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MP3 Blood Moon - The Birth of Tragedy

Juddering discordant rhythms, bass heavy drone and alien soundscapes from the Manchester (uk) based duo. Screeches of saxophone, piano echoes, jagged guitar feedback, exploding analogue synths and hypnotic sub-bass.

6 MP3 Songs in this album (68:03) !
Related styles: AVANT GARDE: Noise, METAL/PUNK: Doom/Stoner Metal

People who are interested in Sonic Youth Sunn O))) Wolf Eyes should consider this download.

Artists'' Statement

Blood Moon use electric guitars and bass, saxophone, percussion (including a drum-kit), electric piano and an analogue synthesiser. The duo is influenced by the concepts of drone, minimalism, noise and discord. Blood Moon juxtapose non-rhythm with rhythm and discord with harmony. They use improvisation, intuition and trial-and-error in their musical process. Blood Moon name each track by listening and automatically reacting with phrases or words as titles.

Inspiration comes from artists such as Can, Sunn O))), Sonic Youth, Arthur Russell, and Captain Beefheart, and the theories of John Cage. Blood Moon are strongly influenced by Nietzsche’s writing on the Dionysian in his book ''The Birth of Tragedy''. Although the band holds improvisation at the centre of what they do, they are currently experimenting with incorporating some structure into the work.


We have been playing together as Blood Moon since October 2007. Having played in various electronic bands the two of us felt restricted by the use of sequencing and song structure. We formed Blood Moon through a desire to make more expressive, free music, and to improvise.

Blood Moon live shows are intense and passionate. We were invited to play live on All FM by Paddy Steer (Homelife, Toolshed) and Kate Butler (BBC), which was our first ever performance.
(Transcript of live radio session for EOMS on All fm:)
Kate: "You make a lot of noise for two people."
Paddy: "I was very worried for that saxophone then. Don''t know if you could hear that but it was getting battered on a drum."

We’ve performed at events as diverse as a Happening featuring almost one hundred other artists at the Louise T Blouin Institute in Notting Hill, St Ninnians’ Church in Manchester for the Chorlton Arts Festival, and conventional club venues. We record all our performances because we never know what’s going to happen; we never play the same thing twice.

Our first CD comprises of edited parts of live rehearsals, and has received some great responses. Julian Cope gave us a slightly bemused (but positive) review on his blog (see Quotes below), and Californian noise artist Sunken Landscapes compared it to hearing ''White Light White Heat'' for the first time.

We play together as often as possible and record everything we do, constantly trying out new ideas.


"I''ve also scored a whole multitude of Yuletide kicks from THE BIRTH OF TRAGEDY, a seven-track album by Manchester noiseniks Blood Moon. Although there''s little point in trying to describe their racket other than to say it''s wholly unneighbourly, the overall effect created by these Manny morons is similar to Israeli outfits such as Poochlatz and Barbara, though considerably more tuneful due to Blood Moon''s compassionate (though too occasional) use of sax and piano (albeit ring-modulated to fuck). Check out Blood Moon at https://www.tradebit.com but make sure you crank up the bass bins for maximum defect!"
Julian Cope, Head Heritage, January 2008.

From somewhere deep in the heart of an old warehouse in Stockport comes an unearthly sound. It starts with "Weakened By Nostalgia", an eleven minute crunch of guitar sounds so abrasive you could strip wallpaper with them. This probably isn''t something you should be listening to over Sunday breakfast - but hey, I did. Track two ("Buried Alive") brings algorithmic signal-noise, squelching drones, things that sound like the CD''s stuck and tracts of gurgling feedback, until ten minutes deep inside a chilling, distorted sax turns the air cold. Um, more toast? Fact is, the vast majority of people would probably shake their heads at this (at the very least) and baulk at its being music at all; ever since Lou Reed unleashed "Metal Machine Music" (echoes of which are definitely present here) in 1975 - and probably before - what is and isn''t music has been much debated. But as the track hits the sixteen minute mark its prior atonality has grown into something beautiful, all whooshing dream sounds. Further in still, on the beautifully named "When he woke up the next morning he wondered where he was" there are twisted backwards voices vaguely reminscent of a misspent youth trying to teach myself DJ scratching with my mum''s Teach Yourself Russian LPs. Yet as we travel further into the world of Blood Moon the squalling anger of the opening tracks has dissipated; through "Distant Constellation" with its piano and strings reminiscent of 65daysofstatic in a quieter moment before slowly mutating into a calm, bleak ambience. It''s a journey - not an easy one at times, but somehow by the end the title of this remarkable symphony (for that''s what it is, in a sense, "album" doesn''t really do it justice) makes some kind of sense. A quite stunning debut."
Cath Aubergine, Manchester Music, June 2008

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