Mark Stewart, Bad Brains, Nurse With Wound, This Heat, Throbbing Gristle, Otomo Yoshihide, Einsturzende Neubaten, Whitehouse, Zoviet France, Tony Conrad, To Live and Shave in L.A., Melvins, Lou Reed’s "Metal Machine Music", Fatima Mansions, Nocturnal Emmisions, NON, King Tubby, Wolf Eyes, Sielwolf, Ministry, Adrian Sherwood, Luc Ferari, Terry Riley, S.P.K, early Severed Heads, John Cale’s "Sun Blindness Music", Cromagnon, Henry Flynt, Stooges, Birthday Party, Merzbow, Unsane, Killing Joke, Scorn, GOD, Boredoms, Skullflower, Ramleh, Borbetomagus, Voice Crack, Swans, DNA, early Sonic Youth, Diamanda Galas, Glenn Branca, Rhys Chatham, La monte Young, Aswad, Stalaggh, Vomit Orchestra, Burmese, Harvey Milk, Mouthus, Prurient, Sightings, HALO, Godflesh, Methadrone, Fistula, Brainbombs, Panicsville, Khanate, Stuum, Grief, Toadliquor, Today is the Day, Rusted Shut, Folkstorm, Menstruation Sisters.
Sounds Like
draconian laws announcements, fascist leader on a high-porch, dragging garbage down the stairs,hillbilly kamikaze, rodeo action, meeting johnny lydon in the laundry etc.
The new Lietterschpich album "I Cum Blood in the Think Tank" is out now on Topheth Prophet / Heart & Crossbone!
get it from www. topheth.org or www.HCBrecords.com
audio taken from the final gig as Lietterachpich [now Lietterschpich DIET] video by opp
Get the new Lietterschpich CD directly from Aquarius Records www.aquariusrecords.org or Crucial Blast www.crucialblast.net in the U.S. if you live in Japan NAT has it as well www.natrecords.com Cold Spring in the U.K. www.coldspring.co.uk and RAIG in Russia! www.raig.ru
the eight-piece group of Lietterschpich (Hebrew for 1 liter of cum) has been boiling down foul language, obscene noise, primitive rituals and perplexing visual propaganda to their imitating core, since 2004. Comprised of local veterans of the Israeli post-punk, industrial and electronica scenes, they quickly gained cult status in the Israeli underground. They've released "Quasi", A 3" black cdr in 2005, before calling it a night and taking a year break. They are back now with their first full-length CD titled "I Cum Blood in the Think Tank" to hostile the cultivated majority that got away last time.
Lietterschpich - I Cum Blood in the Think Tank
[Heart & Crossbone]
Not a Cannibal Corpse takeoff, as the title suggests, but something twice as scary. Take Swans plod and Khanate sloth, mix with Stalaggh mental patient howls, and cake with glitchy digital dirt. "Industrial," "noise," "doom," and "dub" are also associations that swim out of this unholy mess. It's harsh as hell, with scathing synth scrapes and huge, distorted sub bass writhing around like the Sandworms in Dune. Evidently, "Lietterschpich" is Hebrew for "liter of cum." For an agenda of utter filth, the mix is precise and calculated, utilizing the full frequency spectrum. Well-recorded drums lurch about like a man shot in the leg—who pours whisky on the wound, drinks the rest, and then stumbles around dancing to breakbeats. Almost-complete unpredictability makes this an addictive listen. [Cosmo Lee]
and some very kind words from Aquarius Records:
LIETTERSCHPICH I Cum Blood In The Think Tank (Heart & Crossbone) cd
Another gorgeously abrasive wall of caustic crushing pounding noise from Israel's answer to Whitehouse. I Cum Blood In The Think Tank! is the first full length from these speaker brutalizing miscreants, and it's just as amazing as the 3" cd-r teaser we reviewed a while back. Like we said in that review, as much as we love Whitehouse, this is what we WISH Whitehouse sounded like. Dizzying swirls of blown out synth buzz, jagged shards of industrial crunch, massive slabs of fuzzed out low end, stumbling lurching rhythmic plod. It's almost like doom metal pulled apart until its noisy splattery insides spill out. The tempos are glacial, the drums are monstrous and sloooooow, the vocals are a glass gargling roar, the soundfield is constantly shifting, layer upon layer upon layer, distant beeps and swooshing FX, massive swells of digital glitch and low end fuzz, electronics glitch and slither, everything is doused in effects and allowed to get all tangled up with all the other sounds. The thing about Lietterschpich is that somehow they make this all SOUND GOOD. This is beautiful noise, there are hooks, melodies, actual parts, they're sort of like real songs, not just long stretches of noisiness, and even at its most abrasive and harsh, it's totally amazing and listenable. Hard to explain why, it's like Bunkur and the Dead C being remixed by Throbbing Gristle. Some tracks have gentle lilting acoustic guitars, but they're doused in white hot streaks of malfunctioning synths and sputtering electronics, others are straight face melting noise, but have hooks buried underneath all the murk and mire, others are buzzy blurry walls of warm sound, but even those tracks eventually transform into prickly icepick in the ear brutality.
