NTT.PHASE01: ARCHIVE 1997, by NTT (NAVICON TORTURE TECHNOLOGIES)

NTT.PHASE01: ARCHIVE 1997

by NTT (NAVICON TORTURE TECHNOLOGIES)

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Brian Parker I’m familiar with the later NTT releases on Malignant, but I wanted to go back to the beginning...
Holy shit, there is a lot of power electronics here! It isn’t all in the red though, there’s variation, pulses, amazing voice samples, but this is DENSE and definitely harsh. If you make it to the face-melting 18 minutes of “Piss Poor Protoplasm”, you win in my book!
This music has a purpose, an intent...lust, disgust, desire, rage, and nihilistic desolation. It’s beautiful and it’s pure. Favorite track: ANNIHILATION UNDULATION MUTILATION.

Michael Carter There is a lot to take in here,sound collages,spoken word samples,a vortex to feed your mind.I think comparisons are not helpful,but I need to mention Swans Soundtracks for the Blind,not as a direct comparison but for the way it makes you feel and think.Too much too take in,this is immersive,been listening to this all day,amazing music.

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1.	NUCLEAR WINTER 09:49
2.	KONERAK SINTHASOMPHONE 07:00
3.	NECROPHILIAC BESTIALITY 10:23
4.	OVUM 16:40
5.	I SHOULDN'T EXIST 27:31
6.	ANNIHILATION UNDULATION MUTILATION 15:08
7.	BEHIND THE WALL (PATERFAMILIAS EARLY VERSION) 09:22	info
8.	INCISIONARY TACTICS 15:55
9.	BURY MY BODY 13:44
10.	CONSUMPTION 07:32
11.	IMPETUS 07:40
12.	[NO TITLE] 08:51
13.	CONCENTRICA 11:40
14.	AFTER THE PLAGUE 10:57
15.	NO END IN SIGHT 07:46
16.	SENESCENCE 02:24
17.	AUTOEROTIC ASPHYXIATION 09:04
18.	FRESH KILLS 08:59
19.	HYMN 08:53
20.	ANNIHILATIONIST PRAYER 08:16
21.	MAN'S INHUMANITY 07:39
22.	EVERY MOTHER'S NIGHTMARE 08:54
23.	NUTRITIONAL DEFICIENCY 09:04
24.	PATERFAMILIAS/BEADS IN AN ABACUS 13:14
25.	THE COCK IN GOD'S CLAW 10:58
26.	PULSATING 08:02
27.	PISS-POOR PROTOPLASM 17:54
28.	HUMILIATION, CONFINEMENT, & RESTRAINT 06:19
29.	INQUISITION 02:01
30.	SOUNDTRACKS FOR SERIAL SLAUGHTER 24:58
31.	VODOU DOLL 07:52
32.	THE WAR SONG OF KLRYONIIS THE SUPER GOD 07:13	info
33.	THE THEOPHANY 08:41
34.	BACKUP BITCH 24:33
35.	RUBBERFUCK - LIVE AT NYU STUDIOS 07.17.1997 22:32	info
36.	INTERCOURSE INFLICTION - LIVE AT NYU STUDIOS 07.17.1997 21:15	info
37.	EMERGED FROM HELL - LIVE AT NYU STUDIOS 07.17.1997 23:30	info
38.	BEADS IN AN ABACUS - LIVE IN SUFFERN, NY 08.22.1997 30:20

about

" I first met Lee Bartow in the Electronic & Computer Music course, taught by Professor Mack Brandon, at Ramapo College of New Jersey in January of 1997. My first impression of him was that he had an intimidating veneer, but he turned out to be an extremely friendly and welcoming person. He had long dreadlocks and possessed nothing but black and dark drab clothing. I was always of the belief that a cool look was half the battle in life. But the thing I really liked immediately about Lee was his enthusiasm for music and his willingness to collaborate, even though performing improvisational electronic music was completely new to me. I had come from a guitar-based rock, punk, and hardcore background. I knew how to jam, but improvisational music was not something I had much experience with. He gave me a mix tape of some of the coolest music I had never heard before: NON, Throbbing Gristle, Lustmord, Swans, Brighter Death Now, John Zorn, James Plotkin and a slew of others. It opened my eyes to a new world of musical possibilities that I was clamoring for at that time in my life. To put it simply, my mind was blown.

