" "[sic] TIM GOLDIE

__________________NEW RELEASES : ____________________________________________________________ _________ New DEFLAG HAEMORRHAGE/HAIEN KONTRA single HUMILIATED now available on TOCHNIT ALEPH http://www.tochnit-aleph.com/DH-HK/________________________ NOW AVAILABLE - "ABJECTOR"[sic] by " "[sic] TIM GOLDIE (New double album available on HIBARIMUSIC and W.M.O/R - www.mattin.org - DOUBLE CD or FREE DOWNLOAD) ( www.mattin.org ) and http://www.hibarimusic.com/_________________________________ ____________________________________________________________ http://www.difficultfun.org/items/sarcomasine.html (Free download - TWO EARLY UNMASTERED EXCERPTS FROM "ABJECTOR"[sic] - LIVE SOLO (DRUMS/VOICE), NO OVERDUBS, RECORDED WITH 2 AKG 414 BULS DIRECT TO DAT BY " "[sic] TIM GOLDIE) ______________________________________________ ______________________________________________ ______________________________________________ DEFLAG HAEMORRHAGE/HAIEN KONTRA - LUXURY album now re-released on TOCHNIT ALEPH http://www.tochnit-aleph.com/DH-HK/ ____________________________________________________________ _________ ____________________________________________________________ _________ http://difficultfun.org/mp3/Interneccine%20Slakes%20(excpt). mp3 ____________________________________________________________ _________ ____________________________________________________________ _________ HUMILIATED Review: "Absolutely fucking insane. the weirdest record i have heard for a LONG time!! The eccentricity/ form destruction of say ULTRA but more slick, like a cheetah applying lipstick on a coke mirror. Like if you record humidity. wild mix of sexy cymbals, (non) accident vocals/child sighs, makes William Bennett sound like Moira Stewart. BONKERS BONKERS and once more BONKERSi cannot recommend this highly enough. its like taking one massive shit and then it grows a mouth and starts talking back??? arachnophobia toilet scene style. w/ heavy last seconds unpaused tape AARGH style.RECORD OF THE YEAR HANDS DOWN. (and INCREDIBLE packaging)". Steve Warwick (Birds of Delay)_____________________ ____________________________________________________________ __________"ABJECTOR"[sic] Reviews : "ONE CRUEL VOICE. The agony, the ecstasy: extreme emissions from the human voicebox. No instrument conveys as broad a range of emotions - love, tenderness, pain, longing - than the human voice. Towards the periphery of the vocal spectrum, however, where words turn to howls, gibbers and wails, emotional certainties dissolve, and the extremes of human experience flow together: the old pleasure pain dichotomy, right there in the distressed whimper of a vocal chord. " " [sic] Tim Goldie has been on the radar a little while, chiefly through his membership of Deflag Haemorrhage/Haien Kontra, an outfit with Basque sound artist Mattin. His debut album "Abjector" [sic] is one of the most flat-out original noise albums I have heard in some time: a punishing, determinedly outre, excursion into drum improv, digital noise and extreme vocal gymnastics. The first cd recalls the acoustic investigations of Alvin Lucier, extended periods of improvised drumming, credit cards and scraped snare, investigation of the properties of an instrument as crucial as technical skill. The second CD - the heavily titled "Devocalised Fluchtverdachtiger/Blocksperre Refluxur"[sic] brings vocals into the equation: shrieked and wailed, hoarse with emotion, often distorted by crackling static, or by lips pressed against the skin of a snare. The language itself, though, is fractured and mangled, meanings dissolved or hiding latent; a musical counterpart, perhaps, to the aggressive datafeed spew of Kenji Siratori's postmodern novel 'Blood Electric'."By Louis Pattison Plan B magazine (London), issue 30 Feb 2008_____________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ " "[sic] Tim Goldie's double solo album "Abjector" [sic]: what's in a name? not much except that with a name like this, it's unlikely to be a very cheerful work; and what's in the artwork which tells little? not much except that the whole is a work of fashion-scorning art; but mostly it's in the music; the recordings were made over 5 years, and I suppose that these albums are compilations (including some brutal editing where 1 section is cut off abruptly before the next begins, as well as some brutal, speaker-bruising distortion) of a long