HR075 - The Wound Deepens - C90 — 1988
Side A:
P.C.R. - Mechano 2
Stream of Unconsciousness - Brighton Rock
Jazz N Git Fat - Freed Pugilistic Frame
Sue Ann Harkey - Take the I Out of This Eye
Cancerous Growth - Big Wad (edit)
Teen Lesbians & Animals - Hey Man
Odal - We Fighted in the East
Side B:
Animation Festival - Rope Girl
Pop Druids - Untitled
Mike Crooker - Gron
Mental Anguish - And the Winner Takes All
John Wiggins - Untitled #2
Randy Greif - A Lot Like You
Mystery Hearsay - Escapee Wounds Self
Big City Orchestra - Generousity and Perfection
Repulsion for Reptiles - I Live with the Dead
P.C.R. - Mechano 2
Stream of Unconsciousness - Brighton Rock
Jazz N Git Fat - Freed Pugilistic Frame
Sue Ann Harkey - Take the I Out of This Eye
Cancerous Growth - Big Wad (edit)
Teen Lesbians & Animals - Hey Man
Odal - We Fighted in the East
Side B:
Animation Festival - Rope Girl
Pop Druids - Untitled
Mike Crooker - Gron
Mental Anguish - And the Winner Takes All
John Wiggins - Untitled #2
Randy Greif - A Lot Like You
Mystery Hearsay - Escapee Wounds Self
Big City Orchestra - Generousity and Perfection
Repulsion for Reptiles - I Live with the Dead
REVIEW by Jerry Kranitz
The Wound Deepens is a 90-minute compilation that follows up the 2 x C90 behemoth, Woundz Never Heal! (HR069). The set consists of numerous artists who appeared on Woundz Never Heal! plus several more. Note that the cover art was done by artist Arthur Potter, who was known for having created many drawings and artwork for Controlled Bleeding releases.
From West Germany, P.C.R. opens the set with the longest track at nearly 11 minutes. The piece quickly establishes itself as a combination of experimental, industrial, and Neue Deutsche Welle electronica. I like the quirkily propulsive and elusively melodic rhythm that sounds like tap dancing on laser beams. There’s a sense of oddly metered syncopation that maintains the groove, punctuated by wavering, moaning drones, and increasingly scraping and electro fuzzed layers of beats.
Stream of Unconsciousness is a collaboration between Mike Jackson (Cephalic Index, Cancerous Growth, Viktimized Karcass) and David Prescott. Their entry is similar in spirit to P.C.R., being a busy blend of minimally skittish beats and electronic insect driven, Theremin hypnotic, sci-fi surfing along the shortwave radio dial.
Jazz N Git Fat is a collaboration between Minóy and Roger Moneymaker (Viktimized Karcass, Swinebolt 45). The duo create a hypnotically pulsating, phased, and thrumming space excursion with strong hints of Tangerine Dream early classics like Zeit and Atem.
Homemade music underground veteran Sue Ann Harkey’s entry is a freeform improvisational electro-acoustic piece, consisting of clatter percussion, including string tapping and strumming, alien howls, electronic pulsations, and icy ambient waves. I like how the music gets faster and more rhythmically fidgety as the piece progresses.
Cancerous Growth is the duo of Mike Jackson and Chris Phinney, who chime in with a fun and funky bit of lo-fi electro quirk and melody.
Teen Lesbians & Animals arrive via the Ecto Tapes label in Oklahoma City, offering up a manic mash up of high speed rock jamming, an ensemble of voice samples, and assault with feedback and noise.
From the Netherlands, Odal crank out free-jazz cacophonous drumming that drives an assortment of grating and high pitched wailing tone waves and other sundry noise bits.
Animation Festival (Tioga, Louisiana) play a nicely somber song with a catchy keyboard melody and includes sultry vocals. A tasty lo-fi 80s electronic pop styled song.
Pop Druids are the duo of Roger Moneymaker and Eddie Hankins. Their track begins as an eerily haunting, spacey, blustery soundscape excursion, later adding a steady drum beat and additional percussion that transforms what felt like a soundtrack into a melancholy electro rocker.
Mike Crooker (Kent, Ohio) ran the GGE Records label and creates a cavernous glom of tribal percussion and multi-layered soundscape swirl.
Mental Anguish is Harsh Reality label kingpin Chris Phinney, who lays down a spirited groove with this head boppin’ 80s electronic pop tune. I love the skittishly grooving and catchy melody.
Homemade music veteran John Wiggins plays a contemplative keyboard piece that brings to mind a cassette culture creative type invited to play the soundtrack to a Sunday church service.
Randy Greif (Northridge, California) headed up the Swinging Axe Productions tape label. I like his cauldron of repetitive, hypnotically funereal gong pulse, ambience, and varied chorus of voice samples, the lead being a tape manipulated soul/chant singer.
