at WFMU's Beware of the Blog! It is an honor to be included! Support this excellent radio show/station!
Friday, December 14, 2012
Tuesday, December 4, 2012
Monday, December 3, 2012
Arvo was also aired on Nat Roe's "crass appropriation" themed WFMU radio show with vintage cumbia from Peru, Senegalese big band music, and new Muslimgauze.
In addition, there've been 3 instances of recent airplay from Don Campau, on his longstanding No Pigeonholes radio show in a number of incarnations out of California. Also featured were Oren Ambarchi, If, Bwana, and Vanessa Rosetto among others.
Topping that off, Arvo recorded a little message for a small radio show in Bisbee, Arizona, called "Noisesense", explaining the "Upheaval" series. Halalchemists, Emil Beaulieau, and Maurizio Bianchi were also played. Archives not available.
Monday, November 19, 2012
Monday, November 5, 2012
LYMPHOMANIA: A BENEFIT FOR KARINA NATIS
November 10, 2012 8:00pm
1550 N Milwaukee Ave Fl 3
Chances are, you've been in a photograph by Karina Natis. You might not know it. You might not know her. You might be a flailing limb, a shock of falling hair, drowned in a swath of light, capsized in a pool of sweat, blood, or beer. But you're there.
In June, Karina was diagnosed with non-Hodgkin's B-cell Lymphoma, manifesting as a six-inch tumor between her left lung and heart. After 18 weeks of chemotherapy, her tumor has all but disappeared, and a final month of radiation treatment will hopefully cure her for good.
Like so many thousands of people in this country and many of us in the underground music community, Karina is uninsured, and the cost of the chemotherapy alone extends into the tens of thousands of dollars, not to mention the numerous surgical procedures needed for access to the tumor site and the weeks spent recovering in-hospital.
We're thrilled to announce that some wonderful people (who also happen to be fantastic musicians) have stepped forward to donate their time and talent in an effort to help stem the flow of the enormous cost of Karina's treatment. We invite you to join them in giving back to Karina, who has shared so much of her artistic gift with us and the Chicago DIY community at large. An incredible audio-visual lineup has come into being, bringing musicians and artists from all corners of Chicago together to make sound and light in celebration.
We are proud to present:
Pandava (featuring members of Quicksails, Chemtrails, and Mines)
Dead Dragon Mountain (members of Sunsplitter)
and visuals by Theodore Darst
November 10, 2012. 8pm
$8 in advance (paypal link coming)
$10 at the door
For more information about Karina's photography, please visit www.karinanatis.com
Sunday, November 4, 2012
This is easily one of the best and, dare I say, most relevant compilations I've heard in the past few years. Not only does this comp have some head-turning artists to make it well worth the purchase--Big City Orchestra, Boyd RIce, fucking CONTROLLED BLEEDING and WOLD(!)--but a lot of the acts on here that are unknown, at least unknown to me, are truly exceptional; The Cenitmeters' bizaare [i guess] new wave-ish sound, Pharmakon's intense power electronics and even the charmingly goofy, vintage spook show-esque opening track by Hans Grusel's Krankenkabinet, just to name a few, stand out amongst the waves of either mediocre or just plain shit things I've heard from other artists in these general categories.
More importantly, this compilation isn't confused like other compilations tend to be when presenting a variety of different styles; no, this compilation knows exactly what it wants to present and comes out exactly what it intended to be: delirious music for delirious people.
Smashing work, man.
Friday, November 2, 2012
..."at times, the rhythms shift from music to noise, with little strands of static and percussive elements keeping a hold of the ideas, or at other times, bass-heavy beats and stuttery staccatos create a march of sound. It’s easily the best showcase of 333 because of its length, but it’s also a good song altogether, and 333 could have stood on its own with just this track."
"Either way I’m voting yes. FUCK YES. Adjourned."
