#dan wreck

[vulpiano]

Neurotic Wreck - “The Rain”

A music video collage by Marilyn Roxie for Glow Ghosts.

[vulpiano]

Neurotic Wreck - Glow Ghosts (VULP-0084)

A Netlabel Day 2016 Special Release

I am very proud to offer the latest album from Neurotic Wreck on Vulpiano Records: Glow Ghosts. Glow Ghosts has a little bit of everything that sole force Dan Wreck behind the musical project has on offer - sultry synth pop, girl-group inspired broken heart anthems, and sweet acoustic crooning. Recommended if you like Gary Numan, The Jesus and Mary Chain, Durutti Column. Neurotic Wreck has two previous Vulpiano releases: Priceless, Bloody Priceless and I’m Laura Palmer.

Download or stream on Bandcamp:

http://neuroticwreck.bandcamp.com/album/glow-ghosts

Also available on:

Free Music Archive | Internet Archive | Mediafire

Message from Dan Wreck:

Glow Ghosts is released for Marilyn Roxie's Vulpiano Records on Net Label Day on 14/07/2016. This is released ahead of Sandalphon on Small Bear Records on the Autumnal Equinox in September. I hope Glow Ghosts haunt you wherever you go.

—Tracklisting—

1. The Wakeup Call 4:04 2. Speak in My Voice 2:32 3. I'll Always Care 3:05 4. Never Enough 5:04 5. After the Quiet Parts 1 and 2 6:16 6. Rune Cloud 3:01 7. Disconnect 7:17 8. One Skin Too Few 3:55 9. Our Circuitry 4:18 10. Change to Make 3:44 11. The Rain 4:22 12. Final Lullaby 3:50 13. Tell Me What to Swallow 3:42

Neurotic Wreck:

Facebook | Tumblr | SoundCloud | Twitter

Licensed Creative Commons Attribution-Non-Commercial-No-Derivatives

Cover art credits:

Fonts are Monoton by Vernon Adams and Gladifilthefte by Tup Wanders

Cover art arranged by Marilyn Roxie, including IMGP4516 by Emmelie licensed CC-BY and image from page 283 of "Abhandlungen der Senckenbergischen Naturforschenden Gesellschaft" (1854) licensed public domain via Internet Archive.

[afutureinnoise]

Dan Wreck’s Review of Vreid - Pitch Black Brigade (2006)

I am in no way an authority on black metal so don’t write to me saying “you don’t know what you’re talking about” as I’m aware of that. This is just me using a highly recommended ten year old black metal record to try to develop my understanding of it. However, if you’re a black metal fan reading this, please feel free to turn me onto some more stuff like this.

I’ve avoided a lot of black metal for a while. Due to both the “showing off how fast I can play” thing of virtuosity over imagination and emotion that turns me off about a lot of metal (and funk for that matter) and the “kvlter than thou” sulkiness that makes it a natural fit for hipster wankers to become obsessed with. However, I’ve enjoyed the black metal aesthetic for a while, the lo-fi DIY thing, the insanely committed attitude and while it’s totally contrary to a lot of their motivations, I like the semi-androgynous look a lot of metalhead guys have. Nowhere else do you see so much long hair, makeup and battered black leather jackets. On the subject of black metal, let’s be real, shave young Varg’s beard off and he’s basically one of the guys in Dennis Cooper’s monthly round-up of melodramatic twinks (nothing against melodramatic twinks they can be great fun). I also liked Xasthur a lot but haven’t found much stuff like his work.

So having heard about this act, Vreid, who rather than celebrating thw Nazi collaborating aspect of Norway’s past emphasise their active role in the resistance and write about it, I was intrigued. Anti-fascist black metal, eh? By no means am I implying all black metal fans are fascists or even most. I’ve listened to and own too much neofolk to fall into that trap. I’ve had passionate arguments defending Whitehouse. It’s just that a lot of them like to play “am I or aren’t I” games or draw a veil over it or engage in wanky mental contortions to try to excuse financially supporting people like Hellhammer or Bard Eithun. So whether they’re of the left of not (and Odin knows THAT can be incoherent too) it was good to see people writing from the right side of history rather than, uh, the Far Right side.