series of solo explorations; the 2 albums have clear identities - as if for 5 years Goldie explored 2 themes in tandem and then pushed them apart for the double albumalbum 1 ""White Peristaltic Interrogations" [sic]almost entirely drum and cymbal solos with distorted voice in the background from time to time; I like this album a lot; it has a quality of violent meditation; violence in the dogged engagement with singular themes, especially sequences of drum rolls which could have been played by Billy Cobham in Mahavishnu but never so nakedly and persistently; meditation in the extreme focus on a limited sonic palette and approach - I wouldn't call this an experimental record, there isn't the sense of the performer experimenting, rather there's the sense of the performer pursuing a single line of exploration through thick and thin, never deviating over the years; the result has a mesmeric quality and also a strange, edgy spirituality - perhaps the spirituality of a fakir, almost that of a martyr, a record of fasting, of transfixion, of musical mortification; even at its most sparse, the sound fills the room, it leaves no air-holes, it's like a train, a damned train on a long viaduct, and to the sides a great drop, and straight ahead the viaduct curves on and on; towards the end of the album there are long silences, sometimes very long, where the sound in the room rustles with the memories of what's passed, and the listener can bathe in the charged silence between bursts of sound-weather.album 2 "Devocalised Fluchtverdachtiger / Blocksperre Refluxur" [sic]in the second album the voice - and damnation - comes to the fore mixed with extreme distortion and electric drill-screams; like a soundtrack to the Chapman Brothers' lost masterpiece 'Hell' or a never-ending tooth-extraction nightmare or the black catharsis of the torture scene in Pasolini's Salo or just a bunch of Nazis trapped in a padded cell with only each other to vilify; and unlike the first album, here the violence of the voice and electric distortion disintegrates meditation into pain-music, where pain-emotion compresses in its black vice all quiet and spirituality; an album of the cries of the undead, the souls in purgatory wailing for judgement, a nasty black mirror reflecting the nastiness of a war-torn world and rendered minds; it's also unlistenable; I can't listen to it, it's too much, too unremitting, too rebarbative, too wearing on a sensitive chap's struggle to stay the right side up of the abyss.Nikolai Galen_____________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ "Tochnit Aleph (Berlin)Recommended first solo-release by the great 'percussionist', trouble-maker, Deflag Haemorrhage / Haien Kontra member from London. Double CD of live & direct miniatures for Drums, Voice, Credit Card, Bird Whistle, and Guitar Amplifier/Leads. WHAT A LUXURY!"______________________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ______http://spazioinwind.libero.it/extremes/touchinghome.ht m______Trying to convince people about the good and the bad in a record like this is completely useless. A classic love/hate dichotomy: someone will think that it’s art, someone else that it’s shit. Tim Goldie himself seems to have chosen a black/white approach in releasing this pair of CDs. In fact, the first one features a piece - “White peristaltic interrogations” - where the experimentation with drums and voice reaches points of high interest, as Goldie transforms the instruments (which also include credit card and bird whistle) into machines producing several kinds of groans, growls and thunders, the whole interspersed with long silences in the final section. Some of the materials are not too distant from Z’EV, but there’s probably a larger dose of anarchy in what we find here (you’ve got to love the absurd track subdivision, take a look to your player while listening). The second disc finds the author in full-scream mode in “Devocalised Fluchtverdächtiger”, as he meshes his shrieking rants with the resonance of a snare drum or throws them up by themselves, overdriving the mess via a guitar amplifier. This is obviously the part that you might want to keep secret to your relatives, a pure act of anger and liberation that has no musical sense at all yet perhaps does imply a degree of artistry, more or less on the coordinates of Viennese Aktionist movement - or nearby areas. Not that the depth is the same, though. Or is it? I can’t decide myself. Still, this is a keeper if only for disc one, which contains seriously absorbing, brain-enhancing noise in abundant quantities.