"'You ask your mom please, but she... melts off your face with a shoulder-mounted laser'... "
Wednesday, October 31, 2012
BLOOD RHYTHMS has done a split with veterans of odd experimental spacescapes, le Scrambled Debutante, now out on Banned Production, a ground breaking label that was started in 1984. The Scrambled side is like a melange of tape warble induced bugs bunny transcendental chaos. This incarnation of Blood Rhythms is assembled with collaborative recordings between NV13 and Arvo Zylo. It shapes up to be deflating balloons of organs, synth noise and horrific screaming. At present time, this tape is not on the site, although it has been available for over a month. Those wishing to acquire a copy should contact AMK.
Sunday, October 28, 2012
Friday, September 28, 2012
Our next DIY artist is Chicago's Arvo Zylo, a genre-defying musician who is also the host of The Delirious Insomniac Freeform Radio show on WLUW, which airs from midnight to 4AM on Monday mornings (Facebook page for the show here). Zylo sent a copy of his "333" on CD (it's also been available in a cassette edition), an incredibly deep record whose creation spanned six years. I've been digging into this recording for a few months--while it makes a powerful statement on first listening, it continues to reveal new secrets every time I put it on.
The story behind this album points to discipline through adversity: "333" was started in 2003, using only an RM1x sequencer while squatting in an abandoned house, and the piece continued to evolve until being mastered in 2009. As one might expect from the circumstances of its birth, it's a dark, bleak outing, but it's not a simple release of rage. This is detailed work, rich in nuanced layers of sound whose precise deployment points toward careful working and reworking of every element. Most records I hear that gravitate toward harsh noise/power electronics have a certain immediacy or even haste evident in their production, but the nature of "333" involves time and architecture.
For a recording created with a device that functions essentially as a step sequencer, this music is incredibly varied--you never get the vibe of someone simply pushing buttons to move between simple sequences. And these pieces use a huge dynamic range, from walls of noise to pensive, early-industrial textures. There isn't a lot of pitch-driven content: sounds and textures are used rhythmically, articulated with filters and other onboard effects, which is another approach I don't often associate with sequencers. But this recording feels like it had to be made, and it transcends its limited equipment resources as though the music couldn't be stopped.
"333" is made of three long compositions. The first, "Quicksand Eggs of a Beaten Pathos," is over 30 minutes, quite a ride on its own. "Quicksand" starts with a short bass-driven introduction before leaping headfirst into walls of sound. Power electronics textures dominate until we reach the 7-minute mark, where a midrange riff begins to take over. The interplay between evolving textures and riffs continues for much of the piece, punctuated with really harsh rhythms that propel the music forward. Around 18 minutes, the piece dissolves into near-silence, eventually coalescing into a really cool synth ostinato figure, turning on itself repeatedly, and this section gets extensively reworked with sections of pads and countermelodies that shift focus momentarily toward harmonic function. Some almost drum & bass-sounding rhythms bring up the energy toward the end, followed by some stuttering rhythmic stabs and heavily filtered synth blips. From drones to harsh noise, "Quicksand" integrates a number of compositional impulses into a powerful whole.
The other two pieces, "Deadbeat Deluxe" and "Plasthma," are shorter, their combined length not quite reaching that of "Quicksand" alone. But these are complex pieces that travel across compositional approaches, too. "Deadbeat" uses some interesting, almost dub-like drops between rhythmic ideas, eventually melting into clusters of colliding note sequences driven by brutal quarter-note rhythms. "Plasthma's" first half is perhaps the most texturally-driven section of the album, eventually giving way to some of the most harmonically-dominated writing on the record in its second half, which almost sounds like an early Residents recording at times. As other reviews of the album have noted, one can certainly hear a lot of early industrial, noise, and electronic music influences in "333," but there is a certain compositional flair that combines and juxtaposes the musical sections in a more classical sense. I'm sometimes reminded of the most explosive trill/repeated-note moments in Nancarrow's player piano studies, or "Systems Emerge"-era Flying Luttenbachers. These works all share an especially personal energy that is usually only possible when a composer is also the sole performer/programmer of their work.
