Arvio

This heavy electronics compilation by MIR is quite uneven. It starts up with Bizarre Uproar, whose concrete noise which was probably supposed to be massive gets flattened into just boring due to its dull sound quality. The same problem with sound bothers Halthan as well, and Son of a Gun isn't one of the artist's best tracks, anyway. The mood starts to improve as A Machine Called Orgasm gets underway. Teen Anal is a well-working piece of slow power electronics, despite being hampered by a stupid porn-sigh sample. Barrikad & MK9 presents a nicely functioning direct noise wall, where changes cleverly first happen within the wall after which the whole thing is transformed into an entirely new, great wall of noise. It is one of the best tracks on the album, and a very fine piece of noise music indeed. The leap that takes place from this to Rulla's squeal-initiating track is quite heavy, and at first seems to be a rather bad move. The track is, however, of guaranteed Rulla-quality, so white the sound is a bit too thin at times, a lot of great moments have been packed into those six minutes of traditional analog noise the piece lasts. And the list of impressive names continues straight with Cloama, from whom a very strong, heavy track has been chosen. The track, somehow not suffering but rather benefiting from the thin sound scale, moves somewhere on the border between noise and power electronics. On it is a fine wall of electronics, with a feel of space even though there is no echo.

Funeral Mongoloids' sataniK mongoKore attaK is again of that more boring noise, and does not get much help from the squealing guitar or short shouts on top of it either. Moke Grotton's thin noise doesn't really impress either at first, even though there is some angry charm in the way it changes and some pretty roughness in the chosen sounds. Near the end a lot more power and drive is added into the pattern, and if the whole track would have been as good as that part, this would have been a great piece of music. Watchdog's Sunwheel contains swirling short-scale noise. Its sound range isn't really that interesting, but the track's break-up structure works quite well. The screams at half-way do not fit the package, though. The piece by Sist En 343 is the album's sole previously published work, yet is included in a live version significantly different from the original. Merzfuk is, as one could easily guess, a track made from parts of Merzbow works, and a fine one at that. It has a great structure and a very voluptuous sound, from which it would actually be quite possible to recognize the original sound source even if one did not know it in advance. Tuho's Koistisen persemaanantai 1-76 is narrow instrument-made noise that contains no trace of the brilliance of the artist's other project, Haare. It is simply boring.

Gelsomina starts with some swinging guitars, from which it suddenly moves to a slow wall of noise, which in turn gets blown up into a bigger wall of sound. It at least seems that the track has been constructed by disassembling the song heard at the beginning, and the result is very pleasing even if it's not among Gelsomina's very best works. World Domination continues from that point with a very nicely fitting noise drone, on top of which can be heard unclear propaganda-like shouts. A fine track indeed, but it must be said that Pain Nail has done the same thing much better already years ago. At the end of the album, Squamata then presents the best track of both this record and their career so far. The Crucifixion Considered as an Uphill Bicycle Race is made out finely structured heavy noise that is here and there momentarily joined by brighter, more clinical sounds. The cleverly original result seems like it is combining several classical styles of making noise together at once. And when it ends, one is left with the feeling that despite the album's weak moments, one has been listening to a fine noise record.

So, some of the tracks here are great, but there is also both much mediocre generic noise and many below-average performances from artists that have previously shown themselves capable of making far better material.

