Record Label Records : Drinking the Goat's Blood

[awepittance]

german review of Drinking the goats blood

 

http://kulturterrorismus.de/rezensionen/va-drinking-the-goats-blood.html

 

Im Gegensatz zum üblichen M…!

 

VÖ: 2010 Label: Record Label Records

 

Genre: Ambient, Noise Format: CD/ Download

 

Wie in jedem Jahr erscheinen Richtung Weihnachten Kompilations, die aufgrund ihrer Ingredienzen nicht überzeugen kön- nen & später zu Schleuderpreisen auf Wühltischen landen, eine Be- schreibung, welche nicht auf “V.A. – Drinking The Goat’s Blood” aus dem Hause Record Label Records zutrifft, das Größen wie Newcomer aus den Genres Ambient, Breakcore, IDM, Industrial & Noise offeriert.

 

Seit 1996 existiert die amerikanische Manufaktur Record Label Records, deren Zusammenstellung “V.A. – Drinking The Goat’s Blood” zeitgemäß als physischer Tonträger wie Download erscheint & somit ältere wie jüngere Hörerschichten bedient.

 

Über den inhaltlichen Kontext lässt sich streiten, den man eher aus der Black Metal Ecke erwartet und weniger von den Industriellen, weshalb alle Interpreten auf “V.A. – Drinking The Goat’s Blood” wohl thematisch ihr eigenes Süppchen kochten – ein Manko vieler Sampler, das in diesem Fall nicht weiter ins Gewicht fällt, da hier die Tonkunst klar im Vordergrund steht.

 

Um allen Beteiligten ein wenig “Rampenlicht” zu schenken, hier die chronologische Spielfolge: Mike Dunkley, Wobbly, Fluorescent Grey, Column One, Candle Labra, Ata Ebtekar, Nommo Ogo, Wisp, Dalglish, Senryl, Koyxeи, Contagious Orgasm, Sean Niesen, Upside Down Umbrella, Tomoroh Hidari, 10-20, Bloodysnowman, Yoshide Nakajima

 

Wessen musikalische Heimat in den Stilrichtungen Ambient, Breakcore, IDM, Industrial und Noise liegt,bekommt mit “V.A. – Drinking The Goat’s Blood” eine abwechslungsreiche Zusammenstellung geboten, die ausschließlich hochwertiges Material bereithält, ohne dabei den untergründigen Spirit mit Füßen zu treten. Personen, auf deren Einkaufszettel vor allem Releases von Hymnen, Ant-zen, Phthalo, Acroplane, Skam, Tear, Highpoint Lowlife, Sub Rosa & Important Records stehen, sollten sich dieses kurzweilige Kleinod nicht entgehen lassen.

 

Aus der durchweg gelungenen Summe ragen die Anspieltipps ‘I Can’t Speak’ (Woobly) und ‘Black Star #1′ (Tomoroh Hidari) heraus, welche auf unterschiedlichste Art & Weise “Perlen” darstellen, wovon man sich definitiv mehr wünscht.

 

Fazit:

 

Individuen, die nicht eingefahren nur eine Schiene konsumieren, sondern sämtliche elektronische Spielarten (inklusive der experimentelle Ausuferungen) schätzen, müssen “V.A. – Drinking The Goat’s Blood” antesten oder direkt für ihre heimische Sammlung erstehen – meine absolute Empfehlung!

 

Hörbeispiele und weitere Informationen zu “V.A. – Drinking The Goat’s Blood” findet Ihr unter folgenden Links:

 

http://www.RecordLabelRecords.org

 

 

[awepittance]

Oliver AKA Tomoroh Hidari was kind enough to translate this for me

 

below

 

Every year, around christmas, a load of compilations is released, and usually their content cannot really convince,

so they land in the cheap-brice boxes, a description which does not fit for V.A. - Drinking the Goat's Blood" by Record Label Records,

which presents stars and newcommers from the Ambient, Breakcore, IDM, Industrial and Noise Genres.

 

The American manufacture Record Label Records has been in existence since 1996, and their actual sampler "V.A. - Drinking the Goat's Blood"

is released both, as physical medium as well as download, thus catering to older and younger audiences.

