#kris lapke

[saisons-en-enfer]

Pulled from the quiver By trace fingers Slipping through the minder's Red suede gloves

A meal can be made The body is prepared

[omegaremix]

Consumer Electronics / Alberich / Yellow Tears / Copley Metal @ Saint Vitus, N.Y.C.; December 7, 2015.

“Consumer Electronics will be the next act I will buy tickets for should they come to New York City” I exclaimed in September. It was checked off by Philip Best, and five weeks later there it was. Consumer Electronics declared a show in New York City. There it was. I called it. I got what I asked for, so now go get it or else.

I took the train to Woodside, then its’ “7″ subway to the “G” to Greenpoint and Manhattan Avenues, walked a few blocks to arrive at Saint Vitus which has to be the most raw, tasteful, and bad-ass venue dressed in black. As soon as I verified my ticket, I wasted no time to walk through the bar to the floor where Copley Metal, dressed very nice and neat, was performing right in front of the audience at their level.Ten minutes later Copley Metal ended to pack up to give way to Hospital Production’s Alberich, who offered us a thirty-minute slow-burn of maelstrom noise set. Alberich sat very calm and collective in much control, later on shaking a microphone for more effects and adding in voice samples. He stood up adding more force to his combat noise, shaking the microphone more vigorously before giving it lyrics when some Gaye Advert look-a-like in a leather jacket bowling-pinned her way to the front of the crowd, giving free unsolicited hugs to a select few other bystanders. Alberich shuts it off for good before getting a very respectable round of applause from the crowd.

Yellow Tears then arrived. Their set-up consisted of Korgs, Yamahas, two guitars, knobs, a toilet seat placed on a custodial bucket, and two “splash zone” banners draped from their tables. If there was a joker card thrown into the set, then they would be it. Their performance went in a different direction from what other people would assume in any given noise show. Ridiculous. No one knew who they were before this, so any expectations of seriousness and maturity flew right out the window. Yellow Tears played the audience as equal as they were playful themselves as they pulled every card from their very versatile deck.

What other act would repeatedly scream “What Is Frank?” as a still of vocalist Frank Ludovico constantly zooms in and out? Psychedelic backing films on screen that could make Tim And Eric blush and reconsider themselves, plus a film loop of Disney’s Cinderella shower scene as Ludovico literally lightly sweeps the stage and then proceeds to sit down on the makeshift toilet seat bucket, exasperating light sighs of relief while the whole audience continued their what-the-fuck moment with Yellow Tears. During their entire set, they went from many different styles of music while seeming to perform as if they were a skit comedy show in succession. At first, I thought they were playing with a random bag of tricks to the tune or game of “do you get it?”, but since the audience had been there and seen various cartoon, kid show, or skit culture references before, they did get it. And they weren’t finished: Yellow Tears’ set turned a participation act into a sales pitch. Only Ludovico has the steel to take two audience members up on stage to sell them ten-dollar coffee mugs with free cups of coffee during their set, and they fucking bought it.

Finally the moment all of us have been waiting for: Philip Best and wife Sara Ruth Best shortly took the stage to set up shop, fine-tuning everything before starting. Consumer Electronics still continues where Whitehouse left off with all the controversy, uneasy subject matter, deprivation, and grit that the former was all about, while Whitehouse became William Bennett’s Cut Hands, a tribal-electronic project of his. Whitehouse truly made me think of how they got away with everything they done, how their lyrics were pieced, how the noise not like the others came to be, and what to make of their output. Over the last few years, I was so interested in Whitehouse that I followed their respective future projects and took what they offered in terms of thoughts, commentary, or even recommendations. With the Best’s Consumer Electronics project, the philosophy still continues.

