zaterdag 18 juni 2011

bio :

... Merciless Walls of No-Fi Harsh Noise ...

disco :

DOODSHOOFD - NYD (CDR by Skum Rex) 2009
DOODSHOOFD - HEIL HNW (CDR by Skum Rex) 2009
DOODSHOOFD - HEIL HNW (Cassette tape by Skum Rex) 2009
DOODSHOOFD - GEENHEIDSWORST (CDR , self-released) 2010
DOODSHOOFD - BOTERZUUR (CDR , self-released) 2010

also featured on VA. - Shit Noise 10,11 + 12 2011 SHIT NOISE
compilations with 3 "exclusive"/previously unreleased tracks

soon(er or later) :
DOODSHOOFD - C-60 (Watergate Tapes) 2011
DOODSHOOFD - Tape or CDR at Arrendersi Morte 2011
DOODSHOOFD - C-95 (Spider Tapes)
Vomir/Nascitari/Doodshoofd - collab/split C-120 VHS 2011
comp. track for SHIT NOISE 13 compilation 2011

and more tba.

feedback :

DOODSHOOFD - HEIL HNW (Cassette tape by Skumrex)

I think someone called Too wrote to Frans in Dutch where I guess he writes that the above are for me -that's all I can make out. Skumrex is a label from Overijssel in the Netherlands,
in google maps its the middle of a field. Which is more useless information-we live in an age of useless information. Of course as the geographiles know "Overijssel is bordered by Germany to the east, the Achterhoek region of Gelderland to the south, the Veluwe region of Gelderland and Flevoland to the west, and Friesland and the former moors of Drenthe to the north. Overijssel comprises three regions: Kop van Overijssel in the northwest,Salland in the centre of the province, and Twente in the east. Besides the capital Zwolle,the major cities are Almelo, Deventer, Enschede, and Hengelo. To the southeast, the province's surface is mostly sandy, interspersed with small rivers, such as, Regge and Dinkel and brooks, in the northwest, the geology is dominated by sediments from the Overijsselse Vecht and clay."
Sounds like something from Lord of the Rings to the geographically challenged,
just in case you are wondering what is the relevance of all this - then its not, just as HNW - that's a wall of noise "Hash Noise Wall" is not to music..
Antimusikalische Aktion - which is German for anti musical action- DOODSHOOFD is Dutch for Skull. How educational can a review get- I do hope you are following - there will be a test.
NYD (I will leave for the curious to google (tip: google "nyd rune") ) 1:01:13 sounds like
a pitchless tornado, until about 38 minutes there is a slight wobble (& @ 48) and volume reduction? (why? A act of self effacement? Explicit symmetry breaking (of the continuum of the HNW) indicates a situation where the dynamical equations are not manifestly invariant under the symmetry group considered. This means, in the Lagrangian (Hamiltonian) formulation, that the Lagrangian (Hamiltonian) of the system contains one or more terms explicitly breaking the symmetry. Eh?) a remarkable work which escapes any legitimizing systems. To get heavy - not only States legitimize (musics/physics/ethics et al.) but contra Deleuze rhyzomic groups (sub-genres, gangs..) do also - to value is to become capitalist -the worth of Marxism makes it a Capitalism.. from the HWN perspective- not that in its monophony is there any perspective, it overwrites, or ignores value(s). Not good stuff but nice stuff, nice is value free. To comodify is to make good.. make goods / gods . get it?
OK what country borders Overijssel to the east? No cheating.
The second CDR has two tracks as does the cassette ("recorded in rural Netherlands" - come on guys more detail please! - everyone reading this is asking "which region of Overijssel?"..) both HNW which though not identical share identities in parts- HNW which only reinforces what is above- walls of disrupted noise - An interesting thought in an already overlong review
-can we have beauty without goodness? Perhaps- here?