 

Arguably, the context of its contends, are more to be expected to come from the black metal corner, and not as much from the industrial people,

which is, why all the artists on V.A. - Drinking the Goat's Blood are brewing their own soup - a downside of many compilations,

which however is of no importance here, where Tonkunst is clearly the prime focus.

 

To shed a little limelight on all the involved artists, here they are in order of the playlist: Mike Dunkley, Wobbly, Fluorescent Grey, Column One, Candle Labra, Ata Ebtekar, Nommo Ogo, Wisp, Dalglish, Senryl, Koyxeи, Contagious Orgasm, Sean Niesen, Upside Down Umbrella, Tomoroh Hidari, 10-20, Bloodysnowman, Yoshide Nakajima

 

To those of you who found their musical realm in the Ambient, Breakcore, IDM, Industrial and Noise Genres, "V.A. - Drinking the Goat's Blood" offers a diverse collection, which only consists of classy material, whithout trampling on the underground spirit.

People who's shopping list mostly includes Releases by Hymnen, Ant-zen, Phthalo, Acroplane, Skam, Tear, Highpoint Lowlife, Sub Rosa & Important Records, shouldn't miss out on this little gem.

 

The azimuth of the overall splendid sum of tracks are the two editor's picks "I can't Speak" (Wobbly) and "§Black Star #1" (Tomoroh Hidari), both of which are gems in their own way, and something we want more of.

 

tenor:

 

Individuals who are not stuck with one genre, but value all kinds of electronic music (including experimental excesses) definitely have to have VA - Drinking the Goats Blood, or even add it to their collection right away - my profund recommendation.

[awepittance]

YOU CAN NOW DRINK THE GOAT'S BLOOD, IT HAS ARRIVED

 

buy it digitally from:

 

beatport : https://www.beatport.com/en-US/html/content/release/detail/305529/Drinking%20The%20Goat%27s%20Blood

amazon : http://www.amazon.com/Drinking-The-Goats-Blood/dp/B004CYP6Y0/ref=sr_1_1?ie=UTF8&qid=1291861917&sr=8-1

juno : http://www.junodownload.com/products/drinking-the-goats-blood/1666294-02/

record label records : http://www.payloadz.com/go/sip?id=1323885

 

buy it physically direct from us:

email at - Peterjacksonitis AT gmail.com for now until i put up a link, CD price $7.99 + shipping, i'm in california so inside the US shipping would be $5 for priority mail (2-3 days) and $1.50 for media mail (5-7 days)

[kcinsu]

looks fantastic!

[gl0tch]

If you havent heard this yet, your mom hates you.

[awepittance]

agreed

 

video for one of the exclusive tracks on the Drinking the Goat's Blood compilation

http://vimeo.com/17652865

[awepittance]

kouhei matsunaga aka Koyxen just posted about it on his blog

thanks kouhei!

 

http://koyxen.blogspot.com/2010/12/drinking-goats-blood-va.html

[awepittance]

order the physical CD direct from us for just $7.99

 

im not sure if our curt currently processes paypal, so if you want to pay that way please purchase through Discogs.com

http://www.discogs.com/sell/list?seller=RecordLabelRecords

[Guest kxta]

perfect 4 xmas. thanky

[awepittance]

You can order direct physical & digital from us at our new webstore here -

 

http://www.recordlabelrecords.org/assorted-performers-drinking-the-goats-blood.html

 

the entire release is fully streaming in high quality, check out the other RLR downloads/shops streaming releases as well

[awepittance]

the stream was fucked up until early this morning, so try again here and let me know if you have problems. The whole release is streaming in full with no bleeps or pauses! (scroll down to the listen all button)

[awepittance]

Founded in 1996 by then 15-year-old Robbie Martin (aka Flourescent Grey) as a predominately CDR label, Record Label Records‘ (RLR) catalog continues to expand into the far reaches of next-level improvisational oscillation. Cultivating left-of-center releases and unleashing fractured electronics has kept RLR in a field of their own; painting a broad picture of universal sounds that confuses the body, phases the mind and ultimately skews the lines between audio-visual experimentation. With so much music to digest on these conjoined compilations, the central theme hovers around layers of custom-cut sounds, derailed electronics, distorted audio warfare and a virtual smorgasbord of unique electro-acoustic fragments. The artists represented herein are all purveyors in their own respective fields and as a listener, close attention to the subtle nuances will yield some interesting results if you let it all sink in.

