Heavy Metal Cut Up - FâLX çèrêbRi - Rite 64 (CDr, Album)

This performance featured Graham Bonnet performing a bemusing whistling routine. Sometimes, although this happened rarely, there were no semi-naked ladies draped on the cover of the latest heavy metal compilation album.

No shirtless, hirsute chaps in leather waistcoats, swinging guitars at inanimate objects as a bolt of lightning lit up the night sky. No monsters. Sometimes, the record company would design covers that just looked heavy, like this one, which appeared as if it was made from blocks of molten lead.

A year after slaughtering us with the first Axe Attack , saw the release of Axe Attack II and a cover that featured not one, but two, men in denim and tight vests, hitting each other with generic Fender Stratocasters. There have been, we are reliably informed, many Kerrang! We were grateful for that. The Fleet The Passenger The Deck The Course Below the Waves The Deep The Endless Continue reading.

Open Wound Click Bait Throw Your Heart Away Listen To Someone Silent Restraint What Was She Wearing? The Currency Of Beauty Pearlescent Continue reading. Never Be Found Tidal Mist of Memories You Say Only a Past Your Silence And Hollow Continue reading. Grace of God Man with a Stick Walking on Eggshells Rose of Damascus CD2: Garden of Remembrance C Song The Trondheim Waltz Little Man What Now?

Waverley Steps End of the Line Weltschmerz Djinn The Great Mirage No Place Here In the Absence of Matter Forestless Between Two Worlds Continue reading. Watching Me Burn Entangled in Sin Vultures Gather Round Beautiful Lies Power Mad Internal Enemy Strive the Grave Touch of the Creature Wise to the Ways World Over but the Bleeding Signal 30 I-5 Night of Pain Terror Continue reading.

Prelude: Falling Galaxies Massacre Records. Metal Mind Productions. The Orchard. Alice Cooper. Children of Bodom. My Dying Bride. Napalm Records. Paradise Lost. Nuclear Blast. Blind Guardian. Victory Records. Saint Vitus. Alliance Entertainment. Cradle Of Filth. Entertainment One. Prophecy Wines. ViciSolum Productions. Aura Noir. Cult of Luna. Harem Scarem. Manfred Mann. Parkway Drive. Adam Nergal Darski. April Wine. Elektra Label. Grand Magus.

Grave Digger. Limb Music. Noise USA. Red Stream. Relapse Records. Relapse Records USA. Amon Amarth. Axel Rudi Pell. Dimmu Borgir. E1 Entertainment. Epic International. Gama Bomb. Lacuna Coil. Queens Of The Stone Age. Rock Candy. Rotten Sound. Satan's Host. Sonata Arctica. Suicidal Tendencies.

Willowtip Records. Witchfinder General. Angel Air Records. As I Lay Dying. Bring Me The Horizon. Bullet For My Valentine. Cannabis Corpse. Celtic Frost. Corrosion of Conformity. Distribuidora Nacion. FDA Rekotz. Facedown Records. Five Finger Death Punch. Hanoi Rocks. Ian Gillan. Lupus Lounge. Magna Cart.

Malevolent Creation. Negura Bunget. Peaceville Records. Quiet Riot. Shai Hulud. Steve Vai. The Gathering. Virgin Records. At The Gates. Black Star Riders. Blues Pills. Brainstorm Toys. Dark Fortress. Dark Tranquillity. Death SS. Keep it simple. Set yourself simple goals. Achieve those simple goals consistently.

For instance in I set myself a goal to send out HalTapes — about 50 a month. This gave me an achievable target. I resisted the temptation to continue sending more out. I picked a number goal; your goal can be of any sort. So many of us, when doing a label, try to do too much, plain and simple. We have less time and money to put into each project — and it can all become meaningless, torturous drudgery.

Otherwise, go start a rock band and send out demos and such. I recall that in , and Brian Noring and I dueled with who could send out the most tapes in one year. It was always a close contest. I think that the most either of us sent out in one year was something like tapes.

