Thursday, October 3, 2019

New Punk on Bancamp: ARSE from Sydney and Flesh Narc from Denton

I wasn't going to do a post tonight because I wanted to doof around on Steam, but then I saw both ARSE and Flesh Narc have new stuff out.

ARSE is a three piece from Sydney and their new 5 song EP is called Safe Word. Their November 2017 digital debut, Primitive Species, is great and features one of my favorite tunes of the past few years, NRVSNRG.

While I'm prone to enjoy extremely lo-fi, not-produced demos, the production on Safe Word immediately grabbed me, and didn't let go. Great work all around. $12 plus shipping for the 7" from the ARSE page, and $3 for the digital release on Erste Theke Tontraeger Records, also a CNQ fave.

ETT, a German label, puts out a ton of cool stuff. Worth checking out.

Flesh Narc, from Denton, Texas, have a new 9 song cassette called "Understanding Reality." You can pre-order from the NY label Decoherence Label. My frame of reference for Flesh Narc is "Beefheartian," which translates as, it's bonkers. They're touring right now so go check em out if you see em listed in yr free weekly:

Monday, September 30, 2019

Some Recent Bandcamp Purchases - Apples In Stereo Re-Issue; Boys Age Cassette; plus Digital Releases from Tara Andrea & Maboud and Graham Domain

And so, to try and get myself into the habit of posting regularly again, here's another post.

I bought Age of Decadence on Steam a while ago and it's a great (and slightly depressing) top-down RPG. It's deal is that combat is really tough, so with that in mind I've played mostly non-combat characters (drifter, grifter, loremaster), since it kind of seems you have to talk your way out of just about everything. But each one of those wound up in the body heap, so I tried a merc last night and she also wound up dead with a relative quickness. Still super-fun, I played a little more tonight with a drifter. It has a neat post-apocalyptic after the fall of Rome-like setting. There doesn't seem to be any magic involved except as backstory, I dunno if that changes since I haven't gotten past the first few quests in the game without dying. Recommended if you're into isometric RPGs like Baldur's Gate, Pillars of Eternity, Shadowrun, etc. Those types of games are my favorite, aside from Civ, Fallout 4 and Skyrim.

I flipped over to Bandcamp and on the Bandcamp Daily it's "The Best Punk on Bandcamp, September 2019," and the byline reads "queercore, righteous feminist anger, and Finnish hardcore," which is basically what I've been sharing here on CNQ since 2012. So once again I'm like, if they're doing this now, then what the heck purpose do I serve?

I took down my Sony record player that hooked into my computer to share obscure vinyl, but have been thinking of hooking it back up. I just need a little extra space is all for the turntable, as I've moved my desk around and have various knick-knacks up on the desk that I like and don't want to move now.

Anyway, yes, all so fascinating. Blog identity-crisis and not enough space on desk for a Fallout 4 Pip Boy statue and a turntable.

Let's rock a few recent purchases from Bandcamp.

From Chunklet Industries, "a painstakingly recreated re-issue" of the first Apples in Stereo 7" from 1993. The songs are great, the re-issue looks boss, the yellow vinyl is limited to 100 copies, you get some stickers and a poster, it's a win:

Through Midwest Collective, I got this Boys Age cassette, Initiate - Very Best of Boys Age Vol​.​2 (Bonus Edition), limited to 100 copies as well. Boys Age is from Japan and just such a treasure. I'm still not sure what language he's singing in, and it doesn't matter because his bedroom mash of lo-fi shoegaze pop absolutely transcends and becomes a pure joy.

I've thought about doing interviews for the blog and I would love to do an interview with Boys Age.

I purchased this digital release back in May, and have been enjoying it ever since. Devotional music from Santa Fe. From the Bandcamp page, this is what they have to say about this track:

"Here we harmonize with the potential reality that we are satiated with the vast bounty of Creation. There is an inexhaustible and mysterious quality of abundance here that can fill us, inspire us and overflow from our being into the world. We feel into the incredible unlimited outpouring of the cornucopia of Nature, of the Cosmos and know we are a part of this, that it is our birth right as manifested beings of Creation."

Super-groovy. Most of the songs on Prisms of Wholeness are around 10 minutes, give or take. It's a pleasant journey of an album and certainly worth a listen.

