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WEED GETS U HIGH
Wah Guan!
It’s 4/20. You’re ready to blaze, but your vast collection of psychedelic prog rock and dub reggae isn’t doing the trick this time. Thankfully, Black Condom knows what you need, and is here to “get ‘er done”!
18 Bite-Size tracks to satisfy the munchies for silly, experimental, stoner electronics!
Filled to the brim with genre bending, Caribbean beats and melodies for your hungry indie ear drums!
Download includes 18 track album, unique art for each track, wallpaper, sample list, and other goodie gumdrops~Thank you so much, to everybody who helped with the album and anybody who listens to it. You guys are the best, and without you this joke wouldn’t be nearly as funny.
So toke up and enjoy, everybody. It’s been a while in the making, and I can sadly say that it’s my favorite thing I’ve done yet.
(̅_̅_̅_̅(̲̲̲̲̲̅̅̅̅̅̅(̅_̅_̲̅M_̲ ̅_̲̅A_̲̅R_̲̅I_̲̅J_̲̅U_̲̅A_̲̅N_ ̲̅A_̲̅()
Love u, smoke weed everydayY
- Snide Mollusk / Black Condom / Adam
JAMES BLAKE - SELF TITLED
In a world where culture turns to pop culture, and the days of class and society are a distant memory, one Mollusk will critique the african hip-rap and metal guitar music without fear. The earth will shake, the world wide web will quake, and pitchfork media will be brought to it’s knees in the wake of…
THE OFFICIAL SNIDE MOLLUSK MUSIC BLOG.
BRINGING YOU THE MOST OPINION ON THE NET SINCE 2011bc
TODAYS REVIEW: James Blake - James Blake (2011)
GENRE - Electronic, Ambient, Dubstep
KLATTER - BORIS & MERZBOW
In a world where culture turns to pop culture, and the days of class and society are a distant memory, one Mollusk will critique the african hip-rap and metal guitar music without fear. The earth will shake, the world wide web will quake, and pitchfork media will be brought to it’s knees in the wake of…
THE OFFICIAL SNIDE MOLLUSK MUSIC BLOG.
BRINGING YOU THE MOST OPINION ON THE NET SINCE 2011bc
TODAYS REVIEW: KLATTER BY BORIS AND MERZBOW (2011)
GENRE - EXPERIMENTAL METAL, NOISE
Pardon the dramatic entrance, it comes with the username. Dropping the intellectual sea creature persona, let us get on with a review. I’ve been pondering the idea of reviewing music before and decided to wing it and waste another hour or so of my time with something nobody will read.
Todays review is Klatter by japanese sludge/doom metal band BORIS and frequent noise collaborator Masami Akita a.k.a MERZBOW. To save a short wikipedia trip to those who are unaware with the guys, Boris is an extremely heavy sludge/drone/doom metal band that have been releasing quite a few albums recently and attracted a bit of hipster blogosphere attention. Merzbow is a prolific japa-noise musician (term “musician” used lightly) that made a name for himself by raping the ears of many an unexpecting listener for 30+ years. Recently the two major names in audio masochism have joined forces and released a couple of albums together.
Klatter is the most recent of those collaborations and the only one that I’ve listened too (let alone the only boris album I’ve listened too). I came in expecting ear bleeding, sonic assaults, and amps upon glorious amps, but instead got a pleasant surprise.
Klatter starts off with a relaxing intro of filtered ambience and build up, which would be soothing if I wasn’t on my toes for what was to come. As expected the next track “Akuma No Uta” cranks the volume, starting with a low distorted (but almost cheerful) metal riff. As the track goes on, Merzbow’s trademark fuzzy electro-sludge builds up a background over cymbal chimes and rattlesnake-like shakers. It builds up into a powerful wall of fuzz and buzzings that come in and out, that instead of drawing attention away from the riff, enhance the atmosphere. As it progresses the song builds up into straight up noise rock. It’s a cacophony of great guitar, classic heavy metal drumming, and computerized tomfoolery.
The album doesn’t exactly break to far away from this formula between tracks, but it never gets uninteresting or repetitive, which is a problem a lot of metal has. The guitar and bass feel emotional and gorgeous, the drums roll along excellently, and the subtle changes and unpredictability of the background noise are all great. The whole things plays out like a long lo-fi, experimental jam session, or even like the formula of some improv jazz. To make some irrelevant poetic comparisons, it feels like laying out on a scorching hot day, or slowly getting used to a hot car seat or beach towel on white hot sand. It can be enjoyed multiple times, whether playing as background music to laying back, or played carefully and critically, trying to take in all of it and really appreciating the five tracks from beginning to end.
It’s a fun album, a heavy rocking album, even sometimes a powerful and pretty album. I’ll be revisiting it quite a bit and as I can see, liking it more as I get more familiar. Definitely a solid album.
STRONG FOUR STARS - RECOMMENDED
FAVORITE TRACKS:
NAKI KYOKU
AKUMA NO UTA
JANE