Listening to this album as a purely aesthetic experience is satisfying enough, but there is a larger concept behind this music that I think is worth exploring for a deeper context. As Zylo describes it, "To this day, and for at least 9 years, the artist has seen a series of numbers, "333," on clocks or other various places constantly; nearly every day, to the degree that it has become a fixation." In keeping with some of the magical resonance in the early industrial movement, the "333 current" seems to play a significant role in this recording. The Thelemic tradition associated 333 with the Crossing of the Abyss, essentially a process of confronting and (hopefully) transcending the Ego, and with the figure of Chronozon, essentially a "chaos god" of the Abyss itself, beyond good and evil (but usually pretty evil-looking!). The number gets associated with concepts like forgetfulness, lies, "breaks," redemption, and the darkness/overwhelming potential of total revelation. Later chaos magic traditions have continued to associate the 333 current/Chronozon concept with the Ego, somewhat softening the drama of the encounter to more of an acknowledgement/release process rather than confrontation/transcendence, in rituals such as Peter Carroll's "Mass of Chronozon."One doesn't need to be a believer or practitioner of such traditions to find their philosophies and archetypal implications interesting, and knowing a bit about them seems to illuminate this record nicely, with its ever-shifting shapes and conversations between melodic and textural ideas. You can find more information about "333," as well as other projects involving Arvo Zylo, at http://www.nopartofit.com.
--also published at Killed in Cars
Monday, September 3, 2012
Wednesday, July 11, 2012
Tuesday, May 29, 2012
Of the millions and millions of xeroxed, hand-stitched, bound in aluminum documents existent, there is the disembodied sense of a human hand, tweaking the mixers to sculpt the air, to try and tame the raging machines. You can see where they have pasted the covers, or the tape run backwards. Listening to Arvo Zylo‘s music, you get the sense that he loves handmade things. His fingers are in every element of the production. He promotes his own material. He makes the records and record sleeves himself. he sends off mutant transmissions into the aether with his Delirious Insomniac Freeform Radio program, where he spews his own underground noise, and helps spread the gospel of other sewer-dwelling mutants. Listening to and looking at his creations, they are uniquely personal and utterly sincere. He seems like a person with a curious mind, who wants to see how things will sound. He has a refreshing, old school industrial vibe to his sensibilities, working with influential noise artists like Boyd Rice and GX-Jupiter Larsen from The Haters. You can practically visualize the sparking machines, the tinny radios belching static. His experience and craftsmanship, as well as a history in the visual arts, allow him to properly place artifacts in the sound field, yet he never stops moving forward and trying new things, and he’s not afraid to fail.
Arvo Zylo – Saint Street (CD-R, No Part of It)
Saint Street‘s an album from Arvo Zylo, although you wouldn’t know it simply by investigating the cover. Only inside, listed underneath a brilliantly colorful picture of a dead bird, does it list artist moniker. Instead, the cover art reminds of Merzbow at his birdiest, similar to artwork on his 13 Japanese Birds series. But Arvo Zylo’s noise on Saint Street sounds quite far from the ‘bow’s harsh noise; instead, Zylo provides the listener with a fairly long disc of ten noise tracks, often wall-like in texture while mixing in a few tracks of noisy rhythms.
The noisier walls that pepper this disc are an interesting mix of shifting static textures combined with new takes on the genre. Opener “Upheaval (Version 3)” is an impressive wall of blasting noise with a fairly consistent undertone of sound, but it often shifts between more musical droning from the opening into hypnotic churnings of fuzz and distant violence. Similar scenarios often occur on this disc, although tunes like ”Undula” and “Freudian Scrape” tend to emphasize the ability of noise to completely obliterate otherwise dance-able soundscapes. It might seem at first odd that Arvo Zylo pairs the sonic blasts of harsh noise wall static with rhythmic noise akin to Black Dice, but it also feels right, a fresh stance on walls that considers changing the simplicity of the sprawling length and unchanging tone of those stoic anthems. There’s also the wallish cut crafted out of layering rewound sounds together on “DPRV”, a magnificently hypnotic piece that aims to throw the listener’s sense of direction off course.