Jiituomas

Fuck Your Head with an Iron Fist

MIRin raskaan elektroniikan kokoelma on kovin epätasainen. Sitä avaamassa on Bizarre Uproar, jonka ilmeisesti massiiviseksi tarkoitettu konkreettisen oloinen noise latistuu tympeiden soundiensa puolesta hyvin pitkäveteiseksi. Myös Halthania vaivaa soundien tukkoisuus, eikä Son of a Gun muutenkaan edusta aivan artistin kärkipään tuotantoa. Tunnelma alkaa kuitenkin nousta, kun A Machine Called Orgasm pääsee vauhtiin. Teen Anal on hyvin toimivaa hidasta voimaelektroniikkaa, vaikka kärsiikin tyhmästä porno-huokaus-samplesta. Barrikad & MK9 tarjoilee varsin toimivaa, suoraviivaista noisevallia, jossa hienolla tavalla ensin tapahtuu muutoksia hälymassan sisällä, ja lopulta laajeneminen todella komeaksi uudeksi valliksi. Kyseessä on yksi levyn ehdottomia helmiä, ja hieno noiseteos millä tahansa skaalalla mitattuna. Hyppy vallista Rullan vinkuna-alkuiseen raitaan on hurja, ja ensi alkuun vaikuttaa melko pahalta. Kappale on kuitenkin taattua Rulla-laatua, ja vaikka soundit ovatkin hiukan toivottua ohuemmat, on kuuteen minuuttiin analogista perusnoisea pakattu paljon erittäin kiehtovia tapahtumia. Kovien nimien putki jatkuu sitten suoraan Cloamalla, jolta on poimittu erittäin vahva, raskas noisen ja voimaelektroniikan välimaastossa seikkaileva teos. Siinäkin soundimaailma on varsin ohut, mutta tällä kertaa se asettuu raitaan erinomaisesti. Tuloksena on hienoa vallia, jossa on tilan tuntu ilman kaikua.	Formaatti: CD-R Levy-yhtiö: Musically Incorrect Records Julkaisuvuosi: 2006 Painos: 150 kpl Kesto: 72:52 min Kappaleita: 14
Funeral Mongoloidsin sataniK mongoKore attaK on jälleen sitten sitä paljon tylsempää hälyä, jota ei juurikaan auta vallin päällä väänneltävä kitara tai lyhyet huudot. Moke Grottonin ohut noise ei sekään aluksi vakuuta, vaikka biisin muutoksissa onkin heti tiettyä kiukkuista viehättävyyttä ja äänimaailmassa nättiä rujoutta. Loppua kohti kuvioon tulee paljon menoa ja voimaa, ja jos koko raita olisi samaa tasoa kuin viimeiset kaksi minuuttia, se olisi armottoman kovaa tavaraa. Watchdogin Sunwheel on varsin kapea-alaista, kieppuvaa hälinää. Sen äänimaailma ei ole erityisen kiinnostava, mutta raidan katkeileva rakenne toimii hyvin. Puolivälin huudot eivät tosin aivan asetu pakettiin. Sist En 343:n kappale on kiekon ainoa aiemmin julkaistu teos, mutta sekin on mukana erilaisena livetulkintana. Merzfuk on - kuten arvata saattaa - Merzbown palasista tehty kappale, ja vieläpä hyvin onnistunut sellainen. Siinä on hieno rakenne ja hyvin täyteläinen sointi, josta jopa kykenisi tunnistamaan alkuperäislähteen, jos se ei olisi ennestään tiedossa. Tuhon Koistisen persemaanantai 1-76 on kapeaa instrumenttinoisea, jossa ei ole tippaakaan jälkeä saman artistin toisen projektin (Haare) loistokkuudesta. Se on vain pitkäveteistä. Gelsomina avaa svengaavalla kitaransoitolla, josta siirtyy äkkiä hitaahkoon äänivalliin, jonka sitten seuraavaksi räjäyttää isommaksi valliksi. Ainakin vaikuttaa siltä että raita on tehty hajottamalla alussa kuultua soittoa, ja tulos ainakin on todella komeaa kuultavaa - vaikka ei aivan Gelsominan kärkituotantoa olekaan. World Downfall jatkaa oikein hyvin edellisen perään sopivalla noisedronella, jonka päälle huudetaan epäselviä propagandalta kuulostavia tekstejä. Biisi toimii varsin hyvin, mutta on vaikea olla toteamatta, että Pain Nail on tehnyt vastaavaa vielä paljon kovemmin tuloksin. Squamata sen sijaan esittää levyn päätteeksi sekä tähänastisen uransa että tämän kokoelman parhaan raidan, The Crucifixion Considered as an Uphill Bicycle Race, jossa hienorakenteiseen raskaaseen hälinään liittyy hetkiksi kirkkaampia, kliinisempiä ääniä. Hienon omaperäinen tulos ikään kuin yhdistää rujon kauniilla tavalla useita noisen tekemisen tyylejä. Kappaleen päättyessä kuin seinään jää sellainen olo, että heikoista hetkistäkin huolimatta on kuunnellut hyvää noiselevyä. Mukana on todella hyviä raitoja, mutta myös mitäänsanomatonta noisea ja keskinkertaisia suorituksia artisteilta joilta olisi lupa odottaa paljon kovempaa kamaa. Jiituomas