Track Listing:

01 Nyd

One track, over one hour of Harsh Noise Walls, declaring itself anti-music on the back of the release.
Minimal packaging with a white-on-black image of a skull with the "Nyd" rune on its forehead.
This is the rune of fierce trial and tribulation, and although often providing unpleasant circumstances should be received with cautious optimism. The souls who can survive the trials presented by Nyd become all the more strong and durable. Only the vain and those who are strictly seekers of pleasure reject the lessons of Nyd. On the back of the CD are some pertinent references to the Nyd rune quoted from various mass-market divination paperbacks. I can remember when I was first getting into noise, people would ask me how I could listen to such stuff. "It all sounds like a bunch of noise, how can you tell what is happening?" they would ask me.
When Whitehouse recorded "Movement 2000" for the Cruise album at the beginning of the turn of this century, I knew instinctively, just like Michael Jackson, that "This Is It." A solid wall of static noise that has no dynamics, no changes, nothing. Whether it was just William Bennett taking the piss or something he truly believed in musically, the digitally created wall of static serves some necessary and infernal purpose.

Now, don't let me make it sound like Whitehouse invented Harsh Noise Walls, because the genre as it exists today owes far more to Japanese innovators like CCCC and MSBR than to Whitehouse. Meaning, rather than an extension of the sadistic world of Western Power Electronics, Harsh Noise Walls represents a more zen-like approach to noise. So how can you tell these guys apart from each other? The coolest thing about the Harsh Noise Walls genre is that when you take out all of the dynamic tricks of music and the structure and tension of it in noise, what you are left with is the noise. No one noise artist can truly replicate the exact "noise" of another, because it is an intangible living thing that exists within the equipment, summoned out by the will of the performers. The Harsh Noise Wall brings the entire thing down to a single vibe
pushed by the artist. The vibe here is similar to that of an artist like Vomir, especially his more recent work. In the red static walls that every now and then make me wonder if I am just listening to a loop over and over again. It is still very nice and soothing, and if I look at the little readout on the front of the CD player it clearly states that the track is indeed moving forward at the correct rate and not skipping or anything.

Some HNW artists are perfectly comfortable having absolutely no changes in the sound whatsoever, and that is what we have here. Although I have heard loops that play over and over again containing infinite worlds of sound within them on releases by some artists, this is like sandpaper to the mind for a full hour. After 23 minutes in, I start to hear slight changes and things that I wonder if they are part of my imagination or not.I do not mind hearing a little bit of dynamics in this kind of music, but this is a very enjoyable release for those with a high threshold for unchanging static. Treble-oriented hour-long harsh noise static crackle, with a sound that is very organic in the sense that it sounds like a waterfall or storm from the next room.
Very nice release from this brand new label. Limited edition of 40 copies.

Vargr Wulf @ HeathenHarvest

DOODSHOOFD (CDR by Doodshoofd)

The genre of noise whose origins are debated has given rise to the subgenre of HNW, Harsh Noise Wall, whose origins begin with the work of The Rita – (Sam McKinlay) and have associated artists such as The Cherry Point and Richard Ramirez which has provoked and divided many, given associations with and opposed minimalism, Dadaism et al. At times pointless descriptions of just what HNW is, and more interestingly if it can go anywhere – if not backwards.
Its worth reiterating, something which HNW does all the time! Just what it represents,
especially in the work above which seems to revolve around a Dutch collective focused @ a bland neat & suburban row of modern terraced houses which have the feel of the council estates I’m familiar with in England, but here its very neat and leafy with no graffiti to see – google street view is a wonderful toy. As the proliferation of releases and low fi packaging with what even in HNW is extreme in that little or no change occurs in the distorted white noise – there are no “events”, ideas of theme progress or even time- marks the point of HNW which
is opposite to everything that western culture was and is at its most popular and at its most cultured, at its most radical and conservative. Its quite amazing and quite obvious that these works – some of the best HNW that I’ve heard are from such an architecture which denies arche -” ‘beginning’, ‘origin’ or ‘first cause’ and ‘power’, ‘sovereignty’, ‘domination’”- is a reversal of that- i.e. ”‘ending’ ‘destination’ ‘last event’ ‘weakness’ ‘uniformity’ ‘freedom’. “best” HNW as it marks such a non-arche point, whatever happens next these works mark a critical paradigm. Excellent! (jliat)

the "untitled" cdr reviewed by jliat is prolly the "Boterzuur" release as this has no info/titles on the cover so
could easily be mistaken for "untitled" release ... in any case , good to see people can appreciate !!!