 

Electric Carperts (featuring Cubus, Brian E, Fluorescent Grey, Mike Dunkley, Terminal 11, Scuzi, Not Breathing, Identity Theft, Dr. Strangeloop, Kush Arora, BD1982, William S. Braintree, Kcinsu, Kossak, Exillon and Dimentia) and Drinking The Goats Blood (featuring Wobbly, Ata Ebtekar aka Sote, Dalglish aka O.S.T., Wisp, Nommo Ogo, Upside Down Umbrella, Contagious Orgasm, Column One, Candle Labra, Jacob Jarnigon, Sean Niesen, Tomoroh Hidari, Koyxen, Senryl, 10-20 and Bloodysnowman) are two separate CD compilations released on Record Label Records; a culmination of atypical danceable electronics and surreal experiments respectively. Trying to sum up almost 50-tracks is no ordinary feat, with contributions from artists who have appeared on imprints such as Hymen, Ant-zen, Phthalo, Acroplane, Skam, Tear, Highpoint Lowlife, Sub Rosa, and Important, RLR have amassed a collection that is choke full of intertwined left-field grooves, obscure mechanical noise and dissected ambience from every possible corner of the globe.

 

 

V/A 'Electric Carpets'

Upside Down Umbrella’s “Egg In The Head (excerpt),” taken from Drinking The Goats Blood sums up the gritty, digitized organics spread throughout this compilation; its moody bass tweaks and synthesized noise interacts with the listener on a level that is subtle yet direct. Elsewhere, artists like 10-20 deliver more of an abstract dub propulsion whereas Yoshihide Nakajima’s “Room” creates microscopic, almost invisible sound structures that sizzle and whir inside an audiometric testing room (an apt track title, to say the least). Electric Carpets has a more direct focus on moving parts and pieces that may actually have you tapping your fingers, rather than scratching your head. Fluorescent Grey’s “Rag Doll Physics Professor,” with its subliminally sliced and diced vocal extracts, slithers across a wash of crackling beatwork while artists like Terminal 11, Kush Arora, William S. Braintree and wAgAwAgA offer twisted interpretations of semi-industrialized dub and rhythm machines of Autechrean funk. Dimentia’s “Realm” (digital bonus) stands as a definitive highlight with sub-aquatic tweaking, low bass-thumping synthesis, electrified hip-hop and vocodered slivers that melt within its 5-minute range; this track alone is well worth the price of admission.

 

Where Drinking The Goats Blood revolves around synthetic abstraction to create an opaque groove, Electric Carpets maneuvers with more of a fluid rotation; both transmitting radiant energy that is wholeheartedly unique and utterly against the grain. With this double compilation already spreading its textured outer shell, Record Label Records will likely inherit more followers of these unconventional musical creations. And rightly so.

 

Electric Carperts and Drinking The Goats Blood are both out now on Record Label Records. [Listen | Purchase]

 

from Igloomag.com

http://igloomag.com/reviews/goats-blood-electric-carpet-rlr

[Atop]

killer compilation GBIII, you da man for always!!!

[awepittance]

thanks!, glad you liked it. send me some of your music to submit when the next one comes around.

[Atop]

totally...

[awepittance]

[awepittance]

http://whitefungus.com/

 

Taiwanese publication White Fungus features Drinking the Goat's blood

 

edit:

Tomoroh Hidari - Black Star #1 (from Drinking The Goat's Blood

 

http://vimeo.com/19087310

[awepittance]

