|I Mandible Chatter furono fra i protagonisti
dell'underground "industriale" di San Francisco dei primi anni '90.
Il gruppo era di fatto costituito da due chitarristi alla Helios Creed,
Grant Miller e Neville Harson, che eseguono sinfonie di
ultra-distorsioni in gran parte improvvisate e che idealmente si
riallacciano alla scuola di cacofonisti come Zoviet France,
SPK e Zeni Geva.
Serenade For Anton (Russell, 1992) contiene due estratti
da una jam di novanta minuti per una messa nera in onore di Anton
LaVey (fondatore della Chiesa di Satana).
Drinking Out The Hourglass (Russell, 1993) prova anche il
formato piu` conciso della canzone (Swallowing The Moon,
Growing Fast In Stardust e Three Days Of Grey), oltre
a quello della jam estesa (Instigate Acquiesce).
|(Translation by Blue
Mandible Chatter was amongst the protagonists of the San
Francisco industrial underground scene in the early 90's. In the
vein of Helios Creed, the group was made up of two guitarists, Grant
Miller and Neville Harson. From the duo emerged symphonies of
ultra-distortion which for the most part were improvised and had
incorporated the ideals from the school of cacophonists like Zoviet
France, SPK, and Zeni Geva.
Serenade For Anton (Russell, 1992) contains two extracts
from a ninety minute jam of a black mass held in honor of Anton
Lavay (founder of the Church of Satan).
Drinking Out The Hourglass (Russell, 1993) experiments
with the song format of the most concise (Swallowing The
Moon, Growing Fast In Stardust e Three Days Of
Grey), and beyond that of the extended jam (Instigate
|(Translation by/ Tradotto da xxx)
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Hair Lock & Lore (Russell, 1994) borders on the avantgarde,
as their technique of sound manipulation leaves nothing untried. The
gothic frescos of Mass For Broken Needles and Coffins
Filled With Earth are whirlwinds of found sounds, tape loops,
overdubs and treated guitars. From Whence And To Wither
retreats to human emotion via a sequenced flute. The monumental
Death Of Sweetness is the ultimate industrial collage, a
jungle of thuds, drones, screeches and hisses that would make even
Pierre Henry proud.
Grace (Manifold, 1995) is another tour de force of
thundering noises, but the shock is somehow tempered by an
atmospheric and psychedelic stance, one that yields more relaxed
compositions such as The Silent Presence.
The natural evolution of this trend is Food For The Moon
(Manifold, 1996), an almost ambient recording that employs the same
techniques to a different effect. Tracks like Sad Tree Song
indulge in their artificial flavoring rather than splattering its
ingredients all over the acoustic range.
Measuring The Marigolds (Russell, 2000) marks a retreat
into psychedelic rock from a mellow Paisley-Underground perspective.
The chamber works The Grape Scrubber's Lament and The
Willow Tree and erudite lyrics keep interest alive.