Aeternal Flux II

The Evolution of the Nuremberg Defence #7 "But they were telling me what to write"  - Sutter Kane ---------------------------------------------------------------------------------------------------------------------------- Vector, this is Victor. This post may eventually just disappear like a certain virus we could mention.  You could call it a low-rent version of Clark Ashton Smith's Black Book or an attempt to imitate Harlan Ellison's 'From A to Z in the Chocolate Factory'. It changes as we  play hard to understand. We're not the same as when we began. Slash, burn and m ove on before the black hole catches up.  __________________________________________________________ DEDICATION: Come back, Yukio Mishima, oh Alan Turing/Wyndham Lewis of performance art strategists, all is forgiven. Everything you did. Everything you (maybe) just wanted us to think you were capable of.  You're even forgiven for the (possibly) calamitous influence you may (or may no

  TRIGGER CUT – ROGO German  noise rock   trio Trigger Cut’s second album Rogo , like their debut  Buster ,  invigorates jaded ears with inter-generic layering. Producer Daniel W.'s mix and Carl Saff's mastering   accentuates the rhythm-rootical proximity of W.'s bass to Ralph Schaarschmidt’s oxidated guitar textures. Post-punk specters like The Pop Group’s Simon Underwood and Wire’s Graham Lewis haunt this European concoction as much as Americans Steve Albini, East Bay Ray and Moore/Ranaldo inform the guitar stylings.  Most satisfying of all given potpourri pontification is the album’s dyslocational otherness. The quality conversion isn’t as jarring as that between, say, Warsaw and Joy Division, but there’s definitely a sense of gauge tightening in the Trigger Cut ordnance.  The production borrows from the mathemagical schematics of  Mike Thorne and Martin Hannett . Air swirls within space/time pockets, but its movement doesn't seem necessarily terrestrial. The stop/st