What was said about the series:

Dave X, Startling Moniker: Didn’t I say it best already? “Like the RRRecycled tapes, but done with some class, and considerable more attention to quality.” This 27-CD subscription (or buy ‘em individually!) series shows why Jupitter-Larsen is the Bruce Schneier of noise – he’s got deep connections, and even deeper knowledge. Each disc is like sitting at the knee of a master, so you better believe they’re worthwhile.

Ed Pinsent, The Sound Projector: You are guaranteed a hour of listening mayhem and compelling sounds regardless which disc you purchase.

Big terrorpeople review: HERE


What was said about A & B:

J. Hamilton, Introspect: With these two discs, GX Jupitter-Larsen (The Haters) launches his epic 26-volume encyclopedia of noise. GX has been at his work a long time, and has mined his equally encyclopedic address book for a diverse mix of veteran and new talents from around the world.

Vol. A consists of pieces by underground heavyweights Achim Wollscheid, AMK, Arcane Device and Asmus Tietchens, a lineup that just reeks of class. And that's exactly what you get: Wollscheid's '3 Transformations for Xylophone' has the tinklings of a small toy xylophone sent in various spatial and temporal directions by what may be a Max/MSP patch. I was prepared to be irritated by this piece, but it's actually a lot of fun. AMK turns in a dark, dense sound collage seemingly made from stuttering vinyl, with the clicks and scratches mixed to the fore. David Lee Myers resuscitates Arcane Device by remixing six years' worth of material into a typically dynamic slab of electroacoustic tension that recalls the classic 60's work of his sometime collaborator Tod Dockstader. Rounding off the disc, Asmus Tietchens juxtaposes mysterious, clicking, hiccuping goings on with distant, oceanic humming. Four great pieces, one convenient disc.

Vol. B brings us mostly younger artists. The Beast People (who include in their ranks Aaron Dilloway and Nate Young) turn in a strange mix of primitive vocalisations and stark tape echo, creating the sort of odd, perverse atmosphere rarely heard since obscure mid-80's artists like Noizeclot put away their microphones for good. 16 Bitch Pileup seem to be recorded live here, a 15-minute morass of feedback, distorted screaming and disordered percussion, all muffled as if heard through a few layers of duct tape, which goes on maybe a little too long and is the only weak piece on the disc. blackhumour's 'and do what/control' is one of his typically masterful collages of human voice and nothing else, text fragments that lose all signification the longer they go on, becoming so hypnotic that the end of the piece is quite a startling event. The last piece is by Bob Bellerue, who is also behind the excellent Redglaer. 'Fridge Tower' is a swarming mass of wriggling electronic frequencies that builds into fairly dense peaks without ever approaching harshness, all sorts of tactile surfaces building into a fairly tonal finale.

These two discs get this ambitious series off to a very strong start.


Roger Batty, musiquemachine.com: Volume A offers up some fabulous sonic moments. Opening up this disk we have Achim Wollscheid with a piece which starts off with playful and unaffected groups of often quite crowned Xylophone hits, as the piece progresses it slowly grows and spurts electronic treatments making the piece more hectic and noisy- though never losing it’s playful vibe- it’s a nice opener to Volume A and the whole set of compilations. Asmus Tietchen's piece has a great feeling of growing strange-ness. It's built around to begin with chopped up small sonic sounds, with a slowly growing ambient unfold of underneath which gives the feeling of been inside a womb. As the track goes on new weird cut-up and stuck textures of sounds are adding over the shifting ambient drift- sometime sounding like fire crackle, other times like strange snorting and gurgling beast. The track really gives a very effective and strange sonic landscape to get lost in. An impressive start to this set of compilations.

Volume B starts with The Beast People track Backing which is a wonderful strange sonic landscapes of weird calls, shouts and vocal noises that trails off into noise trails and bizarre swirls. As the track goes on things start to become more noisy and denser. The track mangers to be alien, comical and at times rather threatening. Next up 16 Bitch Pile up who I’ve not heard anything from since their excellent full length Bury Me deep on troniks from last year. Here they offer up the track No Burden, No Guilt which rather nicely leads in from the last track with it chorus of demented and crazed female voices, before settling into primal and noisy slog of whining/ burning electronics, mass of voices, lots of echo and effects peddles- and this great primitive banging tone. Next up is blackhumour’s track and do what/control which is simply superb brain screwing bit of audio mayhem-using just looped and slightly altering collection female voices samples that are span out for near on twenty minutes to make an odd almost at times rhythmic mantra of voice tones. It feels like the great NWW vocal based tracks, but a lot more tense, painful white neo fed and sleazy- much like a screw up memory of a bizarre hallucinogenic tinged sensual encounter. Lastly we have Bob Bellerue track Fridge Tower which again feels quite primal and strange like the snoozing state of some huge ageing technology beast.There's some nice smaller tone details like wire windings, wind blowing and spoon in cup stirring moving back and forth through the tracks central growing more and more noisy buzzing slumber. A great selection of tracks.