new Review from psychemusic.org

http://www.psychemusic.org/electronicmusic5.html#anchor_528

This is an interesting electronic music cooperation project by a lot of musicians and individual musical projects from this interesting new electronic music label. It is as if more or less every track bases itself upon the previous one and makes something else from it. The first track by Wobbly is based upon a frightening effect on a voice with a rhythm of bass and electronics. Quickly this evolves to electro-acoustic music with collage layers of sounds and keyboards on the next few tracks. While Fluerescent Grey used turning wheel electro-acoustics, Colmun One turns this into an environmental piece with a wind drone, bowls and a walking rhythm. Ata Ebtekar's collage is one of the few pieces which uses a recording of an existing piece, here a classical music recording, turns it upside down with effects, gives it a new rhythm with sampled-like sound manipulation, using the recording for painting new sounds and a different rhythm, making a new sonic experience from the piece. More collage, drums and bass and electronic music in the next few tracks. The Sean Niessenmanipulation of an acoustic rock track with reverb is much cheaper as a technique than the Ata Ebtekar track. This is followed by another interesting electro-acoustic track by Jacob Jarnognon based upon a played or performance confrontation of chalk, stones and water producing also some bubbles outside other typical material sounds. More drum, bass and electronic collage follows after that. The track by Wobbly has spoken word bringing in mind Laurie Anderson. It thoroughly becomes more song-like and more melodious. Then it ends more as pure electronic near the end. An interesting album with a variety of different visualisations with sounds, sound manipulations and use of electronics and of course with some electro-acoustic elements. The evolution from one world into the next one is prepared very well and works with a consistency in the visualisation process. Recommended.

[awepittance]

review from Ethereal magazine in French, anybody here who would translate this for me into english, i would greatly appreciate it

 

 

Peu connu chez nous, Record label Records (RLR) est un label américain, basé à Oakland, connu pour quelques productions IDM pointues mais qui joue également sur d’autres registres, plus difficiles à cataloguer. Les artistes que l’on trouve chez RLR sont également peu médiatisés, se frottant à des approches aussi variées que le dubstep (Kush Arora), l’electronica (Fluorescent Grey), l’ambient (Dalglish) ou un krautrock psychédélique (Nommo Ogo).

Après avoir parlé de quelques uns de ces artistes au travers de chroniques de disques, nous allons découvrir plus largement ce label avec deux compilations sorties simultanément. Le première, aujourd’hui, est consacrée aux travaux les plus expérimentaux, ou du moins inclassables. On devrait aborder le deuxième volet dans deux semaines avec Electric Carpets, consacré à des musiques plus dansantes.

 

Avec ses 19 pistes pour 76mn, Drinking the Goat’s Blood est assez colossale. Afin d’en simplifier la lecture, on l’abordera en fonction des différentes approches musicales. Commençons par Wobbly, seul artiste à présenter deux titres qui partagent une certaine richesse. Ça part un peu dans tous les sens, expérimentations rythmiques et bruitages électroniques sur I Can’t Speak, bleeps ludiques, spoken word et comptine déglinguée sur A Wall Of Blood.

On notera ensuite deux pistes où règne l’abstraction. Le Nuke Concrete d’Ata Ebtekar intègre des éléments d’une musique contemporaine électroacoustique tandis que Dalglish nous donne l’impression de composer une musique concrète concassées, malmenée par les machines. On sera surpris de retrouver Column One ici, avec une longue piste dominée par des improvisations vocales et rythmiques...

 

On passera ensuite à des artistes travaillant plus spécifiquement sur le son, mêlant minimalisme et gros traitements électroniques. C’est le cas de Mike Dunkley à base de basses lourdes et d’un traitement vocal mécanique, et de Fluorescent Grey, Candle Labra ou encore Claroscent Dray qui œuvrent à partir de sonorités métalliques. Les amateurs de field recordings accrocheront quant à eux plus facilement sur l’Iceberg Marimba de Jacob Jarnigon qui produit une musique à base de morceaux de glace et d’ambiances aquatiques.

 

L’electronica reste un genre très présent sur cette compilation. On en retrouvera quelques influences tantôt au niveau du choix des sonorités, tantôt au sein de constructions rythmiques, mais les artistes ici présents sortent tout de même des sentiers battus. Nommo Ogo y va franchement avec des basses rythmiques lourdes, crunchy, des breakbeats et des bruitages nasillards. En comparaison, les rythmiques de Wisp paraitront bien classiques tandis que ses sonorités mélodiques se vrillent, rappelant ici certaines productions d’Autechre. Petit coup de cœur ensuite pour Senryl avec un joli décalage entre des sonorités mélodiques originales et des percussions plutôt datées, très kraftwerkiennes.

Un peu plus atypique, on notera les guitares triturées de Sean Niessen qui intègre de légères influences vidéoludiques, et Upside Down Umbrella qui surprend en mêlant ambient glacée et abstractions rythmiques.