______________________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________Metamkine (France)Voix, batterie, ampli guitare, câbles. Enregistré avec le volume au maximum de l'entrée du DAT, saturations continues, le cri excite la batterie, la voix joue de la caisse claire et le feedback fait des siennes Une véritable déflagration, comme une version ultra-punk de 'Music for solo performer' d'Alvin Lucier. Coproduction w.m.o/r et Hibari music. ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ADAM SHERRY (Australia) JANUARY 2008""ABJECTOR"[sic]....... The skeleton and centre of this record for me is Tim Goldie's virtuoso percussion. Different angles sharpened and cut into with rhythm and swarms of sound, beat down through his drums, a constant pressure or tension maintained in the lengthy build up of songs, an expectation and wait for a sudden fall or explosion, as primal or as physical as i've heard any drummer play. Over two discs Tim creates an atmosphere of his own, forms the basis of his own language, sucks you wholly into his world. The small echoes or sparks of dark sound coming off cymbals, distorted screams, a peel of words through a snare drum, and silence." ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________NoiseBlog (USA)Mattin [website] sent me a couple of his most recent releases, including “Abjector“, a double release by [sic] Tim Goldie [mySpace without music, mySpace with music]. Both discs contain some 70 minutes of material, cut up in chunks of 2 minutes, so you get 30+ tracks on both discs, though in both cases it’s actually just one long track. Feel free to play this disc in random mode. On Disc 1 you’ll find a track called “White Peristaltic Interrogations” recorded using “drums, voice, credit card and bird whistle” - It’s quite varied, starting of calmly with an etheric cymbal-piece, and then spanning the whole spectrum between “drums falling down the stairs in a controlled manner” over “duct tape on skin harsh noise” to “abstract hardcore jazz with heavy screams on uppers (*)” - the latter are a bit hard to digest, but the avantgarde-minded among us will certainly dig it - I’m more for the harsh noise parts and tumbling drums (that by moments come pretty close to abstract percussion à la old school Z’ev), just to say that probably everyone will find something in the record that he or she will like (unless you’ve never ventured past the pop-department of your local record-shop, but in that case you wouldn’t be reading these pages anyhow - a fucked-up taste is a prequisite). Disc 2, “Devocalised Fluchtverdächtiger/Blocksperre Refluxur” is a bit of a surprise after Disc 1 (or not) - On this one Tim Goldie drops the bird whistle (bird died while recording Disc 1, or whistle got lost or swallowed), uses only snare drums (rest of the drum is in debris after the recording of Disc 1) and as an additional instrument uses a guitar amplifier and leads. The credit card is still mentioned in the listing, and probably playing an even bigger role in the whole track, as “Devocalised Fluchtverdächtiger/Blocksperre Refluxur” is pretty raw and fucked-up (and therefore totally “up my alley“) - I don’t really hear snare drums in the track, but there’s a lot of cable- and amp-noise on this one and [sic] Tim Goldie screaming the guts out of his body, reminding me of that classic 7? of a certain japanese act starting with a “G” and ending on “e” - other parts, especially the “fuck”-ones, remind me more of a power-electronics act with failing electronica. Lots of silences in this track, sometimes lasting several minutes - The liner-notes (in mirrored writing) mention that the material is recorded directly to DAT using two mikes (without overdubs, nor effects) so I guess this means [sic] Tim Goldie put the integral recording on disc, straight from DAT as it was recorded that day including the parts that he was doing credit card or just trying to get his stuff together cause this was clearly a heavy studio-experience. Putting the integral recording on disc makes this record a truly straight-forward, no-nonsense release. Recommended! You can order this release at Hibarimusic [website] in Japan (for 2000 yen it’s yours). Here’s what another reviewer (Bagatellen) says about the record (in case you need a second opinion before deciding).