„This will be the first day of the rest of your life“. If I’m not totally wrong, this is an infamous line from a highlight of the 80’s, Matt Johnson’s breakthrough album „Soul Mining“. The band name for his dark song cycles was special: „The The“. This album now gets a 30th anniversary edition, and that’s well deserved. It still can have a strong emotional impact. You will be strung to breaking point while reading Michael Kortya’s latest thriller „Those Who Wish Me Dead“. This book is placed in the mountains of Montana, and to call it a nightmare is fair enough. The killer brothers show certain similarities with the evil spirits of „The Night Hunter“ (or how was this film called with Robert Mitchum) and „No Country For Old Men“. This is our thriller of the next month. We’ll see which choice Joachim will make for his „philosophica of July“. Ahh, he is posting DIE SCHRECKLICHEN KINDER DER NEUZEIT. Our album of July will only find extremely courageous listeners prepared to do some gold mining in deserted areas of high noise territory. The music might test the reliability of your closer relationships in case you’ll like to play it loud. Rusell Haswell’s & PAIN JERK’s album has been released on Editions Mego. The headquarters of Mego tell us that it is the „long awaited collaboration from two of the world finest purveyors of noise, electroacoustics and top shelf audio mayhem. Having met at the legendary Tokyo venue 20000 volts in 1997 Haswell and Pain Jerk (Kohei Gomi) stayed in touch with the intent to collaborate at some point in the future. This was eventually realized in 2012 when they were offered a gig to play together at the Rammel Club in Nottingham. Prior to the show they exchanged files of solo recordings, as a means of forming a basis for what was initially conceived as an ‚extreme duet tag mass attack‘. It was here that the foundation was laid for the epic extreme end result we now encounter. The Nottingham performance was recorded and both parties took away the results in addition to their solo recordings to re-edit and re-send, back and forth, for 2 years, re-editing, re-contextualising these original sounds. The results of this extended collaboration is a punk academic collision which utilises advanced computer music techniques and analogue/digital modular synthesizer splurge, along with the more basic and belligerent frequencies found in distortion and feedback. This can also be read as a study of editing in all forms; hyper editing, editing in pop music, editing in dance culture, electro-acoustic editing, the editing techniques used in musique concrète, editing used in film and advertising along with the notion of gaps – the audible and inaudible.“ Though this might work as enough information to keep any further interest at a very low level, you should not miss Ian’s brilliant review which guarantees you turning into your private laughing out loud-mode.