 

On terminera avec trois titres qui se situent justement dans un registre plus ambient. L’approche de Contagious Orgasm est assez minimaliste, se concentrant sur la beauté de quelques sons, drones électroniques et coups de basses. Le tempo se calme en fin de disque, et c’est l’occasion de découvrir le joli travail de 10-20 dans un premier temps avec des bruitages rythmiques épars reliés par une nappe soufflante et soyeuse, puis Tomoroh Hidari qui conclut dans la pénombre avec ses grognements électroniques et nappes infinies, de toute beauté.

 

Une compilation clairement dominée par l’éclectisme et l’expérimentation. De quoi satisfaire à peu près tout le monde, mais avant tous les oreilles curieuses. A noter que la version numérique contient 3 pistes supplémentaires.

Rendez-vous dans quelques jours pour la suite, plus dansante, mais où l’on retrouvera quelques artistes ici présents.

Fabrice Allard

le 15/05/2011

[brian trageskin]

review from Ethereal magazine in French, anybody here who would translate this for me into english, i would greatly appreciate it

 

 

Peu connu chez nous, Record label Records (RLR) est un label américain, basé à Oakland, connu pour quelques productions IDM pointues mais qui joue également sur d’autres registres, plus difficiles à cataloguer. Les artistes que l’on trouve chez RLR sont également peu médiatisés, se frottant à des approches aussi variées que le dubstep (Kush Arora), l’electronica (Fluorescent Grey), l’ambient (Dalglish) ou un krautrock psychédélique (Nommo Ogo).

Après avoir parlé de quelques uns de ces artistes au travers de chroniques de disques, nous allons découvrir plus largement ce label avec deux compilations sorties simultanément. Le première, aujourd’hui, est consacrée aux travaux les plus expérimentaux, ou du moins inclassables. On devrait aborder le deuxième volet dans deux semaines avec Electric Carpets, consacré à des musiques plus dansantes.

 

Avec ses 19 pistes pour 76mn, Drinking the Goat’s Blood est assez colossale. Afin d’en simplifier la lecture, on l’abordera en fonction des différentes approches musicales. Commençons par Wobbly, seul artiste à présenter deux titres qui partagent une certaine richesse. Ça part un peu dans tous les sens, expérimentations rythmiques et bruitages électroniques sur I Can’t Speak, bleeps ludiques, spoken word et comptine déglinguée sur A Wall Of Blood.

On notera ensuite deux pistes où règne l’abstraction. Le Nuke Concrete d’Ata Ebtekar intègre des éléments d’une musique contemporaine électroacoustique tandis que Dalglish nous donne l’impression de composer une musique concrète concassées, malmenée par les machines. On sera surpris de retrouver Column One ici, avec une longue piste dominée par des improvisations vocales et rythmiques...

 

On passera ensuite à des artistes travaillant plus spécifiquement sur le son, mêlant minimalisme et gros traitements électroniques. C’est le cas de Mike Dunkley à base de basses lourdes et d’un traitement vocal mécanique, et de Fluorescent Grey, Candle Labra ou encore Claroscent Dray qui œuvrent à partir de sonorités métalliques. Les amateurs de field recordings accrocheront quant à eux plus facilement sur l’Iceberg Marimba de Jacob Jarnigon qui produit une musique à base de morceaux de glace et d’ambiances aquatiques.

 

L’electronica reste un genre très présent sur cette compilation. On en retrouvera quelques influences tantôt au niveau du choix des sonorités, tantôt au sein de constructions rythmiques, mais les artistes ici présents sortent tout de même des sentiers battus. Nommo Ogo y va franchement avec des basses rythmiques lourdes, crunchy, des breakbeats et des bruitages nasillards. En comparaison, les rythmiques de Wisp paraitront bien classiques tandis que ses sonorités mélodiques se vrillent, rappelant ici certaines productions d’Autechre. Petit coup de cœur ensuite pour Senryl avec un joli décalage entre des sonorités mélodiques originales et des percussions plutôt datées, très kraftwerkiennes.

Un peu plus atypique, on notera les guitares triturées de Sean Niessen qui intègre de légères influences vidéoludiques, et Upside Down Umbrella qui surprend en mêlant ambient glacée et abstractions rythmiques.