(*) that would explain the occurence of a credit card in the list with used instruments Bad Alchemy 57 Feb. 2008 (Deutschland) ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ DEFLAG HAEMORRHAGE/HAIEN KONTRA - HUMILIATED (CD by Tochnit Aleph) Packaged in a silver anti-static bag along with two printed cards one having dense self indulgent text "My excrement hallucinatory rejections of a concrete reality.." and even denser overwritten text with photographs of blurred hand writing on the reverse. When tracked down - (they give no address) the following amongst other can be found "" "[sic] GOLDIE - drums, voice, credit card, amplifier, stereotaxic. MATTIN - GNU/Linux computer feedback, voice, guitar. Formed in East London in 2001... perform internationally... work with noise, silence and abjection... transgress all notions of what a performance can be without imposing aesthetic or moral limits... two of the most unpredictable and 'conceptual' contemporary sonic activists... "[sic] Goldie is one of the most original noise musician/performers on the European scene... from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, ..DEFLAG (etc) collaborated with some of the most radical and legendary musicians in the avant-garde such as Eddie Prevost (Prévost?) (a *Jazz* drummer!) and Philip Best " And continues with reviews from Dan Warburton (The Wire). &...Nick Hobbs validating their oeuvre. Actually despite all this the piece begins with guitar / drumming noise @ 3 minutes a lot of shouting - everything then goes quiet and we hear a silly child voice and chimes? to give way to more shouting and noise finale. When was The Two Virgins series released? I'm sorry this is weak avant gardeism of the 1960s - no wonder Eddie and the Jazz heads want in. They *do not* transgress notions or moral limits or is there anything original here, certainly no unique conceptual universe whatever that might *mean*- but you might start by checking out the work of such as Fowler and the ideas regarding the current state of sonic art in "in the blink of an ear"- The only post-modern credentials they have is passing off clichéd rubbish as art given a set of an influential clique in line with Damien Hirst's (successful) objective, so the whole thing might be an ironic gesture - at least that is an excuse. otherwise as a quote they give from A&Lers Michael Baldwin, Charles Harrison, Mel Ramsden from 1994 states "To mistake the causes and reasons which originate cultural practices for the causes and reasons which make it possible to go on with those same practices is a species of immaturity which terminates in Stalinism, or in some even worse adolescent disorder." which is sufficient even given the pedigree/praise above to write this off as "embarrassments and pettinesses " I suspect and hope that the self regarding, self pitying narrative is just a post-modern ploy, through I'm aware of an enormous anti-intellectualism (read anti-human) tendency in the Stalinist Jazz Mafia/Media. (jliat) Address: http://www.mattin.org/DHHK.html_____________________________ ______ ____________________________________________________________ __________ ____________________________________________________________ __________Bagatellen (USA)"A lot of brackets and “sics” here, but essentially this is two lengthy discs of solo percussion and noise by Goldie. The first, “White Peristaltic Interrogations”, is largely percussive and the more successful of the two. The general tone is dark, groaning and chaotic and one has the impression of a musician throwing himself in among his tools. In fact, I was reminded of Z’ev more than once. The second disc is in more of a screaming noise mode and less interesting to me because of that. Both clock in at over 70 minutes and are arbitrarily divided in dozens of two minute tracks. While the first disc varies attacks pretty well, they both linger too long to hold my attention (! Did I say, “Attention?”). It’s a good effort though and Disc 2 (bearing a title that trips off of one’s tongue: “Devocalised Fluchverdächtiger/Blocksperre Refluxur [sic]”) will doubtless provide a goodly amount of enjoyment for the more No Fun oriented listener.Posted by Brian Olewnick on November 14, 2007 5:57 PM". ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________DEFLAG HAEMORRHAGE/HAIEN KONTRA LUXURY Reviews -The Wire (Dec. 2005 U.K.) The long awaited debut release of Deflag Haemorrhage/Haien Kontra aka Mattin (guitar, vocals and computer feedback) and " "[sic] Goldie (drums, vocals, disc, chain and bird whistle] comprises 15 tracks recorded between July 2002 and November 2003. It includes one truly scary field recording made by Zoe Broughton at Huntingdon Life Sciences back in 1997, where she was working undercover for a Channel Four documentary to expose the notorious animal research facility's appalling cruelty to animals (see www.shac.net/HLS/exposed/broughton.html). A concert or album of unrelenting ferocious noise, whether by Hijokaidan, Borbetomagus, Merzbow or The Dust Breeders, may be a highly enjoyable rush of pure adrenaline, but it's no longer exactly a surprise. Mattin and Goldie can burst eardrums as well as the above - watch your speakers on the apocalyptic "Submucosa" - but they've learnt their lowercase lesson well, and use disturbingly quiet passages and slow menacing drones to equally devastating effect. Mattin is as unpredictable as ever, lurching from the kind of delicate laptoppery that graced his Grob release Building Excess with Klaus Filip, Dean Roberts and Radu Malfatti, to blasts of unmitigated sonic terror that will melt the fillings in your teeth. His guitar work and vocals are just as extreme, especially on the splendidly titled "It's Not Your Fault You Are The Authentic Version Of What The Rest Of Us Can Only Imagine", apparently recorded live (listening to the screams of terror and the vicious thudding of heavy chains I'm glad I wasn't there). Goldie's drumming is savage and ritualistic, from the isolated explosions of "Humiliated" to the all-out blitzkrieg of his solo offering "Lacguage = Noumenal Sarcoshyce"[sic] (a whole page of similarly impenetrable logorrhea adorns the 6" x 8" album cover), but it's refreshingly far removed from both free jazz and Improv percussion cliche, even though I suspect his collection includes a fair number of Eddie Prevost albums. Luxury is an album of awesome intensity, one that deserves to be blasted mercilessly from a 40,000W PA outside Huntingdon Life Sciences every day until the torture ceases. Dan Warburton.&n bsp; ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ Defusing preconceptions of what a live event should be and degrading its components - the sound, the performance, the audience - without imposing aesthetic or moral limits: this is the reason for being of Deflag Haemorrhage/Haien Kontra, the project born in 2001 from the minds of two of the most unpredictable and 'conceptual' contemporary sonic activists: Mattin and " "[sic] Goldie. Ferocity and immobility, instruments abused and unused, musicians zombiefied in their 'stage persona' and in general the sense of psychosis, of necessary superfluousness that gushes from every gesture, from each decision taken by this anglo-basco duo make their live event an experience that is all but impossible to relate to, at least until they've stripped you of the costuming of dominant culture." "[sic] Goldie is one of the most original noise musician/performers on the European scene. His double album "ABJECTOR"[sic] is a violent and considered examination of the fragmentation of language, the de-composition of instrumental research and the painful suffering that accompanies it. Far from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, and its cruel voice warbles a mix of agony and ecstasy. Netmage Festival, Italy 2009 ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________NICK HOBBS (Istanbul)Very rad, impressed by the silences and use of sound blocks rather than much resembling playing, the screamy parts (and public participations) are harrowing, don't know quite how to digest those as a listener, as music, those parts especially cross into performance art, probably you should perform naked and spill body fluids onto your instruments (i'm not joking), maybe while Mattin retained a full-body cool cloak of clothing, i don't know if your boldness, angst, and variously directed irony-free loathings, want to enter into Diamanda Galas territory of staging the sound, and staging the performer, so that the look of it all integrates into the psychotic soundworld, but i could imagine that, you'd probably be locked up, but what the hell, would be worth doing enough times