Doodshoofd | Heil HNW !!! Review

April 17th 1943
Doodshoofd | Heil HNW
Pretty much unknown and shadowed project from Netherlands, called Doodshoofd, recently started emerging from the depths, and offered the community some of its material.

The tape, interestingly entitled, "Heil HNW", comes with screen printed artwork on a beautiful carboard, or as stated by the artist, actual wallpaper. The art itself features a picture of Hitler and Stalin in a same position of a "nazi" salute. The back of the cover is only a bright blue cloud pattern, but it look great nevertheless. The tape is spraypainted with gold color.

As for the sounds, the tracks contain subtle changes, but the sound itself doesn't leave the HNW boundaries.
Side A offers a slab of brutal, bass riddled judder. The bassivity dominates while complemented with subtle harsh crackle, which is strengthened from time to time. The wall is quite uncompromising and brutal, and at times the sound resembles somekind of air raid in progress. Really enjoyable and brutal wall, especially for the bass lovers.

Side B is also dominated by strong bassivity, but that can only be a good thing.
A layer of monolithic bass thunder paired with a strong and harsh static crackling, creates a great and brooding wall. After a while the wall sligthly changes, with the bassivity becoming dark and omnius, somehow shadowed by the more intense and harsher crackle of static.

All in all, an enjoyable tape, especially for the lovers of strong bassivity!

In a sense Harsh Noise Wall lacks ambiguity and so the role of the critique might be to provide it. A sample from any of theses seven tracks could be regarded as simple in that its not music but a field recording of some cosmic, meta cosmic micro cosmic event, a seismic trace of raw data from the LHC. Its reasonableness then is what obfuscates it, and yet recent history shows both the dangers of the poetic, and philosophy as poetry, and its consequences in a even newer and more naive scientism. Ecological, cosmological, facts. what is needed is something non wikiable and yet not some Yiddish momma talk. Its as if art has lost its subject, as if Bloom orbits Dublin in a circle, that history is the history of events. Doodshoofd maintains that sounds speak for themselves, yet sounds are silent, having neither ears nor mouths. what is it outside the event. What is the event at heart it's the thought that you are unconscious on an operating table about to soon awake. That everything meaningful is your imagination and only the obscure and confused is the real. Here I send you on a fools errand to listen to this noise and see if you can hear faintly the surgeons conversations. And then how ridiculous this would be.(jliat)

yup , another great VITAL WEEKLY REVIEW (778)


From 11 April, two monsters of evil noise arrived from The Netherlands. Both these spray-painted CDRs by Doodshoofd are pretty striking examples of non-stop intensive feedback grind, or HNW as the connoisseurs would have it. Geenheidsworst announces its obnoxious presence with two long tracks that will destroy 23 minutes of your peaceful life, and somehow finds space for pouring out a further 45 minutes of remorseless hell, defying the restrictions of the CDR format. Politiestaat erupts with seven slightly shorter works and a shade more “variety” in the way it executes its brutalising slabs of painful, hot scalding acid and chainsaw attacks, but still ends up delivering the necessary punch to leave most listeners in a swoon for eight days. Doodshoofd, whose name translates as Death’s Head, comes from Almelo, celebrates the power of anger and despair, and doesn’t stint when it comes to spreading these destructive emotions thickly all over his power-noise work, of which these two examples are packed in scuzzy grey xeroxes of a sort which I’d thought we’d lost in the 1980s. Distributed by Stirner and SkumRex.

Sometimes I wonder if the yahoo translation services has total lost the plot because apparently “Geenheidsworst” means “none driving sausage”…surely this cant be right!?. Anyway what ever the title means in English this is full length CDR from Netherlands based Doodshoofd & it offers up three great and intense slices of HNW matter.