 

On terminera avec trois titres qui se situent justement dans un registre plus ambient. L’approche de Contagious Orgasm est assez minimaliste, se concentrant sur la beauté de quelques sons, drones électroniques et coups de basses. Le tempo se calme en fin de disque, et c’est l’occasion de découvrir le joli travail de 10-20 dans un premier temps avec des bruitages rythmiques épars reliés par une nappe soufflante et soyeuse, puis Tomoroh Hidari qui conclut dans la pénombre avec ses grognements électroniques et nappes infinies, de toute beauté.

 

Une compilation clairement dominée par l’éclectisme et l’expérimentation. De quoi satisfaire à peu près tout le monde, mais avant tous les oreilles curieuses. A noter que la version numérique contient 3 pistes supplémentaires.

Rendez-vous dans quelques jours pour la suite, plus dansante, mais où l’on retrouvera quelques artistes ici présents.

Fabrice Allard

le 15/05/2011

 

i'll give it a go but my english sucks

 

 

"Not well-known in our country, Record Label Records (RLR) is an American label, based in Oakland, known for a few highly-specialized IDM productions but that also plays in other fields that are harder to catalog. The artists you can find on RLR are also given few publicity in the media, playing in fields as varied as dubstep (Kush Aurora), electronica ( Fluorescent Grey), ambient (Dalglish) or psychedelic krautrock (Nommo Ogo).

After having talked about some of these artists in disc reviews, we are now gonna discover more widely this label with 2 compilations that were released simultaneously. The first one, today, is dedicated to the more experimental works, or at least the most unclassified. We should be reviewing the second comp in 2 weeks with Electric Carpets, dedicated to more dancy music.

 

With 19 tracks for 76 minutes, Drinking The Goat's Blood is pretty colossal. For an easier understanding, we will review it according to the different musical approaches.

Let's start with Wobbly, only artist to present 2 tracks that share a certain richness. It goes everywhere a bit, rythmic experimentations and electronic sound effects on I Can't Speak, playful bleeps, spoken word and fucked up nursery rhyme on A Wall Of Blood.

Abstraction reigns in the 2 next tracks. Ata Ebtekar's Nuke Concrete integrates elements of electroacoustic comtemporary music, while Dalglish seems to compose a crushed musique concrète, manhandled by the machines. We are surprised to find Column One again here, with a long track dominated by vocal and rythmic imrovisations...

 

We will then find artists that work more specifically on sound, combining minimalism and big electronic processing. That's the case with Mike Dunkley, with huge bass and mechanical vocal processing, and with Fluoresecent Grey, Candle Labra or Claroscent Dray who provide metallic tones. Amateurs of field recording will stick more easily to Jacob Jarnigon's Iceberg Marimba, whose music evokes ice pieces and aquatic atmospheres.

 

Electronica stays very present in this compilation. We can find some of its influences sometimes in the choice of tones, or in the rythmic constructions, but the artists here are off the beaten track anyway. Nommo Ogo delivers huge and crunchy rythmic bass, breakbeats and nasal sound effects. In comparison, Wisp's beats seem pretty classical while the melodies are twisted, reminding us of some Autechre tracks. Next is our favorite, Senryl, with a nice gap between original melodic tones and some rather dated and very kraftwerkian percussions.

A little more atypical, Sean Niessen's grinded guitars with slight video game influences, and Upside Down Umbrella who surprises by mixing cold ambient and rythmic abstractions.

 

We will conclude with 3 tracks that are also rather ambient. The approach of Contagious Orgasm is quite minimalistic, focusing of the beauty of a few sounds, electronic drones and bass hits. The tempo slows down towards the end of the disc, as we discover the nice work of 10-20 with scattered rythmic sound effects linked together with blowing and silky strings, and then Tomoroh Hidari who concludes in darkness with electronic growls and endless strings, beautiful.

 

A compilation clearly dominated by eclecticism and experimentation. Enough to please mostly everyone, but above all the curious ears. By the way, the digital version contains 3 bonus tracks.

See you in a few days for the rest, more dancy, but with some artists already featured here."

 

 

google translation could have done the same job, almost.

 

[brian trageskin]

i've just noticed that the french word "nappe" is "pad" in english. so my translation is wrong when i said "strings", i meant "pads"

:sup:

[awepittance]

hey Brian, much appreciated, i didn't notice you had translated it until today. Much better than the google translation results it gave me!

 

 

I'm very excited that The Wire Magazine in their June 2011 issue finally put up a review for Drinking the Goat's Blood and Electric Carpets

 

here