Tuesday, August 21, 2018
Delia Derbyshire / Barry Bermange - (2014) Inventions For Radio The Dreams LP
Psychic Sounds – 012
Sword Heaven & 16 Bitch Pile-Up - 2004 - Come Here, Sandy LP
Cephia's Treat – 032
This particular copy of Come Here, Sandy carries two histories at once. The first is the history pressed into the vinyl: two early-2000s Ohio noise groups occupying opposite sides of a split LP and testing how much dread, momentum, confusion, and communal force can be extracted from primitive equipment. The second is the history of the object passing through another set of hands years later, being played, captured, divided into files, scanned, compressed, uploaded, and given a second life through the 2018 post. That provenance matters. A personal LP rip is not a transparent window onto an abstract master recording. It is an encounter among a particular record, stylus, turntable, room, converter, software, and listener. The faint edge of the medium becomes part of the document, preserving not only the performances but one physical copy’s continued existence.
Sword Heaven’s side feels less like a composition being performed than a crude engine discovering its own combustion cycle. The drumming provides an immediate center of gravity, but it never settles into the reassuring function of a rock beat. Each strike makes the next strike more necessary. Around it, vocal abrasion and electronic pressure gather into a single forward-moving mass, as though rhythm has become an emergency procedure. What begins as repetition gradually becomes acceleration, and what first resembles trance develops the bodily alarm of something running too fast to stop safely. Sword Heaven understands that repetition does not have to hypnotize by smoothing away difference. It can hypnotize by making every recurrence more severe.
The physical rip suits this music because the vinyl itself seems enlisted into the percussion. Surface texture, low mechanical rumble, and the sense of a needle tracing a rotating object quietly reinforce music already obsessed with friction and circular motion. Digital cleanliness can sometimes make early noise recordings seem detached from the environments that produced them, but a record transfer restores a sense of weight. The side has duration because a platter is turning; its violence is carried by a groove that must be followed from outside to inside. Even without romanticizing analog imperfection, there is something appropriate about hearing Sword Heaven’s unstable machine through another machine whose tiny physical contact is continuously translating motion into sound.
When the record turns over, 16 Bitch Pile-Up does not simply offer a second variation on the same harshness. The center breaks apart. Instead of one pounding structure gathering everything into its orbit, the music behaves like several simultaneous decisions being made by people who remain alert to one another without agreeing on a destination. Metal, amplification, voices, electronics, scraping, impact, and open space become equal participants. The performance can sound crowded, but it is not indiscriminate. Its real subject is collective attention: when to add pressure, when to leave a hole, when to answer another person’s gesture, and when to destroy the temporary balance everyone has just created.
That quality becomes more vivid knowing that 16 Bitch Pile-Up emerged from people who had not first been trained into conventional band roles. They could invent the group before learning the supposed rules of what a group ought to be. The result is not freedom as an airy abstraction. It is freedom as labor, noise, embarrassment, hilarity, aggression, uncertainty, and the continual risk that an improvisation may fail in public. Their performance carries the pleasure of discovering that discarded metal, cheap amplification, and an unlicensed scream can form a complete musical language when several people commit to listening hard enough. No guitarist or vocalist must remain the protagonist. Authority keeps migrating across the room.
This also makes the split an unusually clear picture of Columbus noise as a social environment rather than merely a genre. Sword Heaven and 16 Bitch Pile-Up share geography, personnel connections, labels, venues, and a willingness to build music from whatever could be made loud, yet their aesthetics are not interchangeable. Sword Heaven compresses energy into a disciplinary pulse. 16 Bitch Pile-Up disperses it across a group. One side creates terror through inevitability; the other through unpredictability. The LP format forces those strategies to inhabit the same object without blending them into a compromise. Flipping the record becomes a genuine conceptual turn.
The title Come Here, Sandy adds another layer of wrong-footed intimacy. It sounds casual, coaxing, perhaps domestic, the kind of phrase that could drift across a yard or beach. Against the music, however, the invitation becomes ambiguous. Who is calling, where is “here,” and what condition will Sandy be in after arriving? The handmade-looking visual language and small-label presentation refuse the monumental seriousness that extreme music sometimes uses to announce its danger. Instead, danger is tucked inside something personal, funny, cheap, and touchable. That contrast belongs to the underground economy surrounding the record: art assembled by hand, records exchanged through mail and touring, information passed person to person, and copies accumulating individual biographies as they travel.
This rip therefore deserves to remain beside any later digital source rather than being treated as a duplicate to discard. The performances may be the same, but the document is not. A label upload, another collector’s transfer, and this 2018 capture each preserve a different route by which the record survived. Listening across them can reveal changes in level, channel balance, surface condition, editing, encoding, and the choices of the person doing the preservation. Those differences are not obstacles surrounding the “real” album. They are part of the album’s long material life. Anyone who owns this pressing, saw either group during this period, remembers the venue documented on the 16 Bitch Pile-Up side, or can identify variations among sleeves and editions is invited to add another piece to that life.
VA - (1998) Commercial Food (Processor) LP
Unread – 013
egg salad
A1 –Will Simmons I Can't Say It Enough Times To Make It Rhyme
A2 –Bright Eyes Pioneer's Park (August 17th 1997)
A3 –November Of 1959 Strawberry Sweater
A4 –Discombobulated Ventriloquist The Bedside Of His Child Lover
A5 –Jim Manigrassi Devoted
A6 –George Willard He's Not A Billionaire (Anymore)
A7 –Caleb Fraid Song #33 (My Sweetheart Keeps Me Going)
A8 –Mike Musser Art Bell
A9 –Swingset Untitled
Tuna Salad
B1 –Unknown Artist The Guy
B2 –Kids Of The Atomic Age Summerday Castaway
B3 –Erik Sahd Frank Positriano
B4 –The Dark Townhouse Band Moonshine
B5 –Chris Clunk Hairloss Song
B6 –Charlie McAlister The Story Of Sweet Susie #5
B7 –Kyle Jacobson (1999) We're All Going To Die
B8 –Ed Rooney My Brains
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