You can view scans of the pages of HAL zine 1 here. Inside is a page rant detailing my thoughts on how the cassette is the most democratic art form, what I was paying for cassettes and where I bought them, various and numerous complaints about the Fostex XR-5 4-track cassette recorder I was using, about the transition from my previous High-Bias cassette snobbism to Normal Bias cassettes out of purely economic factors , how I dubbed my cassettes and on what gear, etc.

I use the equipment I use for several carefully considered reasons and motivations. Also, to return to my initial point: there are reasons why I put my work out on cassettes!

Some basics: 1 I record, compose and construct almost all my works on cassette; 2 I use cassettes to make duplicating masters; which I then use to 3 make copies of my works on cassettes to send out to people. So, here is a basic point: from start to finish, I use cassettes.

Pardon the socialist-sounding rhetoric, but this is an important point for me. I value the fact that I maintain artistic control of the audio works I produce. I try to produce works that are highly personal and are reflections of my life and experiences. Suffice to say that it was written before the arrival of inexpensive home CD recorders.

Heaquarters in Des Moines, Iowa. I am not exactly sure of when I started using the name HalTapes for my label. I reissued several of my older tapes plus all new material under that name. I have more or less called my label, or project of releasing music, HalTapes ever since then, even when I released compact discs or issued my music online, and even when I did compilations. I have used that name for my label activities since because that is kind of literally what my releases are.

Again, this must have been a lot of effort and expense. Did this vastly increase your international contact base? How did you put these tapes together? Just pick your favorite tracks from tapes submitted? Around that time the first compact disc recorders for home use were becoming available. At that time I was convinced that this spelled the doom of the cassette as an audio art medium. I wanted to pay what I thought was going to be one last tribute to the cassette, before it faded away altogether.

I sent out 10, paper leaflets through snail mail announcing and open call for the project. Anybody and everybody could participate and there was no limitation on style, just as long as they sent their contribution to me on a cassette and it did not exceed five minutes.

I did not reject any contributions. I added the contributions to the minute cassette masters in the order that they were received. I used this chance process method of determining the order of the contributions on the compilations so that no preference would be given based on any personal tastes of mine, and as a statement to show that I valued all forms and styles of underground cassette-based audio art, noise, and music.

It also produced some interesting contrasts and connections and correlations between lots of different kinds of underground music styles. As soon as there was enough material to fill up a 90 minute tape I put out a volume of the compilation series. A big part of the reason that I do compilation projects, and I have done several, is to find new contacts, new allies in soundmaking. The recent Dictaphonia Microcassette Compilation project brought me into contact with several audio artists who I now consider as good friends and collaborators.

I also do compilation projects to assess what is going on in the scene. In the case of Tape Heads I wanted to find out just how much interest there still was in cassettes as an audio art form. Of course I always hope that compilations will help to connect artists who were not previously aware of each other. I also do my compilations to foster cross-pollination, to hopefully demonstrate that in spite of differences in style, underground music makers can find common grounds, and can learn from one another, and create new forms based on the influences and inspirations derived from other practitioners of homemade audio art.

The Tape Heads compilations contain a dizzying array of experimental and underground music styles. You never know what you are going to hear from track to track. Many of the artists are not active today, but there are many who are still around, busy, and active today. See how many of these names you recognize. You can download Tape Heads One here. Waste Paper Co. Ebu Germany.

Vaughan Jr. Have you transferred many of the older tapes to CD now, or to the Internet as sound files? Yes, indeed I have! I have online on my website two different lists that the curious can consult for information on my releases from to the present. My Old Master Catalog list includes information along with thumbnails of cover artwork for every release that I did from to ; and it also lists every full-length, album-length release from to or so.

A more current list, my Master Catalog List , presents a much more complete list of my releases and includes links to all of my releases that are currently available in either hard formats or online or both. A relatively small amount of my releases are currently available.

I expect that this will change, as I want to keep on publishing my works old and new on the Internet Archive. Why is so little of my work available right now? Limited resources, for one thing. I only have so much time and money.

I have a constant struggle between the old and the new. With an extensive back catalog, the upkeep and maintenance on past recordings alone would be enough to keep me busy. I am also constantly producing new audioworks. I currently have a backlog of unreleased works, all collaborations, or collaborations that are planned for the future, in the next few months. Hal McGee used to be rather infamous for disappearing and reappearing, sometimes in the same place, sometimes halfway across the United States.

