Saturday, August 9, 2014

Five new releases on New Forces are now available. 700 blank tapes worth of new music and issue 7 of the New Forces zine. Full descriptions below, everything is available at the webstore:

*****PLEASE NOTE*****
New Forces mailorder will shut down for most of the spring and summer, to reopen Fall 2017. The absolute last day you can place an order before the shutdown is May 7, 2017. 

**** There will also be a brief interruption April 20-25 while Action/Discipline tours the West Coast ****

Industrial-Historical Document 2: Counterinsurgency

"Conducting a successful counterinsurgency campaign requires a flexible, adaptive force led by 
agile, well-informed, culturally astute leaders. It is our hope that this manual provides the guidelines 
needed to succeed in operations that are exceedingly difficult and complex."

Bringing together three artists with three highly unique approaches, this triple-cassette explores the history of US counterinsurgency warfare in Central and South America. Gnawed is the first salvo, 40 minutes of bleak death-industrial from the hallmark US artist working in that style. Slit Throats, the new moniker of the man behind Plague Mother, counters the Gnawed maneuver with two sidelong tracks of crackling, hissing, scraping harsh noise. Crawl of Time finishes the assault, the solo-project of Sam Torres, known for his work in Miscreant and Terror Cell Unit, and his live collaborations with Koufar. Brutal rhythmic power-electronics that lays bare the ongoing violence of US foreign policy. One cassette for each artist, packaged in a plastic bag with a booklet.

scum "We Must Bleed" CS

One of the most exciting new Japanoise artists, scum takes the fast-paced dynamics of Killer Bug and Pain Jerk and then filters it through a raw and aggressive punk sensibility. Where cut-up noise often sacrifices heaviness and crunch, scum retains every nasty sound you expect from a good noise release. Equal parts precision and reckless intensity, "We Must Bleed" reaches an almost intimidating level of quality.

VMS ELIT "Dragging Death" CS

Swedish exuberance from the man behind Capers and Team Boro Tapes, and member of Heinz Hopf. Harsh noise of the north, no gimmicks, no trite concepts, just sheer energy and intensity. Destroyed tapes, engines pushed to the limit, rocketing into a death-slide that never ends.

Phocomelus "Gross Indecency" CS

Phocomelus is the new solo project of Patrick O'Neil, who as a member of the legendary Skin Crime helped to define the sound of harsh noise in the 90's. Somehow Phocomelus manages to live up to the that impressive legacy, offering a unique and fresh approach that is grounded in classic American harsh noise. With Phocomelus O'Neil constructs oppressively heavy walls of sound. Metal and static crash and rumble, fried electronics layering impossibly high and stopping you in your tracks. There are dynamics in the seams and cracks, but the overall effect is one of unrelenting violence, something for the true wall-riders.

Interracial Sex "Boy" CS

Interracial Sex is the trojan horse of American power-electronics. The project has an intense presentation capable of drawing uncritical genre aficionados into a landscape of conceptual and historical depth, combined with a sonic creativity that can win over listeners who turn their noses up at the phrase "power-electronics" or shy away from anything lacking a head-scratching artistic distance. "Boy" is an intensely personal album, 60 minutes of harrowing heavy electronics. The artist's own description of "Boy" says more than I ever could, so I'll let that have the final say:

"I created this album by destroying videotapes of me growing up. Things like my first birthday and school plays that my family shot on VHS tape. I destroyed the only copies in existence by smashing them, crinkling them up, melting them, stretching them - one I even pried open and buried in a potted plant for a month. The sounds of my destructive act make up the majority of the source material for all the sounds on the album. The idea was to channel a sort of caveman William Basinski technique, and to destroy a part of myself and my life for the reinvention of it as a staged and designed piece of artwork - something I feel I've done many times, because if I didn't leave a part of me behind I'd get the shit kicked out of me. I've had the shit kicked out of me for not being white, for not being black, for not being Asian, not being Arab. And my sexual development was desperate and reliant on me playing to a social part that inevitably hid away part of who I am, treating it as unattractive. Also, the album encapsulates a problem I've always had with memory. My memories of childhood are almost entirely gone at this point. I remember way less than I feel others do. And dementia runs in my genes, which I can attribute to epigenetic inheritance - the trauma and mental strain of slavery, war, poverty, etc passing down from generation to generation handicapping me. So genetic memory and the existential idea that I'm playing out another act in a tragedy, a weak and mentally disabled version of earlier struggles in inequality. And the idea of feeling myself fall into patterns of dementia very early in life like stimming / self stimulating, memory loss, mood swings and compulsions. And the episodic, fragmented nature of my memories being pieced together mostly from outside sources and thus not being trustworthy at all. All these things are what Boy is about."

New Forces Zine #7

Interviews with swedish hero Erik Nystrand of VMS ELIT / Capers / Heinz Hopf / Team Boro Tapes, Praying For Oblivion, and Limbs Bin. Coverage of Amplified Humans 2016. Reviews.

Contact newforcesnoise at gmail dot com with any questions. Distributors please feel free to get in touch.
Sample and stream tracks here:
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