Best greeted us “cunts”, as he always does. We cheered because we know it comes from Mr. Best. Best charged his accusation finger calling for all of us to “Come Clean”. Throughout the show, he shared with us all of his raw material: cut up, photocopied, stitched, glued, and wrinkled for all of us to see. He even walked over to show us lyrics to “Elite Gymnastics”. The references: various questionable obscenity, controversy, Anne Frank’s smiling portrait, Alice Elizabeth, Baby’s Gang, present for all to witness. Best licked the pages and rub it against his crotch. Later on he threw those same pages on the floor, once knocking over a drink from the stage to the floor. He licked his fingers in such an uneasy, disgusting gesture. His fists shaking, screaming in his usual rage, sometimes inciting the crowd. With Best walking and his usual blood going, he walked back and forth to two microphone stands, trading tirades from one to another. All the while, the tall, slender, and beautiful Sarah Best did controller duties and even took to screaming for a few songs including “Murder Your Masters” and “Co-Opted By Cunts”, made with repetitive, sweeping, crunchy beats courtesy of sometimes-member Russell Haswell, who unfortunately was not part of the show’s festivities. But we were treated to “Affirmation”, “Colour Climax”, “Estuary English”, “Knives Cut”, and more from the last four Consumer Electronic’s records (2007-2015). They ended their show with the horrific and terrifyingly real “Black Cotton Wool”, a abrasive shred of bone-shivering abusive screaming and grinding noise before Best motioned to have Sarah shut it down, declaring to visit us again very soon.

Two beer cans (Pabst Blue Ribbon, the prized beer of hipsters) were thrown in their direction. A cute shaven skinhead girl was dancing happily. One heckler was screaming at the couple to “get back to work” with other pointless one-liners as well. One fan who was leaning on the speakers took a very heavy whiff of an ether his lady friend offered him and twitched uncontrollably for about five minutes. When he finally came down to Earth, he screamed at Best to “fuck me, Daddy”. Best replies: “You wish.” We all burst in laughter. During some songs, the meat of the crowd suddenly whipped itself in a frenzy. As those songs came into play, the crowd got very into it and bobbed to the pulsations of the Bests’ driven beats. One person stage-dived into the crowd while others participated into a vicious mosh on the floor. And that’s why it’s called power (violence) electronics, as times haven’t changed. The Best’s made it all happen. It was everything I expected to be and I’m very happy to have seen The Bests / Consumer Electronics in action as I wanted to.

Which now leaves me to one more act on my current bucket list which is the other half of what was Whitehouse: William Bennett’s Cut Hands. I had the chance to see him along with Pharmakon and Godflesh but passed it up, and another on very short notice this year with only a week to have a ticket but scheduling disallowed it. Just like seeing Consumer Electronics and the other noise show earlier this year in New York City, I need to see Cut Hands for an excuse to go to the city again to keep my music quotient and style points up.

[palaeolith-1]

[zef-zef]

Alberich

photo:  Nikki Sneakers (flickr)

[omegaplus]

# 3,867

Prurient: “Many Jewels Surround The Crown” (2011)

Nothing else quite like “Many Jewels Surround The Crown” that opens an album up with a reality-shattering scream before Dominick Fernow gets to business. 2011′s Bermuda Drain surprised many a Prurient fan when Fernow issued an album that wasn’t entirely made of unworldly speaker-ruining noise and piercing high-pitched frequencies, but of diverse song structure, decipherable lyrics, and even some moments of melody. The only single to come off the album, it has it all: lyrics by his mother Jean Feraca, synths by Cold Cave’s Wes Eisold, and production values from long-time friend Kris Lapke / Alberich. Add it all up and you have a mesmerizing synthwave cut that dances in spirals amidst frigid temperatures. It’s only 1/9th of the variable Bermuda Drain puzzle, and Fernow’s been known to break noise tradition with his other key albums such as 2015′s Frozen Niagra Falls and 2017′s larger-than-life event Rainbow Mirror.

[ourladyofomega]

Ash Pool.

[denyjesuschrist]

Visit Original Link

𝕬𝖚𝖙𝖚𝖒𝖓 𝕳𝖊𝖆𝖗𝖙 - “𝕺𝖑𝖉 𝕾𝖙𝖔𝖗𝖒𝖘 𝕬𝖕𝖕𝖊𝖆𝖗”

The Deaths Of Summer / Hospital Productions / 2019

[azarswan]

Our new full-length SAVAGE EXILE will be released December 1st via [aufnahme + wiedergabe]

mixed by Kris Lapke (Prurient, Alberich, Cold Cave) mastered by Friedemann Kootz (Haus Arafna, November Növelet) ft. artwork by Jonathan Canady (Deathpile, Angel of Decay)