Plus numerous other tracks collab style thru the net most available at tapegerm. Tons of excellent material in a wide range of styles. Need I say more! Hal has been and continues to be one of my closest friends in the independent music scene for something like fifteen years now.

He takes chances, he questions, he embraces, he tears apart, he plots, he celebrates all that is unique and wonderful in noise and sound construction and performance, and in life itself. I feel his impact on the independent music scene is vast and far reaching. His art will be enjoyed for a long, long time. Hal is gifted with some rare abilities. He thinks thoughts that no one has thought before.

He persists in the execution of his artistic goals until his exhibitions are impossible to ignore. He can motivate large numbers of people from diverse backgrounds to participate in truly experimental artistic endeavors.

You can imagine my surprise when I opened my mailbox a few years later to find a letter from him requesting tape trades. It was the mid s and I had been digging my way through the underground tape trading circles. Corresponding with a man who had spent so many years, past and present, entirely devoted to this particular scene was a thrill for me. Most of the album has a compellingly inhuman chill, but there are two tantalizingly quick hints of a garbled voice… maybe intercepted radio?

These small lifelines to humanity vanish just as soon as they appear. Limited to copies, though, so interested listeners are advised to grab one while you can. The trio started n and consists of Andrea Laudante electronics, mixing , Francesco di Cristofaro duduk, bansuri, nay, bagpipes and accordion and Gabriele Tinto frame drums, tambourines and cymbals.

In and they had some studio sessions, focussing on "improvisation, sound investigation and real-time manipulation". From these recordings, the five pieces on this CD were created and it's five pieces, thirty-one minutes of great music. None of this refers to improvised music as such, but because of all the electronics and sampling, this is much more the work of electroacoustic music; of modern composition.

The wind instruments of Di Cristofaro are used in a dark, mysterious and elegant way. It's nothing hectic or wild, but strangely exotic and introspective; something similar is to be said of Tinto's percussion; rather than banging time signatures, his playing is about the touching of the surfaces, which in turn set a chain of events in motion inside the world of electronics.

There, in the centre, we find Laudante creating textures, drones and atmospheres in which all the instruments still sound, to some extent as intended, but at the same time, they are also beautifully melted into something bigger. Only in the fifth untitled piece, the accordion has a leading role and that adds a fine Middle European flavour to the music. Strange music? Not really. Too short; hell yeah, way too short. I do inspect them all before shipping them off as well as ripping a track for the podcast and this one I played with some interest.

Yes, this too is improvised music, with Sakina Abdou on saxophone and recorder, Barbara Dang on piano and Peter Orins on drums. The two pieces on this disc are seventeen minutes each and that may seem like a quite a short release, but due to the minimalist approach by the players, this is also quite an intense listening experience.

The music is quiet but not to such an extent where one doesn't hear anything. Delicate is perhaps a better word. Something that I enjoyed very much is their approach to the instruments. More than once, one has no idea that you are listening to drums, saxophone, recorder or piano. The 'instrument as an object' approach here works wonderfully well.

I hope I am excused again! At the same time, one also hears how much they are tied into the world of improvised music when the instruments sound as such and again the interaction among these players is great.

After two of these pieces, I must admit, I felt quite tired; tired yet also satisfied by the quality of the music here. Three people are responsible for the music; Charles-Henry Beneteau folk guitar, electric guitar, abs. The three know each other from other projects such as Formanex, ONsemble and ensemble Minisym.

This is their third episode in a "musical show", a personal road movie in which they "travel" from one place to another. They use field recordings from that trip as well as some spoken word.

So, that's the basics, where is my doubt coming from? It is hard to say, but it might be the polite nature of the music. There is a picture in the booklet of these men in concert and I can imagine this being a nice theatre, with great light and better acoustics and there we have these three men playing their delicate music, with neat field recordings; strumming, picking and a writer with a beautiful voice telling something I keep forgetting to make notes what it is that is said. It is a fine mixture of ambient music, field recordings, post-rock in its most elegant form, modern classical and very civilized.