On offer here are three tracks- one fairly short (by HNW standards) and two more lengthy walled noise dwells. Opening up the release we have “Dikke lul. Kleine Dood” (no, I’m not risking putting that into Yahoo translate!) which is the shortest tracks here at just over the ten minute mark. This track starts out with a minute or so of screaming ‘n’ whistling feed back trails, and what sounds like effect and noise jittered voice textures. Then we slide into a thick and tight mixture of juddering noise, up ‘n’ down electro noise tone runs, smarting mid-pitch grinds, and the odd hint of possible buried vocal textures. The tracks a good and active start to this release, and I guess you’d call the track thick HNW with some harsh noise and slight PE tendencies.

Track number two is entitled “Ambacht En Ongeluk” and comes in just under the twenty four minute mark. This tracks ‘wall’ is a mixture of juddering and churning static, and slighter higher tone fan belt like slipping ‘n’ grinding tonalities. It's more stayed and locked than the first track, and it really concentrates on just the two main elements. Over the tracks lenght Doodshoofd alters and shifts first one element then the other- these adjustments are fairly manner with either element become more pressing or fierce. Also this track isn’t as thick as the first track as from time to time one or other elements thins out a little, but it never moves towards ambient or stripped wall making as it always maintains a certain level of textural fill and urgency. All told the tracks a rewarding and battering piece urgent wall-making

So last up we have the title track which is the longest track on offer here at just under the forty six minute mark. This tracks ‘wall’ is a nice and pressing mixture of higher to mid pitch jittering, and choping ‘n’ juddering lower tone static. Through out the tracks near on fifty minute run time Doodshoofd keeps the ‘wall’ constant and pressing, yet the two textures quite often slide and slice into each other in quite an rewarding and entrancing manner. Also from time to time Doodshoofd alters each elements pattern for a odd textural deviate or slightly striped down moment, before returning to it’s original form. I think this tracks stands as my favourite of the three tracks here as I really like the way it’s got a nice urgent, juddering , and jittering yet slightly shifting feel to it, and its very moorish too.

“Geenheidsworst” is my first taster of this neatherlands based project and I must say the projects a very worthy and brutally satisfying addition to the European HNW scene. I very much look forward to hearing much more from this project in the future.

Roger Batty @


“Polititiestaat” sees this Netherlands based HNW project offering up a selection of different lengthy yet brutal ‘walls’ of sound. In all there are six tracks here and they last between just over the eight minute mark to just over the twenty minute a piece.
The blue spray painted CDR come in a black and white photocopied slip sleeve which features on the front a reversible cover of two complex pattern matrix’s. The packaging is clearly DIY in it’s look, but Doodshoofd has put in a bit of thought and effort into it’s presentation and the pattern matrix’s of course nicely fit the muilt-layered yet brutal textured layers and patterns of sound with-in the six tracks on the CDR.

Pretty much all six tracks here are worthy of your time and effort if you like brutal yet well thought out HNW. A few of my present favourites come in the form of track number two “o605” which mixers together this great looped grinding & buzzing element with locked churning, juddering and explosive tonalities- with the buzzing and grinding element getting very hypnotic over the tracks just over eight minute length.
The just shy of nine minutes of “Van Stand” which sounds like a looped and slightly slowed down recording of a several planes doing bombing runs over a city mixed with jittering ‘n’ weaving static spider web like cracks. Or the albums last and longest track “Reachten + Python= Rehired” which comes in at just over twenty two minute mark- this tracks ‘wall’ mixers together ‘looped & feeding back in to it self’ mid-pace churning juddering with these great & buried almost harmonic billowing noise tone sustains which you can just make out through the tracks brutal sonic storm.

“Polititiestaat” is my second taster of this up and coming Dutch project and I must say I’m very impressed with this release. As though-out Doodshoofd mangers to plough his own distinctive and creative sound, and also the album very consistent and damn brutal too.

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