Bronnt Industries Kapital
is a musical project from Bristol, England based around producer and multi-instrumentalist Guy Bartell. He has released three studio albums, «Virtute et Industria», the soundtrack «Häxan» and «Hard for Justice». All of them too hard to categorize. His influences and references are all too extensive to put into less than a hundred words. Bartell also collaborates with Gravenhurst’s Nick Talbot and set up Age Records with him in 2000.
I really dislike lying around on beaches, so I guess something to take my mind off the searing heat and accumulating sweat. Perhaps the icy soundtrack to «The Thing» would do the trick?
Generally I like to keep a low profile with neighbours, but the previous ravages of an entry-level DJ next door often made me fantasise about the best sonic retaliation. I have come to the conclusion that the ideal antidote would be rhythmically indeterminate music with totally unexpected bass drops, and to this end I would probably select the Aleatoric post-gabba of «Betablocker». On a loop.
Thoroughly effective for those late night drives across the sinister voodoo badlands of Bristol.
A mesmeric, neon-lit futuristic epic to suppress the reality of being on a cramped passenger jet hurtling through the troposphere at 500mph.
From the «Nosferatu» soundtrack with Klaus Kinski. I’d last about two minutes in there with this playing.
But it could really be any song off his solo album. Stunningly delicate compositions, often more silence and space than music, perfect to become completely absorbed by.
I’m usually fully awake by time the walls of shredding lo-fi noise come in half way through.
From their less fashionable but clearly better album «Isn’t Anything». Music so physical it can actually deflect sheets of rain.
This German band make incredibly slow instrumental music of creepy Lynchian atmospherics that somehow manages to be the perfect accompaniment to solo work efficiency. I can even forgive them for the sensual saxophone solo. None more black.
At the Croft, Bristol, November 2003. Whitehouse makes mesmerising, literate, pummelling power electronics that still puts most modern noise musicians to shame with its ascerbic lyrics and crucial electronics. Utterly peerless.
Too difficult to answer and constantly changing. A current favourite however is «Red Sails».
Right now.
Probably the first D.C. song I heard. Desperately downbeat fado guitar with soporific, disembodied voices of mourning drifting in on the wind. Definitely a party killer.
As a result of hearing this, Joe Meek’s outer space tape sounds are now lodged in my brain forever.
An anaemic, featherlight and indulgent but nonetheless thoroughly heartwrenching anthem to unrequited love.
This is an uncharacteristically upbeat disco track by these masters of horror, from their LP «Il Fantastico Viaggio Del Bagarozzo Mark», a concept album about saying no to drugs. Let’s get wasted!
I was just a child, OK?
As I seem to insist on playing the introductory synth salvo any time I’m let near a keyboard.
