I don't know how _Cold Summer_ can be discussed without reference to Lustmord,
whose releases such as _Heresy_ and _The Place Where the Black Stars Hang_
have clearly been a major influence on Mick Harris's Lull project.
Lustmord also did a very evocative droney drifty dark ambient collaboration
with Robert Rich called _Stalker_ (inspired by the Tarkovsky movie of the same
name), which might appeal to Lullophiles. Nothing much to do with idm, but it
seemed worth mentioning.
alan/beyond...sound
Quoting Jason Cole <Jason.Cole@DigitalMediaWorks.com>:
quoted 129 lines -----Original Message-----
>
>
> -----Original Message-----
> From: Jason Cole
> Sent: Tuesday, April 30, 2002 4:08 PM
> To: 'production unit'
> Subject: RE: [idm] Scorn (was Godflesh)
>
> I can't seem to find out what label the Lull releases were on on the net.
> And I don't have the cds with me. But it seems like there's a bunch of info
> about Lull on http://www.mickharris.net
> Lull is so beautifully dark. I listen to one of the cds I own almost every
> night before I go to sleep.
> Rock on.
>
> Jason
>
> Lull - Cold Summer
>
> Harris already had two Lull efforts under his belt by the time Cold Summer
> surfaced, but this packed-to-the-brim disc was easily the pinnacle of his
> efforts up to that point, four lengthy songs that more than anything else
> justified the "isolationism" tag that surfaced at the time to describe
> chilled, cool ambient. Comparison points to the work of Thomas Kvner and
> Main in particular work here, and in some respect Lull finds a particular
> balance between both, combining the sense of hushed alien landscapes from
> the former with the obsessive focus on rhythm from the latter. It's easy
> enough to hear the connection to Scorn as well, with the chief difference
> being the lack of any drums or conventional rhythm loops, but with the
> focus
> strictly and solely on the slowly evolving textures and looped tones
> instead
> of beats, Lull achieves its own identity instead of simply being a Scorn
> remix, say. As much as the album title, the song names capture the
> atmospheres at play -- "Slow Fall Inward," "Lonely Shelter," "Long Way
> Home," "Lost Sanctum." The songs don't start and stop so much as solely
> waft
> in and drift away, steady and slow progressions that float like ghosts.
> It's
> the weird, nagging rhythms almost buried in the flow of drones and muffled,
> stretched-out chimes and rings, the rising and falling of tones rather than
> drum hits, which provide the core to the tracks, making the experience more
> than just background music. Listening almost forces a hush on potential
> listeners, shot through as the album is with just enough potential threat.
> It's one heck of a long way from the hyperspeed blur of the earliest Napalm
> Death records, to be sure, but Cold Summer demonstrates clearly how Harris
> is very much the master of extremes. ~ Ned Raggett, All Music Guide
>
> -----Original Message-----
> From: production unit [mailto:productionunit@hotmail.com]
> Sent: Tuesday, April 30, 2002 2:34 PM
> To: idm@hyperreal.org; Jason.Cole@DigitalMediaWorks.com
> Subject: [idm] Scorn (was Godflesh)
>
> I can't recommend any Godflesh - haven't heard any since my misguided and
> unshorn youth - but I second the props to Mick Harris. Like the 'flesh, he
> came out of the Earache/Grindcore scene in the UK, but by some of the
> accounts here Godflesh returned to it.
> He's extremely diverse, doing the fucked-up dub dubby/edgy hip hop thing
> with Scorn, and a million other side projects.
> The best Scorn things I have are 'Greetings from Birmingham' on Hymen, and
> the early single 'White Irises Blind' on Earache, the second of which you
> might like if you're into the older Godflesh stuff (from what I can
> remember
>
> of 'Streetcleaner').
> Saw him performing with Surgeon as Certain Beyond All Reasonable Doubt a
> few
>
> years back, and it was mighty good - just massive black sheets of heavy
> noise, with a tiny undercurrent of barely detectable, almost orchestral
> tonality. I don't know of any releases by them, though.
> Also, I just got an album of industrial drum and bass he did on Quartermass
>
> as Quoit. It's very similar to the things he did with Eraldo Bernocchi on
> what I think was the Quantum 484 label, and stuff I believe he was
> affiliated to on the Possible Recs label. Not for the faint hearted.
> And the Autechre remix of Scorn is superb!
> As you can tell, I like him. A lot.
>
> What label is the Lull stuff on?
>
> Cheers,
> Papa D
>
>
> marciablaine.cjb.net
> available:
> s/t e.p. on Dalriada
> inclusion on Benbecula "Music Volume 2"
> The Marcia Blaine School Disco Vol. 1
> forthcoming:
> inclusion on Law & Auder "I Am:Bient"
> inclusion on Struktur compilation "Red Zero Seven"
>
>
> >Date: Tue, 30 Apr 2002 10:42:08 -0700
> >To: "'Albers, Brian'" <BAlbers@PremiereRadio.com>, idm@hyperreal.org
> >From: Jason Cole <Jason.Cole@DigitalMediaWorks.com>
> >Subject: RE: [idm] r.i.p. godflesh
> >Message-ID: <9C8BF7974FCDD411B2D500A0CC51B7591DD5C4@CORESERVER>
> >
> >------_=_NextPart_001_01C1F06E.5A08F750
> >Content-Type: text/plain
> >
> >Along the same lines. Anyone on this list into Scorn? I believe that it's
> >Mick Harris from Napalm Death and some other guy. Really dark dub type
> >stuff. A little less intense than Godflesh. Also, Mick Harris has an
> >ambient
> >project called Lull. Super dark ambient music. I dig it.
> >Sucks that Godflesh broke up. I got my friend's copy of Songs of Love and
> >Hate. Never got to give it back to him before he passed away. Can anyone
> >suggest a few other Godflesh albums for me to check out?
> >
> >Thanks,
> >
> >Jason
> >
>
>
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