It's definitely an intense and punishing listen, fierce and freaked out, druggy and seriously fucking scary, but within that body of blood and bile, lurks a heart of luminous radiance... Noise record of the year!
And there's this excellent review from decibel.com
Again with the scary Israelis on the Heart & Crossbone label trying to invade my earholes with their fucked-up psych carnage. OWWW! I give! Whereas Grave in the Sky (elsewhere this issue) send me drooling to sludge nirvana, Lietterschpich do an electro shuffle on my skull via samplers, mixers and fx. And the result is much the same: spaced-out repetitions, demented shouting and extreme loudness that serves to disorient and agitate. Zombie plodding, buzzing, screeching, white noise, black noise, oscillations, reverberations, sick-making wobbly waves of death elektroniks: This album has it all for you or the noise-head in your life.
Why does aggression and hate and thick bubbling black goo feel so right sometimes? You’ll have to ask my shrink. If you can find where I buried him. I suppose it’s a perfect counterpoint to the relatively mundanity of day-to-day existence. Unless you live on the friggin’ West Bank or something. Then you probably wouldn’t want to go near the stuff. Luckily, I don’t live in war-torn climes. So my shell-shock—wimpily—comes from art like this. From a country as divided and as filled with uncertainty as Israel. It’s no comfort, I’m sure, but I feel their pain. And I thank them for the cosmic monster music. Because even when it hurts like hell, it feels so very good. —Scott Seward
LIETTERSCHPICH Quasi (Something On The Road) 3" cd
All I can think when I hear Lietterschpich, is man, this is exactly what I always wished Whitehouse sounded like. Don't get me wrong. We love Whitehouse, and while they are definitely harsh and brutal and caustic, they just aren't very heavy. The sound is brittle and shrieking, which yeah, is probably the point, but oh how we longed for a crushingly heavy Whitehouse. Local boys Burmese sort of took that role, with their stripped down slow motion grindcore, so slow motion in fact that the music would become a sheet of white noise, through which the various members would wail and shout, howl and testify. But then we heard Lietterschpich, and it was as if someone had been listening to us and granted our wish. This Israeli combo are seriously one of the heaviest, scariest bands we have ever heard. The opening track, recorded live is a vast expanse of ear shredding high end, sheets of acrid feedback, layer after layer of shrieking skree, underneath a gritty fuzzy buzz of tape hiss and instrument crackle, over which a super distorted voice, drenched in FX, spits out a frightening sounding litany of ROOOOAAAR's and GRRRRRGHGHGHGHGHG's. Each time the vocals come in, they are recorded so hot, that it forces the screeching white noise to recoil, as if it were deathly afraid of THIS VOICE. Holy fuck. SO fierce and totally scary. But impossibly, downright listenable too. Probably the finest (but freakiest) moment, is an all but unrecognizable cover of the Pixies' "Monkey Gone To Heaven", an epic, super abstract dirge, with killer live drums, pounding away some super spare glacial rhythm, while weird creaking keening drones shimmer in the background, and the vocals, harsh and so so brutal, channel the spirit of Frank Black, turning him into some sort of hellish demon, gargling blood and broken glass. Throughout the track, thick electronic fuzz and grind, warbles and pulses, creating all kinds of again, impossibly catchy, alien melodies. Definite contender for best cover version EVER. The final track is a brief, mathy instrumental jam, just drums, pounding and shuffling through a creepy cloud of moaning drones and wailing sirens, disembodied vocals, spastic synths and creepy little glitchy bleeps and bloops. Wow. Only three songs, leaves us DYING for more, but at the same time, after just three songs you feel brutalized, beaten and bloodied, we're not sure we could handle any more than that. But we can't wait to try...
