Compadre Locura – APTO PARA COCINAR (2018)

Cieliro Diystro

• Experimentalism 
• Avant-garde 
• Electronic music 
• Ambient 
• Post-industrial 
• Ambient noise 
• Experimental electronica 
• Illbient

Comment: this batch of three long-running compositions is a way for intriguing and intricate sonic combinations, innovative experiments, and decent accomplishments we need in the afternoon of incoming end of the human kind as the aggressive cancer on Earth. Indeed, one can see a very clear parallel with the deadly disease because if an organism gets killed the disease also will succumb. If behind it is a reasonable being then it can be called stupidity. No less no more. In another sense, one can imagine, even if the gross cancerous disease gets eradicated there remain yet some bad cells spread out in an organism which later may get activated and the adverse process takes off again. There can be drawn analogous parallels to the existence and history of the race of homo sapiens. How to survive, how to disseminate, how to annihilate real and possible rivals. Through its exaggerated and voluptuous nature it is even more inferior and destructive than the usual behaviour of an average being from the other species. Creating the art and dealing with analytical philosophy is the only indulgence for the biped malady. The best way to get out from it is just to abandon all this civilised crap by escaping to the wildlife until one's very end. This can be the only purgative, redemptive asylum for a human being. These sometimes wobbly and sometimes more aggressive industrial-tinged rhythms and piercing yet atmospheric noises and alongside running corrupted sonic effects and on the other side sleazy and exhaustive ambient glimpses reflect upon the aforementioned perversity in an artsy way. These 39 minutes of a fine sort are a part of the discography of the Chilean imprint Cieliro Diystro.

Psychotic Aliens – Disoluciòn de Todo (2017)

Cieliro Diystro

• Avant-garde 
• Experimentalism 
• DIY 
• Hard rock 
• Improvised noise 
• Freeformfreakout 
• Improvised music 
• Lo-fi 
• Psych-rock

Comment: Psychotic Aliens is a collective based on noise, improvisation and the absolute lack of foreseeable schemes. Its members vary according to the disposition of the day, the mood of the continent and the astral possibilities. And the title can be translated as Dissolution Of Everything. However, in this case it is a positive case because it does result positively rather than providing adverse outputs. Resulting in arts used to be almost always a positive outcome with purgative and relieving side effects. And just shedding a glimpse upon the cover print one is going to understand what they mean. Lots of distracted noisy shards and rusty echoes, accidental guitar chords and cheap synth-based roundabouts. At times it chimes as if coming from a rehearsal room being dwelled by lunatics who like to play psychedelic noise and garage rock with the seeds of hard rock. It is like a lo-fi/demo version of Tago Mago. This 9-track issue is a part of the discography of Cieliro Diystro.

Deicida 69 – Vocem For Atonal Wave (2015)

Plataforma

NKS International Muzakillabel

Cieliro Diystro

Deicida 69

Bandcamp

Bandcamp

• Crust punk 
• Art punk 
• Alternative rock 
• Indie rock 
• Avant-rock 
• Psychedelic rock 
• Spoken word 
• Post-punk 
• Electro-punk 
• Crossover 
• Sampledelic 
• Jazz 
• Plunderphonics 
• Hardcore 
• Electronic music 
• Dada music 
• No wave
• Non-music 
• Jazz punk 
• Cold wave 
• Ambient
• Leftfield

Comment: this set of 22 tracks consists of a couple of joint albums, more profoundly, Côte, and Ntoa. The combo comes out of Mexico and provides something truly refreshing and mind-altering within the rock (and roll) genre. First of all, it is incisive and harsh by its formal shape and certainly dadaist and postmodernist by its conceptual approach. Of course, the discoloured terms “postmodern” and adjective “postmodernist” do say a bit little about certain phenomena but it can be mapped as a bastard of different genres and exploitation of different genres. It may be tagged as an example of exploitation punk by ranging from art punk/post-punk/electro-punk to hardcore, psych-punk, cold wave/gothic punk and crust punk with hints at spoken word, jazz, electronic music and downright plunderphonics/sampledelic art. But I can guarantee you could find out more cues to even more phenomena and stylistic/stylized pops. Frequently the guitars chime like an angle grinder. One more fact I can admit the artist is obsessed with more or less implicit sexual (under)tones (being inspired by the oeuvre of Marquis de Sade). Undoubtedly one can partake in a frantic pool of very different experiments and combinations. As it is explicated at the site of Plataforma Records their modus operandi is the constant violation of the rules of harmony which dictates the Orthodox Music. At times, at Barbichuettes Night (A Tribute) one can enjoy a submerged, schizoid dialogue being savoured by spacey synthesised atmospheric lines and scruffy analogue synthesiser effects. It comes from nowhere, in the sense that I have no idea of how to localise it. As if being everywhere, it does mean having no place at all. However, at the same time it does not chime in a cheapo and vacuous way altogether. By possible kindred souls it could be compared with the St Petersburg, Russia-based dadaist surf/punk/lounge/avant/sample/psych/fetish-pop combos Messer Chups/Messer für Frau Müller. But I am very sure they have listened to This Heat, Bauhaus, Throbbing Gristle, an early Cabaret Voltaire, Velvet Underground, The Fall, and many artist from within the No Wave pigeonhole either. The overpowering issue is a part of the discography of a French imprint, NKS International Muzakillabel, a part of the discogrpahy of Brazil-based imprint Plataforma, and a part of the discography of the Chilean Cieliro Diystro.