Takaisin - Kokoelmat - A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - R - S - T - U - V - W - Demot

This heavy electronics compilation by MIR is quite uneven. It starts up with Bizarre Uproar, whose concrete noise which was probably supposed to be massive gets flattened into just boring due to its dull sound quality. The same problem with sound bothers Halthan as well, and Son of a Gun isn't one of the artist's best tracks, anyway. The mood starts to improve as A Machine Called Orgasm gets underway. Teen Anal is a well-working piece of slow power electronics, despite being hampered by a stupid porn-sigh sample. Barrikad & MK9 presents a nicely functioning direct noise wall, where changes cleverly first happen within the wall after which the whole thing is transformed into an entirely new, great wall of noise. It is one of the best tracks on the album, and a very fine piece of noise music indeed. The leap that takes place from this to Rulla's squeal-initiating track is quite heavy, and at first seems to be a rather bad move. The track is, however, of guaranteed Rulla-quality, so white the sound is a bit too thin at times, a lot of great moments have been packed into those six minutes of traditional analog noise the piece lasts. And the list of impressive names continues straight with Cloama, from whom a very strong, heavy track has been chosen. The track, somehow not suffering but rather benefiting from the thin sound scale, moves somewhere on the border between noise and power electronics. On it is a fine wall of electronics, with a feel of space even though there is no echo. Funeral Mongoloids' sataniK mongoKore attaK is again of that more boring noise, and does not get much help from the squealing guitar or short shouts on top of it either. Moke Grotton's thin noise doesn't really impress either at first, even though there is some angry charm in the way it changes and some pretty roughness in the chosen sounds. Near the end a lot more power and drive is added into the pattern, and if the whole track would have been as good as that part, this would have been a great piece of music. Watchdog's Sunwheel contains swirling short-scale noise. Its sound range isn't really that interesting, but the track's break-up structure works quite well. The screams at half-way do not fit the package, though. The piece by Sist En 343 is the album's sole previously published work, yet is included in a live version significantly different from the original. Merzfuk is, as one could easily guess, a track made from parts of Merzbow works, and a fine one at that. It has a great structure and a very voluptuous sound, from which it would actually be quite possible to recognize the original sound source even if one did not know it in advance. Tuho's Koistisen persemaanantai 1-76 is narrow instrument-made noise that contains no trace of the brilliance of the artist's other project, Haare. It is simply boring. Gelsomina starts with some swinging guitars, from which it suddenly moves to a slow wall of noise, which in turn gets blown up into a bigger wall of sound. It at least seems that the track has been constructed by disassembling the song heard at the beginning, and the result is very pleasing even if it's not among Gelsomina's very best works. World Domination continues from that point with a very nicely fitting noise drone, on top of which can be heard unclear propaganda-like shouts. A fine track indeed, but it must be said that Pain Nail has done the same thing much better already years ago. At the end of the album, Squamata then presents the best track of both this record and their career so far. The Crucifixion Considered as an Uphill Bicycle Race is made out finely structured heavy noise that is here and there momentarily joined by brighter, more clinical sounds. The cleverly original result seems like it is combining several classical styles of making noise together at once. And when it ends, one is left with the feeling that despite the album's weak moments, one has been listening to a fine noise record. So, some of the tracks here are great, but there is also both much mediocre generic noise and many below-average performances from artists that have previously shown themselves capable of making far better material. Jiituomas