What they had to say about C:

Frans de Waard, Vital Weekly: Hot on the heels of 'A' and 'B', follows 'C' The old meet the new, but there is some great consistency here. From Palestine we get a lovely piece of oscillating sounds, drone music that is, recorded in 1974 and from Spencer Yeh a more noise based piece called 'Three Synthesizers', recorded in March 2008. Hectic, nervous sounds. A total opposite to the Palestine piece, which opens this CD and marks the perfect ending for this journey along generations. In set up both pieces are similar, yet with a very different outcome. Chop Shop recently surprised me with his 'Oxide' CD release, and here he comes with 'Retrofit' which is the sound of decay in action (or should that be 'action in decay'). Noisy blasts of eroded tapes, loops, hum are put together in a great collage of highly rusty sounds. Contagious Orgasm is a bit of an odd ball in this collection (the other three would have made the perfect drone based CD, with three different perspectives on the matter) with a nice collage of found sound - spoken word, eating chips and electronics. As such, as said, the odd ball here, but it provides a counterpoint too. Great volume in this encyclopedia.


J. Hamilton, Introspect: The excellent Zelphabet series returns for its third volume and once again it’s another highly enjoyable collection of experimental and noise matter. The First track is from Charlemagne Palestine is an extract from a live recording made in 1974. The track is centred around an endless warming drone thats possible made from string or piano tone, with subtle sonic movements underneath; there’s a sound of an engine, room movement, plane sound, what could be scarping ect- whether these were deliberate made sounds or just picked up on the recording is unshaw, but it’s as a whole the track is an effective slice of what Palestine does. Next up a Chop Shop track which starts by attacking you with a galloping tension building lo-fi feedback wall of grim tone that keeps cutting in and out in a rather jarringly effectively manner. As it progresses the original elements depart to be replaced by new feedback hazes, noise drones that have often have an odd grimmy harmonic feel to them and often jarringly cut out. Next is Contagious Orgasm track Heart Station which starts off with a great manic and twisting noise xylophone sound, before dropping into a strange mix of different sound levels; you have noise smart suddenly over run by dialogue talking in a formal manner about Japanese culture thats then mowed down by dense and muffled rhythmic runs, that are then jabbed out of the way by careening guitar and then drops into layered eating and drink sound before somersaulting into more chaos. Really A great slice of deranged sonic madness! Lastly we have the C Spencer Yeh's track feels like a robot going through a break down or slow burn out. It starts to get more searing and volatile as it goes on with Spencer building up a quite and effective tense atmosphere. Yet another great and consistent volume in this series.


Regarding D:

S.H. Kingston, iheartnoise.com: The Romero track on this is just relentless; sounds like a death metal band when it starts up. The Dave Phillips track is a total stereo mindmelter. But the Daniel Menche track is insane. I thought it was gonna totally go off the wall by the end. Sounds superb on a nice system with good bass response. And the cover on this edition may be the best cover of all time.


Regarding G:

S.H. Kingston: The G edition is just really incredible. If I wasn't looking at the performers names, I would say it was a set up; that they are arranged in order for ideal pacing and sound, instead of alphabetically. The Giancarlo Toniutti is so incredibly rich and dense, its got to be unhealthy in large doses. The Government Alpha is of course very intense and harsh, but restrained almost to a point to where it is cracking under it's own pressure. Very digital sounding, and that is no slight, that is as intended. G*Park has a very intense and building track to cool off after the G.Alpha track. I'm not familiar with the group, but I was getting references before I even noticed the Tochnit Aleph link on the sleeve! Top notch and rather dark. The Gregory Whitehead track kind of took me by surprise. I'm not exactly sure what is going on with it, or what is being done. I do know it has a very nice and studied atmosphere that exists beyond the source recording. It is incredibly creepy and almost voyeuristic, I found myself smiling charmingly and then wiping any expression off my face. So I guess the track worked. Once I was lulled into hypnosis, of course Explosion 2008 comes on to snap its fingers and wake me back up.

This series is really putting a high watermark back into noise that hasn't been there for a long while; especially in regards to compilation projects.


Frans de Waard, Vital Weekly: The great alphabet continues with Giancarlo Toniutti in a fairly long drone piece, which no doubt is created with some acoustic objects and analogue treatments, which results in a great minimal drone piece. Government Alpha is the noise corner of G, with a pure and unrelentness piece of feedback and distortion, followed by the near silence of G*Park. Here we find ourselves outside and listening to our environment. Cracks of branches, the careful opening of a squeaky door. An antidote for the noise of the previous piece. Gregory Whitehead's classic piece ‘The Catastrophe Class’, of mumbling voices, repeated phrases and background environment noise of an undefined nature. In every word: a classic Whitehead piece.


Regarding H:

Frans de Waard, Vital Weekly: H opens with Halalachemists... The piece is quite noise based, from a more low end perspective, with sounds banging around, and distortion pedals pushed through the stage. Hanatarash offer a very interesting piece of noise music, high end white static, being processed a bit, but quite minimal still. Its quite reduced, so not viciously loud, but nevertheless a great noise piece. Howard Stelzer closes H, with what seems to be his current tools of trade: the densely layered manipulations of analogue cassette sounds. Field recordings are stapled onto each other, and form a dense pattern. Intelligent noise all around.


S.H. Kingston: The Hanatarash track really starts to do things to your head when you listen on headphones. It feels like it is building the whole time to some massive noise climax, and never does. I would have been very disappointed had it reached some sort of logical conclusion! I think it is a fantastic piece. This whole series has been wonderful...

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