Saint Street falters just a bit, especially in its latter half – “Arachnid Orchid” is one piece that feels contextually out of place with its digital laser beam beats, and “Freudian Scrape” feels outlandishly long considering the total runtime of the disc. The biggest problem with Saint Street is its tendency to sprawl for too long, stretching pieces on until they’re ready to fall apart. Condensing these tracks down would have allowed the listener more time to allow them to soak in; instead, Saint Street packs so much good noise into one disc that it’s difficult to absorb as a whole.
But that’s easily fixable – simply listen again and again, and come back to Arvo Zylo’s ideas fresh. Saint Street is a beauty of a noise album, and the mix of percussive instrumentation with blistering textures is refreshing as well as inspirational.
Friday, April 13, 2012
ARVO ZYLO 333 (No Part Of It, CD-R): Es gibt sie noch, die Totalabsage an das, was vernünftig und was ästhetisch akzeptabel ist. Da ist einen Typ in Chicago, der in einem rattenverseuchten Kabuff die Industrial-Geschichte verwurstet wie Haarmann seine Opfer. Nicht als Farce, sondern with a vengeance, mit Gewalt, wie der Teufel, auf die Spitze getrieben. Das Machwerk besteht aus drei sperrigen Brocken, 'Plasthma' (11 Min.), 'Deadbeat Deluxe' (16 Min.) und gleich zu Beginn 'Quicksand Eggs Of A Beaten Pathos', eine Lobotomie von über einer halben Stunde, nach der allein man schon wimmernd mit allen positivistischen auch allen nihilistischen Gelüsten abschwören möchte. Oder, drachenblutabgebrüht, von nun an erträgt, was immer auch kommen mag (zumindest bis man sich das nächste Mal auf den Daumen hämmert). Aus einem Trolltanz zu Spinettgeklimper entwickelt sich splattriger Harsh Noise als Overkill mit Druckluftnadlerdauerfeuer. Dann wieder verzerrte Keyboardclusterschläge zu fortgesetztem Lo-Fi-Gewummer und Spießerschreckgeorgel zu schmetternden Paukenschlägen. Ein Karnevalszug von Orks und Trollen, der ausdünnt zu spotzendem Gebrodel, in das im Sekundentakt Metall tropft. Aus grausligen Stimmfetzen und stotterndem Noise plötzlich melodieähnliches Gedudel, ein pulsierender Groove, Geisterbahnsynthie, Maschinenstumpfsinn, ein Charivariloop und noch mehr Geklopfe und Georgel zwischen primitiv und kaputt. Gekurbelt bis zum Überdruss, zur Erschöpfung. Schnitt. Und schon geht es im gleichen Stil weiter, kaputte Beats, kaputte Motoren, die von einem Locked Groove zum nächsten holpern. Apokalypso ad nauseam. Was, wenn man trotzdem grinst und, obwohl die Welt da aus dem letzten Loch pfeift, die 'Plasthma'-Melodie mitswingt? [BA 70 rbd]
Here is what the translator engine had to offer:
ARVO ZYLO 333 (No Part Of It, CD-R): It still exists, the total rejection of what is reasonable and what is aesthetically acceptable. There's a guy in Chicago, the rat-infested mess out in a cubbyhole, the industrial history as Haarmann's victims. Not as a farce, but with a vengeance, with violence, like the devil, to the extreme. The concoction consists of three bulky chunks' Plasthma '(11 min),' Deadbeat Deluxe '(16 min) and at the very beginning' Quicksand Eggs Of A Beaten pathos, a lobotomy of over half an hour after the single want to renounce even with all the whining positivist and nihilistic all appetites. Or dragon's blood boiled, from now on bear, whatever that may come (at least until the next time pounding on the thumb). From a troll dance Spinettgeklimper developed splattriger Harsh Noise than overkill with compressed air eagle auto fire. Then again distorted keyboard strokes cluster continued to lo-fi and Gewummer Spießerschreckgeorgel to blaring drum beats. A carnival of orcs and trolls, which thins to spotzendem seething, dripping in every second metal. From gruesome vocal scraps and stuttering noise suddenly droning melody like a pulsating groove, haunted synth, stupidity machine, a Charivariloop and more banging and Georgel between primitive and broken. Cranked up ad nauseam, the point of exhaustion. -Section. And then it continues in the same style, broken beats, broken engines, the jolt from a locked groove to the next. Apokalypso ad nauseam. What if you still grinning, and, even though the world since its last legs whistles, the 'Plasthma' mitswingt melody? [BA 70 rbd]
Thursday, April 12, 2012
Arvo will be Djing and Blood Rhythms will be performing at Denver Noise Fest 2012. Other acts include Crank Sturgeon, Sickness, Marlo Eggplant, Fatale, Nookleptia, Matt Taggart (PCRV), and Cock ESP among others. April 27-28th.