Finally, from Metal Postcard Records, a 5 song digital release by Graham Domain, from Manchester. After that Mike Patton/Jean-Claude Vannier release (Corpse Flower) I've been interested in Leonard Cohen and Serge Gainsbourg type stuff. This is certainly in that wheelhouse and I dig it:

Sunday, September 29, 2019

Experimental Music from 1980s Tel Aviv, plus thoughts

It feels like a lot longer to me, but the last time I posted was about a month ago, in mid-August.

I've posted sporadically before that. I declared the blog and podcast hiatus around Halloween of last year. So aside from three rando posts here on the blog, and some a few posts over on the Facebook page, CNQ has been relatively quiet on the internet. I can't do Twitter or Instagram, I just don't care enough. But these past few months I've been thinking about CNQ. I wanted to come back with a blog about my other interests -- video games, books and comics, politics, movies and stuff on streaming, painting, rock collecting, etc. But with these other interests, my thoughts aren't much more insightful than my thoughts on music, which comes down to a Beavis y Butthead type of criticism -- "cool" vs. "sucks."

Keeping a blog seems a little antiquated, it's late 2019 and 40% of the U.S. has been brainwashed to accept an anti-humanity ethos that I once thought was only regulated to apocalyptic sci-fi and comic books.

I enjoy typing and, to remind myself, CNQ is for me in the long run. If you're reading this and you're like yeh, and/or you're the few human beings who have enjoyed my output over the last 7 years, that's super-cool too. I appreciate it, of course.

But ultimately, CNQ is my hobby, and I'm not doing this for money or likes. In fact I think it costs me both. Hence the break. Good to recharge, calibrate, and start her back up when I reckon it's time.

So I've been thinking, a lot of CNQ was sharing new stuff I like on Bandcamp, with little to no critique because I'm not a critic, just a fan. Bandcamp now does a great job of sharing interesting music on their main page, and I've been seeing on there bands I was sharing a year ago, so I was like, what purpose do I serve here?

Especially since it's not like Bandcamp is paying me. But, it's the music that's important, and if Bandcamp shares something I did, that just means I was right in the first place, right?

And even though Bandcamp should clearly be sponsoring me, they aren't. Eventually, I'd like to get back to sharing tracks off of vinyl and cassette that the internet hasn't heard yet, as well as the pirate podcast, and Bandcamp probably isn't into any of that.

Maybe I will ramp up to all that.

I've got a few messages on Facebook asking me to check out tunes. I will eventually, assuming I decide to start up CNQ again.

In the meantime, I found this:

"Originally released in Israel in 1983 and only available in a handmade edition of just 50 copies. As such, this edition is the first widely available issue of this LP, making it available to an audience beyond the few hardened collectors who got to hear this strange experimental record back in the 80s. There’s nothing else quite like it from that era, let alone from Israel, although it does have some parallels with earlier avant garde/outsider music from the US and Europe. It may well be the strangest, as well as one of the most obscure records to ever come out of Israel. The instruments used are flamenco and acoustic guitar, flute, violin and sax. Some of the playing is free form and some is complex notation, but all the tracks contain collages of effects and noisy field recordings which often dominate the picture - bubbling water, a chicken farm, feedback, transistor radio, metal percussion, vacuum cleaner, etc. There are some comparisons to be made with Anal Magic and Rev Dwight Frizzell’s “Beyond The Black Crack” from 1976 (also reissued on Paradigm), “Mirror” has a similar wild and fried atmosphere sitting amidst the open sonic spaces, coupled with some skilled instrumental playing. A notable difference with the Frizzell is that Frizzell’s pieces are always titled. The 6 pieces here are all untitled. Amnon Raviv is still active as a musician, but he also holds a PhD in medical clowning and his main work these days is as a medical clown, incorporating smiles and laughter as a therapy to help recovering patients on Tel Aviv’s cancer wards. This edition comes with new artwork showing Raviv working as a performance artist on the streets of Amsterdam in 1984. The insert replicates the original artwork from one of the 50 unique sleeves and contains liner notes by the artist that give insights into the concept behind this album. Mirror is available in an edition of 500 numbered copies."

Wednesday, August 14, 2019

Für Elise

Here's a kid playing Für Elise in a mall:

Here's Ukranian-American pianist Valentina Lisitsa playing it:

My mom would play that intro part, we had this big piano in the living room.

Monday, April 1, 2019

A CNQ Mixcloud Pop-Up Mixtape

Haven't done anything in a while, so here's a little 30 minute mixtape to show I care.