for the forces of cultural order to take note - and then drop it and go pastoraland the vid would be a gem of violent sound-porn, the SM fantasies conjured up are quite rousing, not enough to make me leave my respectable monogamous and intermittently delightful life but anyway enough to disturb me with visions of fucking you in public over a drumkiti've been considering aesthetics of ugliness lately, in my lecture on flamenco especially, but flamenco (even in its most extreme and raw forms) is musical, your territory seems somewhere rather other, inviting iraq into the kitchen while spewing it out and cooking a stewtrack 1 is unlike anything i've heard, congrats especially for that, also track 10 stands out, it reminds of the Chapman brothers, and track 13, a swarm of b52s over a hot desert, track 14 a firing squad with a well-developed sense of sadistic job-rush (would they still shoot if some blonde bombshell tugged off their breeches and sucked them bone-dry? is that all it'd take to salvage utopia?)i tease myself with idle questions, who are the goodies and badies? are we all schizoid? is the way out of hell via catharsis, or is that the way in?long live Pasolini and Bill Burroughs but accursed be Genesis Porridge" ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________Touching Extremes (Nov. 2005, Italy)Under these peculiar monikers hide percusssionist (and yeller) " " [sic] Goldie and Mattin, working intently in a "Borbetomagus meets Morphogenesis" nihilist sonic assault through an array of instruments including percussion, guitar, chains, bird whistle plus electricity and feedback. This is one of those records belonging to the love/hate category, as Goldie literally rapes drums with devastating rage while Mattin provides most of the scorching-burning-piercing-corrosive materials, destroying any notion of conventional guitar playing while leaving ground noises and feedback to dictate their own law. All tracks are a no-overdub collage from live improvisations and the audience response - when audible - is pretty enthusiastic. Amidst a bliss of distortion and furious acrimony, sometimes a silent or more tranquil fraction appears unexpected, reinforcing the shocking power of the duo's eruptions. Like it or not - I did - there's no question that these guys are for real. Massimo Ricci ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________Blow Up Magazine (February 2006, Italy)A entrambi. Senz’altro meglio la collaborazione col percussionista “ “[sic] Goldie, a nome Deflag Haemorrhage/Haien Kontra: una serie di improvvisazioni primitive e brutali tra feedback e batteria, per sedici fratture scomposte che, pur non disdegnando di ammutolirsi in silenzi a singhiozzi, dipingono quadri di grande tensione. Molto, ma molto interessante. (7) Valerio Mattioli ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________Metamkine (Nov. 2005 France):'Luxury'... Où il s'agit d'improvisations (duos et solos) de Goldie et Mattin. Batterie, ordinateur, guitare, disques, voix. Sens du spectacle, joie communicative de et dans l'improvisation, amour des espaces (déclarés plus ou moins franchement) bruitistes et des lieux réverbérants. Un CD où l'on devine leur intérêt pour la scène et ses matières, 'live act'... Insolent, vif! Et amusant ! Ouf! Enregistrées entre 1997 et avril 2003. Mastering réalisé par Daniel Beattie.____________________________________________________ _________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ http://www.neural.it/sound/2009/03/_sic_tim_goldie_abjectors ic.phtml [sic] Tim Goldie - Abjector [sic], Hibari, audio-art, noise, experimental, free form, White Peristaltic Interrogations, Devocalised Fluchtverdachtiger/Blocksperre Refluxur, electronic dance, remix, house, techno, beats, electro, Jaurelio, Wicked Style, wickedstyle italiano, Aurelio Cianciotta, TimGoldie_Abjector.jpg 2CD - Hibari Harsh digital sounds intertwine with improvisations structured as a percussive matrix. With audio-abuse, distortions and an extreme use of the human voice, Tim Goldie severely tests both the taste and analytical skills of those less accustomed to radical electronic and experimental music. The double release album ‘Abjector’ establishes the noisy nature of its project early on. The first CD, ‘White Peristaltic Interrogations’ consists of bursts of pure, striking energy, diluted only by occasional free-form flow and silence. The work generates auditive elements that appear to shun any method, while maintaining an overall sense of being self-organized. The second part of the record reveals no diminution of style – it too provokes a genuine insurrection of the senses. 