There will also be a show with Ralph Gean, Little Fyodor, and Noise Circumstance to kick the fest off at Rhinoceropolis on April 26th, and Arvo will be taking part.
Tuesday, April 10, 2012
Two Spleencoffin releases were reviewed favorably at Killing Birds, one of which was the GX Jupitter-Larsen/Arvo Zylo "Xylowave/Zylowave" split cassette release:
Arvo Zylo is a distinctive noise artist, though not yet well known, I've reviewed his work favorably HERE. This is quite different from the crazy combination of prog, krautrock and industrial forms I heard in Zylo's other work. His B side, "Zylowave", starts with staccato 8-bit repetitions, charged electrons fluxing throughout, then partial dropouts in the mix on one side of the stereo frame or the other. My Sansui S930's are put to the test, but they're used to this kind of noise abuse, since I've had 'em for 30+ years! Midway through, it all becomes hissing and constant crescendos with no means of resolution. Another wondrous slab of power electronics!
Finally let me say this has one of the better conceived cover graphics I've seen of late, handsomely printed in black and silver, a nice art package. Recommended! Get it for $5 (!) HERE.
Some of Arvo's work has recently been aired on Ferrara Brain Pan's excellent radio show No Such Program on Radio Valencia.
April 10 - Along with Carter Tutti Void, Bobby Beausoleil, Coil, and Tristan Tzara/Jaap Blonk among others!
March 6 - Along with Vagina Dentata Organ, Brian Eno, Keiji Haino, Kluster and friends, and more!
Tuesday, April 3, 2012
The first moments of 333 are reminiscent of what one might imagine a carnival in hell to sound like, with warbly and oblique synthesizers played along to schizophrenic glitch-ridden industrial beats. This runs almost immediately into an abrasive wall of noise and hiss, removing any former traces of melody and rhythm and elevating us to a purely textural abstraction of sound. We come in and out of this traditional (a tradition known to noise purists, only, assuredly) line of harshness with more recognizably concrete instrumentation of modern composition, but the grim atmosphere remains the constant, from the static crushing blasts of noise to the rupturing post-apocalyptic dirge marches.
Within the established structures of industrial noise, Arvo Zylo has found his individual voice, and it resonates with strength and dynamic agility. You can mark us down as fans. Get it here on CDr or cassette.
The track "In A Vacuum" is featured in a new 3 disc CD compilation of American Power Electronics. Other artists included are Corephallism, Pharmakon, Slogun, Steel Hook Prosthesis, and Vomit Arsonist among many others. More info Here.
Saturday, March 31, 2012
Thursday, March 15, 2012
The first track Quicksand Eggs of a beaten Pathos clocks in at around 30mins, starts off like the Residents at their most jovial… a comedy of bendy melodica that falls over into full on brutalism bullied in percussive kicks and hints of piano storms… It’s a baptism of fire, a swarm of digital insects gnawing at your grey matter, but your skull isn’t pummelled for too long before your endurance is rewarded with a drone bed of sinister Neubauten-esque DIY ‘s and hammered piano amputations… Some great sequenced candy follows, eking out ill-omens, organ lines thrown over grumbling discomfort… mad trebly can openers hooking at the debris like those red roosters dancing over a post nuclear diorama on the back cover… that reverbed intensity and smashing percussion is something else… quasi glints of a goose stepping clout, like some digitally distressed hybrid of Test Dept and Laibach… breaking away in an unpredictable feast of drum patterns and textural quarrel, chugging out those asymmetrical highs and BPM runaways … It's as if the band Ruins has been replaced by a dominion of broken robotics and sputtering dot matrixes and cattle prodded into spastic action…
Ideas flash by at a bewildering speed, everything evolves with amazing fluidity, spurs off in freshly inspired directions... never for one minute remotely boring... at one point Arvo even seems to be redefining drum and bass in fist fighting billiards and Wurlitzer panel punch… This is a bit like those Venetian Snares but way more berserk with the tempo, and homicidal in the collisions.
