To celebrate their 30th (!!!) anniversary (indeed thirty years of raison d’être), Skullflower (finally) release the Cold Spring-successor of the magisterial album Draconis. The latter was released at the very beginning of Autumn 2014, and undersigned published a review on that material on November 10th 2014. For some biographical and discographic information, you can check out that (superb, but that’s evident) review; enter the band’s name and you’ll come to the specific page).
Clay Ruby’s Burial Hex is an extremely productive outfit, with really tens of tens of recordings and releases. And you know, Clay is active under other monikers and in different constellations as well, with much more releases going on. But okay, that is nothing but an objective remark, with no consequences whatever for this review.
Let’s start with an open question: is it possible to seek for, and find, some symbiosis of melodious beauty and chaotic harshness? Can Power-Electronics and semi-divinity result in acceptable structures? Let’s find out…
This album is a remarkable one, for it deals with an underestimated recording from quite a while ago. Actually, Yang-Tul was recorded and released on tape and vinyl in 1998 on Anomalous Records, a label run by Eric Lanzillotta.
Well, let’s be honest: Cold Spring do come with quite some excellent re-releases lately. Amongst those, please welcome a recording from 1985 (!), a creation of Japanese Noise god Akita Masami aka Merzbow. This ‘old’ guy (he’s sixty in mean time!) named this solo-outfit after some piece of art by Dadaist artist Schwitters, the ‘Merz-bau’, for what it’s worth.