It is not bad at all; don't get me wrong there. The whole idea of a road movie on stage makes sense and these men have an idea that works well. Why it doesn't work for me is also for me something of a mystery. I like ambient music, field recordings and minimal music; I admit not being that big into the whole post-rock thing, but that can happen, so what's wrong?

I don't know. Which brings me to the CD that arrived on the same day. It is on a new label called Laaps. This is the follow-up to Eilean Records. Having fulfilled their idea of doing releases, they now started this new enterprise and it starts with something new from the Kleefstra brothers.

Well, new in the sense that I missed out their first records from and Jan Kleefstra, poet, and Romke Kleefstra, guitarist, team up with Greg Haines piano, church organ, percussion , Joana Guerra cello, voice , Olga Wojciechowska violin, piano , and Sytze Pruikema percussion. Essentially this 'new' group is a further expansion on what they always do and that is playing highly atmospheric tunes in which Jan Kleefstra recites slowly his Frysian poetry.

That's not a language I speak, but the translation is enclosed. With The Alvaret Ensemble, they move a little more towards modern classical music. I understand it is partly improvised in a small church in Leeuwarden the capitol of Friesland.

Album: Metal City Released: Style: Power Metal Artist: Ozzy Osbourne Album: Blizzard Of Ozz [40th Anniversary Expanded Edition] Released: Style: Heavy Metal Format: MP3 Kbps Be Up A Hello () Jan I Comments Off on Squarepusher – Be Up A Hello.

9 Replies to “Heavy Metal Cut Up - FâLX çèrêbRi - Rite 64 (CDr, Album)”

  1. Originally released as a C60 cassette in Track 4 is a video soundtrack. Track 7 was recorded live at Assasin Karniball 3/3/84 Tracks 8 and 12 recorded live by A.D. 64 at home 10/1//5(3).
  2. Discover releases, reviews, credits, songs, and more about FâLX çèrêbRi - Rite 64 at Discogs. Complete your FâLX çèrêbRi collection/5(14).
  3. Jul 12,  · FâLX çèrêbRi - Rite 64 - Cassette (Graf Haufen Tapes ) A07 Ritus 64 A08 Untitled 1 A09 Fucking World B08 Heavy Metal Cut Up B09 Black Out
  4. The second release was 'Rite 64', a tape by Falx Cerebri, the musical project of Graf Haufen. I was envious of what he did: selling music, doing art, doing fanzines, mail-art, music, studying and I was surprised to learn he was even four months younger than I was.
  5. Heavy Metal: Click on the Heavy Metal artist of your choice to Buy New, Rare, Collectible, Used and Hard to Find CDs, CD Albums, Vinyl Albums, Vinyl records, Rare CD Sigles, Picture Discs, Rare Vinyl, 12" singles, 10" singles, 7" singles, Limited Editions, Promos, Promotional items, Imports and Music Memorabilia from the s, s, s, s and s along with Full Discography's.
  6. Nov 17,  · FaLX cerebRi: Rite 64 Gut Level One: A Compilation Psychological Warefare Branch: self-titled The Last Supper compilation SMERSH: Make Way For The Rumbler Walls Of Genius: Before And After, and Crazed To The Core Jack: Up Noisy But Chic compilation Bloody But Chic compilation Bene Gesserit: Live In Belgium And Holland 4 IN 1 compilation.
  7. Heavy-metal rock, which is typified by heavily distorted guitars, lightning-fast solos, wailing vocals, and dominant drums, became popular in the late '60s and early 'prinartetintiosab.fornahollharspirendvavantdetestmostthe.co such as Led Zeppelin, Black Sabbath, and Judas Priest produced vinyl records that are some of the most highly regarded examples of the genre to this day. Indeed, heavy metal is still a musical force worldwide, as new.
  8. There some 70s albums i left out because i consider them more hard rock than heavy metal. So bands i love like Uriah Heep, Deep Purple, UFO, 70s Thin Lizzy, Blue Oyster Cult, KISS and Rainbow will not make it. Those albums were considered heavy metal in the 70s and i do believe they are proto-metal but many have a different opinion. I decide to leave them out to be more accurate.
  9. This week's new heavy metal releases include a miserable concept album, a shock rocker gone country (but not really), Top Gun rock, and more! Daniel Cordova September 11, In The Studio.

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