The second track Deadbeat deluxe is as possessed as the first, a mad assemblage of avant mangled hilarity and butt slapped S&M with some tasty Nintendoed Kraftwerk, propping up what sounds like a shoulder smashed garage door before it slips into all out industrialised glee … An intensity that’s later cut back in sparse percussion, only to launch into a junkyard techno of mortar beat and cracking schism … further machine gunned into a grainy post existence of unrelenting ear knives … cut-up in a mud slapped finale of punched hydraulics some 16(ish)mins later.
The last track Plasthma, continues the sequenced mania… strange wreckage indeed that rips through your ear in shrill-like varieties, only to fall back into that Residents avant classical vibe that started the album off.
This will either leave you with a splitting headache or a humongous grin... but I swear somewhere in this albums 59 mins I heard multiple futures...
Sunday, March 4, 2012
Friday, March 2, 2012
I have had long discussions with Arvo about Australian Sheep rolling over cattle grids. That is the 'new' way of wearing scarves which seems to have taken the UK (and probably the world) by storm - folded in half and then ends put through the loop - and they mentioned 'morphic resonance' to explain the fact that the behavior had spread so rapidly – here perhaps in relation to noise? Or the Jackson Pollock Formica tables of the 1950s. Just in case anyone thinks this is a performative review, the calculus was either invented or discovered allegedly simultaneously by Leibniz and Newton. Zylo claims no prior knowledge of noise before creating these works, “but from a reckless abandon that resulted from an absolute failure at making electronic music”, which is one of the most precise definitions of noise I’ve read recently. Though the signification of the calculus was
fairly definitive, noise is not, so arriving at it, like the blank canvas can be via a dead logic, or sublime mysticism. Good noise – which escapes “goodness” can be so regarded, as a mystical sublimity or a dead logic, as both philosophic and non-philosophics, as a chain of difference, and repetition of not the same in the same as a signifier without a signified. Some might find these works (Saint Street) as sublime metaphysics or music physics, as a logic of abandonment of music into a Kierkegaardean sickness unto death or a Nietzschean overcoming (of music), or failure of communication, or a nihil, similar to but not IMO noise, in these protoforms which collide and collapse. The ten tracks are of shear non-musical invention, no matter their origin they claim and demand to be listened to, as a destruction of music, more an imaginative and authentic act of existenz than the cooler essence less existence of existential noise. Remarkable works. (jliat)
Friday, February 24, 2012
In an handwritten note, Arvo Zylo (note the relation between his first name and the website’s) advises me that it took six years to complete 333. The many hours that he put in are discernible throughout the three tracks of the CD, radical sharpness subjacent to music mostly born from of jolts and compulsions, classifiable without reluctance in the orbit of semi-dignified noise. The project’s unfolding leads the listener across stages of “refuse-any-melody”, industrial-scented cadenced autism, characterized by the same pros and cons of other releases in this battleground. This means that the physiological reaction connected to the initial impact is somewhat dampened by the absence of a functional evolution, the various constituents succeeding in separated scenes rather than agreeing to a proper arrangement. Things improve over subsequent temporal transitions, a distinct opening towards more “orchestral” sonorities making the difference; we even start hearing (perhaps illusively) echoes of samples in the overall crushing. I won’t name names to forcibly compare Zylo to the usual suspects, because he does not deserve it: like it or not – and I do acknowledge several of its intriguing aspects – this records shows a strong backbone and a good degree of individuality, regardless of the cosmetic qualities.