This week's Tuesday Ten is inspired by our encounters with our rather noisy neighbours over the past twelve months, and indeed is also partly inspired today by my really shitty mood. They appear to be in the process of moving out, at long last, happily – or at least we haven't heard a peep from them since we got back from Paris.
/Tuesday Ten/007/Songs to Annoy Your Neighbours
Anyway, following suggestions the other day, and an entertaining discussion in the pub on Thursday, here are ten songs to really annoy your neighbours – alternatively known as the list of songs that Daisy really won't like. So what is included? Some stupidly fast metal, some stupidly slow metal, power noise/electronics…and a couple of other things besides. Additional suggestions welcome, as I'm sure there are many more ideas…
A quick explanation for new readers (hi there!): my Tuesday Ten series has been running since March 2007, and each month features at least ten new songs you should hear – and in between those monthly posts, I feature songs on a variety of subjects, with some of the songs featured coming from suggestion threads on Facebook.
Feel free to get involved with these – the more the merrier, and the breadth of suggestions that I get continues to astound. Otherwise, as usual, if you’ve got something you want me to hear, something I should be writing about, or even a gig I should be attending, e-mail me, or drop me a line on Facebook (details below).
/Cursed Realms (Of The Winterdemons)
/The Black One
Ten minutes of staring into the blackened abyss of hell would likely result in sounds like this: bass heavy drones with snarling vocals that are barely intelligable. The final ten seconds, where the volume suddenly leaps upwards never fails to scare the living shit out of me, and when played really loud is quite likely to threaten the foundations, never mind the neighbours.
Talking of scary, the slow-motion metal of Swans got about as vitriolic as it could with this track about the NYPD. Clearly no love lost with them, to put it mildly, probably the only reason that no-one tried to ban this is that to most ears it is effectively unlistenable.
Fitz once suggested that this was music get an ASBO to. And he probably wouldn't be far wrong. In the same sonic world as Atari Teenage Riot, but way louder and scarier, these two nutcases from Belarus merge the worlds of punk and power-noise to spectacular effect, and this track is a perfect example of how they do it.
/Super Sharp Shooter
/Super Sharp Shooter EP
Something of a curveball here, and a good ten years old now. One of the very best dancefloor drum'n'bass tracks ever, it has a bassline that could create shockwaves. The only problem with this track in our case? It would probably have neighbours dancing like bastards.
The current kings of grindcore, in my book, it is frankly amazing that just three men can make this much fucking noise. This comes from their last album (the new album Phantom Limb has just been released and sees them lose none of their power) and sounds like a band playing live in the middle of a riot.
Taking grindcore in a totally different direction are this lot from Melbourne, Australia. Their first two albums stunned everyone by being faster than just about everyone, and their masks made them look terrifying. Gabba beats vs Grindcore makes for a very loud experience, and this track is as vicious as they got.
/Submission Is For The Weak
/The Codex Necro
/The Axis Of Perdition
/My Time, My Reign, My Tyranny
/The Ichneumon Method (And Less Welcome Techniques)
Black Metal is often not really one to annoy the neighbours with – the lack of a distinct bassline in most tracks doesn't help. However, where bands have experimented with merging BM with other styles, the results are rather different. Both of these bands have used industrial textures, but while Anaal Nathrakh are pure vitriol and hatred, with a really aggressive sound, The Axis Of Perdition has a distorted, grimy sound that gives the effect of them playing in the midst of a firestorm.
/A Cunt Like You
Talking of hatred…the pure power-electronics assault (it can be described in no other way) of this track has to be heard to be believed. You won't hear much after it, though, if you play it loud enough – the squealing high-end of the electronics hurt like hell.
/Ace of Spades
/Ace of Spades
"if Motörhead moved in next to you, your lawn would die". Genius – just what we need for this list. Otherwise, I don't really need to explain this track, do I?