That said I have far more respect for open NSBM acts who’re at least willing to talk about being a Nazi piece of shit than people who misappropriate runes and sample Triumph Of The Will at the front of their identikit blasts of 4 - 10 minute fast guitar riffs then talk about ambiguity as if they’re Laibach rather than some Games Workshop model painting no mark who wants to fuck an Aryan dream pixie on a toadstool.

So about the music then. I enjoyed this a lot more than I was expecting to. The album starts with some enjoyably abrasive split channel riffing. The vocal delivery is actually intense and impassioned rather than just laughable as with a lot of this stuff. When the beginning of Hengebjorn came around, I was surprised by the two minutes of “video-game soundtrack house” synth and drum machine atmospherics before I was propelled back into lightning fast tremolo picking, double-bass pedal attack and archetypal screeching BM vocals. This then breaks down to another change in direction, some flanged fingerpicking, then back into the fast riffing again. Parts of it are so fast that they sound slow. Then parts of it, like Hang ‘Em All, are just so fast in their punk gallop that they sound fast because, well, they are!

Some more “video-game soundtrack house” sections appear during Eit Kapittel For Seg Sjolv then as if nothing happened the pace picks up again. That track pivots around an a bassline that made me think of The Slits or some other post-punk act. I guess you’re supposed to call it the keyboard based bits dungeon synth but this seems less self-indulgent than that: there’s something Italo-house-esque about the tumbling piano in this section and a build-and-drop to the electronic sections that makes you realise that there is no difference between electronic dance music and metal, basically. They’re just marketed differently to different purists. A lot of the musicians themselves see that: it’s how Ulver turned into Future Sound of London for a bit and some of the first wave of BM acts used Coil as intro music. Pick your poison of sonic extremity.

[vulpiano]

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Neurotic Wreck - "Crowned"

[afutureinnoise]

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Neurotic Wreck - "Destroy (She Said)" from Leave Tonight - Mixtape Side 2

Every once and awhile an artist submission comes along that makes it clear that they are on a similar wavelength about what AFIN is into and about. My inbox is currently overflowing with submissions and it is moments like opening up Dan Wreck's submission that remind me why I'm running a music blog to begin with: I want to hear music that goes beyond the average.

Described as being "recommended for fans of Dennis Cooper, Xiu Xiu, Fleetwood Mac, The Xx, Death In June when they wanted to be Joy Division, New Order and basically anything gloomy and slightly odd," I was quite impressed with the eclectic nature of the music: "mixtape" is indeed the right word for this, with a variety of sounds and vocal stylings. The track I've chosen to highlight is the one that jumped out at me, an industrially tinged synth number, but the mixtape offers so much more, from somber piano tune "January" to glitchy-pop "Keep This Together"...I am intensely curious to see what future direction Neurotic Wreck will take. For now, you can download Leave Tonight - Mixtape Side 2 on Bandcamp.

[dan-wreck]

Madman's Dream - Nullset featuring Dan Wreck

Check Nullset out, I've collaborated with him before and hopefully will do again.

Name your price EP from him here, http://nullset.bandcamp.com/album/gudd-wi-ch-ep, you can also get it free.

[dan-wreck]

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I See A Darkness (Bonnie Prince Billy cover)

Just me and a farfisa organ doing a smallscale version of a great song.

[dan-wreck]

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Dan Wreck - Walk The Path of Christ

Hidden in this track is a rant about the evils of religion (or the people who use it as an excuse for atrocity). Mainly though it's about the atmosphere and an experiment in doing that weird Autotuned/overdriven vocal sound as heard on Justin Broadrick's Jesu stuff and, er, Kanye West's 808s and Heartbreaks and Runaway off My Beautiful Dark Twisted Fantasy.