Kevin Drumm is an Chicago based experimental artist and one of the most important musicians for electroacoustic noise scene. During his career he worked with great improvisers such as Mats Gustafsson, producer Jim Oourke or saxophonist Ken Vandermark. Kevin Drumm "Imperial Distortion" and "Sheer Hellish Miasmah" are must-hear albums of contemporary avant garde. "The Back Room" is an vinyl reissue of previously self released album. Two years ago Drumm prepared by himself 100 copies of a CD-r full of intensive noise. Whole conception from the beginning sounded like something recorded not for a CD but for the LP. There ... + INFO
On their 1996 release Ende Neu (ending-new), the quintessential scientists of the post-avant-garde abstain from focusing on listener disintegration tactics as they did on prior albums, but opt instead to hone their craftsmanship in new compositional areas. Some followers of their earlier material might object to the obvious and comparatively conventional song structure and style that is displayed on Ende Neu -- picking up a power tool to highlight a piece rather than centering the entire work around it, or leaving a stage before setting it ablaze -- but the destruction has already been performed, and now they are erec... + INFO
Like watching a stalker cleverly follow its prey for miles, only to watch it shy away just short of lodging a knife into the back of the followed, FAuf der Nach Oben Offenen Richterskala (Five on the Open-Ended Richter-Scale) is Einstnde Neubauten at their unsettling, gripping, and tension-ridden best. It was also the group's most subdued and measured work to that point, organic dark ambient that rarely utilized the chaos and cacaphony for which they had become known. You expect the big release during the closer, "Kein Bestandteil Sein," but you don't get it.
Though it's a bit less intentionally noisy than previous Neubaten material, Mensch is, in a way, the group's masterpiece. The inspired use of such "traditional" instruments as a grand piano alongside the band's characteristic blazing percussion make for a record similar more to their compositional influences like Stockhausen than their nearest contemporaries, Throbbing Gristle or Cabaret Voltaire. The record that showed Einstnde Neubaten could rise above the concept of noise for its own sake to reach another level of noise-oriented post-punk music, Mensch is an excellent feat of industrial music.