BULL TONGUE
by Byron Coley & Thurston Moore
April 5, 2009
TONGUE TOP TEN #1
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1. Narcolepsia is a new fetish noise tape label out of Portugal. The first two releases show a promising wide view of what fetid broil squirms in the contemporary noise landscape. First is someone/something called N, with a tape titled Smash My Brain I Can’t Tolerate, which is basically this Italiano dude Davide Tozzoli obsessing on fairly traditional noise moves a la M.B., Atrax Morgue, Merzbow et al. But the dedication and intent is genuine and is decent…nothing too startling or new but that’s kind of the point, the aesthetic. So be it. All you have to do is be beat, dulled and lose yrself in unrequited fantasies of erotic death. Second release is Body Count by An Innocent Young Throat-Cutter, the duo of Houston noise honcho Richard Ramirez and compatriot Isabella K. This duo has been documenting itself quite regularly through Ramirez’ Dead Audio Tapes imprint in super tiny editions. Not that this tape is going to reach that many more harsh wall noise freaks but it is a fine addition to their insane legacy.
2. Holy Crap. Screamingest, wobbliest No Wave screech of the year comes not from the bowels of New York, but from the lost tape archives of Vancouver, Canada. Tunnel Canary was an extremely raw co-ed trio whose entire previous known ouevre was some obscure cassette comp action. Now, Rundownsun has released a massive 2LP set, Jihad, collecting studio and live smeech that is some of the most pugnacious art punk you’ll ever hear. Ebra Ziron’s vocals make Lydia Lunch sound like Dean Martin in a mellow mood. Really fucking ripe! Lotsa weird bass stylings, scuzz generation from both electronics and guitar…what a pretty goddamn picture. Amazing to think this jabbering, destroyed masterpiece has been unheard for almost 30 years. Nice work. Somebody.
Talk Normal
For ass-burning contempo No Wave sludge, nothing has been in higher recent rotation than Secret Cog, the self-released debut CD Brooklyn’s Talk Normal. Andryo Ambro and Sarah Register create a feverish hybrid of Lydia’s “crying guitar,” the maniacal yodel-power of Die Kleenex, and the part of the Magic Band the Minutemen also embraced, which probably means the Urinals are a shadow influence. Regardless, the five songs here are totally wired, and just blow away the imaginary competition.
Arthur Magazine 