'Devocalised Fluchtverdachtiger / Blocksperre Refluxur' brings an abundance of excesses, including hisses and strident frequencies, a hyperbolic industrial mix and mechanical digressions in sound. The approval-rating of this record will be controversial but it sports undoubted strength and stylistic charm. Aurelio Cianciotta ________________________________________________________ ____________________________________________________________ __________ ____________________________________________________________ __________The Broken Face If Herman Hostia is a bit surprising then Deflag Hamorrhage/Haien Kontra’s (AKA Mattin and Timothy Goldie) Luxury is closer to what I’ve come to expect from Mattin. Things start on a quitely intense note but that’s seemingly just to trick us to stay on board their vessel to free jazz/noise/computer feedback hell as things only get more and more extreme the further the album continues. When we’ve reached “Submucosa” you’ll find yourself in the midst of the sort of shrieking laptop/feedback mayhem that just a few of you will enjoy. But in the midst of the unalterable noise Mattin and Goldie also leaves some space for quieter lowercase sections and drone fragments. I can’t honestly say that I will listen to this disk on repeated occasions but I love the fact that I continue to be surprised by this very demanding sonic stew all through its 73 minutes. Mats VITAL WEEKLY number 492 week 37 ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________Two new releases on the W.M.o/r label, run by Mattin, and he plays on one of them, being the one by the oddly called " "[sic] Goldie. He or she is a drummer, who also plays occasionally bird whistle, chain, voice and disc. Mattin plays guitar, computer feedback and voice on a few tracks. All tracks are recorded during improvisations in 2003, except track twelve, which is also not credited to the artist, but says 'Field Recording At Huntingdon Life Sciences 1997'. The first few tracks sound relatively normal in terms of improvisation, but once he starts adding bird whistle, things become extremely noise related, with lots of feedback, cable hum and hectic distorted drumming. Beyond this point, track seven or so into this release, things are furious as hell. With sixteen tracks it's a bit long for such a chaotic and heavy release, but lovers of true free-jazz noise know to appreciate this in its entire length. I prefer a smaller doses at certain times. ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________Phosphor Magazine(Oct. 2005-Berlin)Deflag Haemorrhage / Haien Kontra: Luxury CD Behind those strange artist names hide Goldie and Mattin. Those two composers present something one would not expect from them, if one is familiar with their previous material or after opening the beautiful package. Timothy Goldie and Mattin come up with a collection of robust and raw improvisations. Mattin's heavy guitar feedback and Goldie's intensive percussion make that the listener is confronted with a primitive musical struggle. It's like creating with a punk or Fluxus attitude and pushing things to the edge by means of screaming and terrorizing the audience with high volume and deteriorating outbursts. It's emotional, full of energy, but not mentioned to leave a long-term impression. The first shock might be sufficient enough though! ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ______________________________________________________ ____________________________________________________________ ________INFORMATION ON THE TRACKS YOU CAN YOU HEAR ON THIS PAGE :-HUMILIATED Solo percussion by " "[sic] TIM GOLDIE, live, no overdubs. 2004, taken from the DEFLAG HAEMORRHAGE/HAIEN KONTRA album LUXURY. ________________________________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ "LACGUAGE = NOUMENAL SARCOSHYCE"[sic] Solo percussion/voice/bird whistle by " "[sic] TIM GOLDIE, live, no overdubs. 2002, taken from DEFLAG HAEMORRHAGE/HAIEN KONTRA album LUXURY. ________________________________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________A REGION OF AMBIGUITY BETWEEN THE ABSOLUTES OF NAKED INSTRUMENTALITY AND HYPOTHETICAL DISINTEREST. I'LL TEACH YOU DIFFERENCE Live solo percussion (" "[sic] TIM GOLDIE) + live solo guitar/amp inside grand piano (DANIEL BEBAN). 