Mystery Hearsay is Mike Honeycutt from Memphis and a sometimes collaborator with Chris Phinney. His entry is a flowing yet rumbling slab of noise-ambient drift that is simultaneously aquatic, machine-like, and rickety, which at times is peppered with voice and music samples.
Prolific cassette culture veterans Big City Orchestra serve up something similar with their rhythmically and psychedelically wavering ambient groove, accompanied by a banquet of sounds from nature, voice samples, weird electronic effects, and oodles of tape manipulated fun.
Finally, Repulsion for Reptiles (Silver Springs, Maryland) close the set with a song that sounds a little like a guitar/bass/drums version of Neu! but with the addition of a screaming and babbling punk singer.
The Wound Deepens is a 90-minute compilation that follows up the 2 x C90 behemoth, Woundz Never Heal! (HR069). The set consists of numerous artists who appeared on Woundz Never Heal! plus several more. Note that the cover art was done by artist Arthur Potter, who was known for having created many drawings and artwork for Controlled Bleeding releases.
From West Germany, P.C.R. opens the set with the longest track at nearly 11 minutes. The piece quickly establishes itself as a combination of experimental, industrial, and Neue Deutsche Welle electronica. I like the quirkily propulsive and elusively melodic rhythm that sounds like tap dancing on laser beams. There’s a sense of oddly metered syncopation that maintains the groove, punctuated by wavering, moaning drones, and increasingly scraping and electro fuzzed layers of beats.
Stream of Unconsciousness is a collaboration between Mike Jackson (Cephalic Index, Cancerous Growth, Viktimized Karcass) and David Prescott. Their entry is similar in spirit to P.C.R., being a busy blend of minimally skittish beats and electronic insect driven, Theremin hypnotic, sci-fi surfing along the shortwave radio dial.
Jazz N Git Fat is a collaboration between Minóy and Roger Moneymaker (Viktimized Karcass, Swinebolt 45). The duo create a hypnotically pulsating, phased, and thrumming space excursion with strong hints of Tangerine Dream early classics like Zeit and Atem.
Homemade music underground veteran Sue Ann Harkey’s entry is a freeform improvisational electro-acoustic piece, consisting of clatter percussion, including string tapping and strumming, alien howls, electronic pulsations, and icy ambient waves. I like how the music gets faster and more rhythmically fidgety as the piece progresses.
Cancerous Growth is the duo of Mike Jackson and Chris Phinney, who chime in with a fun and funky bit of lo-fi electro quirk and melody.
Teen Lesbians & Animals arrive via the Ecto Tapes label in Oklahoma City, offering up a manic mash up of high speed rock jamming, an ensemble of voice samples, and assault with feedback and noise.
From the Netherlands, Odal crank out free-jazz cacophonous drumming that drives an assortment of grating and high pitched wailing tone waves and other sundry noise bits.
Animation Festival (Tioga, Louisiana) play a nicely somber song with a catchy keyboard melody and includes sultry vocals. A tasty lo-fi 80s electronic pop styled song.
Pop Druids are the duo of Roger Moneymaker and Eddie Hankins. Their track begins as an eerily haunting, spacey, blustery soundscape excursion, later adding a steady drum beat and additional percussion that transforms what felt like a soundtrack into a melancholy electro rocker.
Mike Crooker (Kent, Ohio) ran the GGE Records label and creates a cavernous glom of tribal percussion and multi-layered soundscape swirl.
Mental Anguish is Harsh Reality label kingpin Chris Phinney, who lays down a spirited groove with this head boppin’ 80s electronic pop tune. I love the skittishly grooving and catchy melody.
Homemade music veteran John Wiggins plays a contemplative keyboard piece that brings to mind a cassette culture creative type invited to play the soundtrack to a Sunday church service.
Randy Greif (Northridge, California) headed up the Swinging Axe Productions tape label. I like his cauldron of repetitive, hypnotically funereal gong pulse, ambience, and varied chorus of voice samples, the lead being a tape manipulated soul/chant singer.
Mystery Hearsay is Mike Honeycutt from Memphis and a sometimes collaborator with Chris Phinney. His entry is a flowing yet rumbling slab of noise-ambient drift that is simultaneously aquatic, machine-like, and rickety, which at times is peppered with voice and music samples.
Prolific cassette culture veterans Big City Orchestra serve up something similar with their rhythmically and psychedelically wavering ambient groove, accompanied by a banquet of sounds from nature, voice samples, weird electronic effects, and oodles of tape manipulated fun.
Finally, Repulsion for Reptiles (Silver Springs, Maryland) close the set with a song that sounds a little like a guitar/bass/drums version of Neu! but with the addition of a screaming and babbling punk singer.