2005, taken from the forthcoming SLAKES triple album.________________________________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ SCARFSKIN Taken from forthcoming SLAKES album. 2006.________________________________________________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________SLAKES triple album about to be mastered___________________________________________________ DEFLAG HAEMORRHAGE/HAIEN KONTRA new e.p. under construction. ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ ____________________________________________________________ _________ SLAKES (" "[sic] TIM GOLDIE & DANIEL BEBAN) TRIPLE ALBUM COMING SOON. TRACK TITLES: NOISIC MUCRIC, HAPAXADIGM ADIPOCERE, NICHTS ALS DIE WAHRHEIT NICHTS ALS DIE WAHRHEIT SUCCUMB NOT SUCCUMB [NOT BEING TO BE HEARD] DE UDSTILLEDE [Note: the words 'DE UDSTILLEDE' will be crossed through at the printing press], DUO-SANG, STEREOTAXIC SLAKES, BOCEK PEERS ELITE KEIST SEDUCT: MENE POIS, ISHANOU ISHANOU ISHANOU ISHANOU ISHANOU UONAHSI, SUCCESSOR, NEW DISABUSERS CLOAKED IN IDEALISM DROWNED IN FATUITY FRONT SLOFF BLOCKSPERRE BLOCKSPERRE BLOCKSPERRE BLOCKSPERRE BLOCKSPERRE BLOCKSPERRE BLACKSPOT BLOCKSPERRE BLOCKSPERRE BLOCKSPERRE BLOCKSPERRE NEVEIKA BLOCKSPERRE, PINING, SARCASTIC EMBRACE, NATURALISED VERWINDUNGIST EXECUTABLES/PRION TANDEM PARALOGUE, TEMPORIZER FAUTE DE MIEUX, YOU FAILED HER, DETAILIMUH BUKTALARE FLUCHTPUNKT ERALATKUB "OINARU GENEI GIRONE DELLA MERDA"[sic], MISPRISION MISSMODIG, HAKHOREF HA'ACHARON REACTIONARY EDUCER, RE-INFIBULATION OTAXIA STITU: BATHETIC REFLUX NOITAL UBIFNI-ER XULFER, PRZESLUCHANIE UNCONVINCING, FACTOID FET GAVAGE SLUB ENGLUTS PUTATIVE CUT SWAP ABULIACS, TOY, GRAFT-VERSUS-HOST REACTION, COLLABORATOR INCOGNIZABLE, A TOLERANCE AS VAST AS IT IS FALSE, PASSIBLE, HUIS CLOS OCHNEBEBSIS SASAPLAO SLUTRUSCH [Note: this title will be crossed through at the printing press], KIELI STOMASITE, IMMATURE, MUTUAL CONCILIATORY GESTURES INTERMINABLY THEATRICALISED, PSEUDO-IMPASSE?, MORAL AGENTS IDI I SMOTRI, DEPICT HYPERPARASITIC FUNCTIONARY COUP DE MAITRE WHAT DID YOU WANT THIS BODY THIS EXTERNALISATION OF UNREALISABLE INTENTIONS INCONCEIVABLE INTENTIONS FETISHIZE THE ENDGAME SUBLIMATE THE " "[sic], STYPTIC GAZE, SECURING COMPLIANCE, IMPERTURBIST BAULKLINE, DON'T, AAKALER SANDHANE EK BAAR PHIR: SPECIES OF ABJECTION, EXTRAORDINARY RENDITION, FUCKING YOU I'M REFLECTING YOU, NACHTEIL HOIST OLIGARCHS, DOCILE SCOPTOPHILE, INCESSANT SUCCESSION OF EPHEMERAL PARADIGM SHIFTS [ECSTACY OF SUBMISSION], A NOUS LA LIBERTE, MISOLOGIST DILATES, "VERSUCHKANINCHEN XENOGRAFTS"[sic], VICTRIX, EMPATHY REMORSE RESPONSIBILITY SHINJU TEN NO AMIJIMA THIS IS HOW I VANITIES BLED, INFLUENCING YOU, A REGION OF AMBIGUITY BETWEEN THE ABSOLUTES OF NAKED INSTRUMENTALITY AND HYPOTHETICAL DISINTEREST. I'LL TEACH YOU DIFFERENCE, "SOMETHING IN IT MOCKS US"[sic], MORBID DECELERATION, NACHSICHT YOU VERSION, UTTER [Note: this title will be crossed through at the printing press], HUMANE [Note: this title will be crossed through at the printing press], ULTIMATE ARBITERS COCOONING, VICTIM TRICKS, MAGUS BESESSEN IRRELEVANT, SENTIENT VITIATE, INTELLIGENCE LED GANASHATRU INFESTING, SCARFSKIN, DEPICT OMVAG TOTALISING TRANSFORMATORY PURPORT AND SUPERSTRUCTURAL GHETTOISATION IN THE. RERAPED RERAPED RERAPED RERAPED RERAPED RERAPED RERAPED RERAPED RERAPED RERAPED/DISPLAY DISPLAY DISPLAY DISPLAY DISPLAY DISPLAY DISPLAY DISPLAY DISPLAY DISPLAY, DE UDSTILLEDE, GENERICALLY 'EVACUATED' MUSIC, PETITS JOUERS, ULOSIS CATALOGUES, L'UDIENZA BEMANI/FIGURINE, DEVIECED SSEL EHT, RHETORICIAN, WERDE ICH DICH EIGENTLICH NIE LOS?, INCITE, BATTOLOGICAL ULTIMATUM, CAUL OF PROSELYTE, SAPROSIGNCURIST OBSCURANTIST SEETHING WO AI NI TY MILUJES CELL IMPOTENT DUSMAN PATHIC PROJECTOR SUMSARAM ASUROT SHE BEG MYSTAGOGUE [NOT BEING TO BE SEEN] EVAGINATES HYSTERICAL MALINGERER SAMOTARI MEKIVUN HA YAAR ZUGRUNDE, KARI, INTELLIGENTSIA IN AT THE DEATH, "WHITE PERISTALTIC INTERROGATIONS"[sic], DELIQUIUM, SADISTIC REFUSAL, KUB SUTTARAPPA VOLTE BLOC RESECTION FLAY PURIST STYLISTIC FETISHISM, THERBLIG IN VACUO, TYRANNY OF, DAS LETZE LOCH DIE ULTIMITIVA ERNIEDRIGUNG SARCOMASITE. NO NO METAFURBISH, PYRRHIC DEFEATS, QUIETUS DEHISCE, "INTERDEPENDENCIES"[sic], I'VE STARED AT YOUR FACE SO MANY TIMES. WHY?