We hit it off in our first recording session. I just pressed record on my Tascam Porta 07 cassette four track recorder, and we let it rip. I played my bass, and later my guitar, through a chain of effects pedals, while Lee provided processed vocals, and what he called “sample constructs” looped through the sampling program SoundEdit16, on his PowerMac 6500, and some processed guitar of his own. It was exhilarating. There were no rules. I had never experienced that kind of musical freedom in my life, and I was hooked from the first sounds. It was chaotic, aggressive, dark, cinematic, and confrontational. We didn’t give a fuck if anyone in the world liked it because we were having so much fun creating new sound explorations on a regular basis.

Our first performance in front of people was at the Ramapo College Student Center.
There were about a hundred students and faculty and we assaulted them with a volley of loud, aggressive power electronics, with Lee screaming, “you are all worthless” through so many effects that his words were unintelligible. I wish we had a recording of it, though
Lee insists there is a VHS recording in a box somewhere at his mom’s house. I remember seeing several faculty members holding their hands to their ears like earmuffs and exiting the room. Most students sat there dumbfounded at our sheer audacity to play such an offensive cacophony. What more could you ask for? We walked off the stage and were both shaking and laughing from the adrenaline rush.

In short order, Lee enlisted his friend Elle Gaston, an incredible poet, lyricist, and artist, to join us for a slew of earth-shattering recording sessions. She brought a palpably dark BDSM-inspired sexuality to the proceedings, adding an entirely different layer to the project. What Lee had once called “Navicon Technologies” became Navicon Torture Technologies.

We recorded a ton of unreleased music throughout the early part of 1997, and as spring gave way to summer, spent a lot of time hanging out with the industrial/metal band Negativehate, whose members lived in a filthy communal house a few blocks from Lee’s mom’s house. Together with those guys (and the members of Westchester county’s
answer to Skinny Puppy, the two-piece electronic band Side 3), we established the Annihilvs label that summer. The label’s first release was Amalgam: A Collection of War Poems, a split CD with NTT and Negativehate side project Negative Eight. I have often listened to this album over the last 23 years, always enjoying the song selections,
primitive analog four track recording, and only lamenting that we didn’t have a chance to put it out as a vinyl release.

We celebrated the release with a show at the Creative Universal rehearsal space in Suffern New York on August 22, which featured performances by Lee’s friend James Plotkin, Clot (previously known as vagina Dentata, a band which was fronted by the writer Tricia Warden, who had released two books via Henry Rollins’s 2.13.61 imprint, and also consisted of the members of the band Circle of Shit), Side 3, Negativehate, and of course, NTT.

I had introduced my ex drummer and friend Tim Wyskida to Lee and Plotkin, and it’s mind-blowing to think that, had Lee and I never met in that class at Ramapo College, Jim and Tim would have never met. And the groundbreaking band Khanate, perhaps one of the most influential bands of the previous decade, would have never existed. The world would have missed out on an important musical partnership that also spanned nearly twenty years.

Over the next few years, we all drifted apart and went our separate ways amicably as people tend to do in their 20s. Life happens. Over the last two decades, I have periodically checked out Lee’s music online and always marveled at his musical progression, dedication, and artistry, with a clear musical passion and vision that I admit I am envious of.

I recently unearthed a collection of cassette material we recorded back in 1997; one live performance, a bevy of four track recordings, and a session we did at NYU Studios in New York City on July 17th of that year with Lee’s friend Kevin Reilly (now a professional engineer), behind the console, and Elle providing a devastating vocal performance. It was great to HEAR it again for the first time in over a decade.
I felt compelled to reach out to Lee online to see if he had interest in hearing these recordings, and to my pleasant surprise, he responded immediately. We picked up where we had left off over twenty years earlier. It was like only a day had gone by. That date was July 17th, 2020, which just so happened to be the twenty-third anniversary of that first session at NYU. It was also fast approaching the twenty-third year since both the founding of Annihilvs Power Electronix, and our release show for the Amalgam CD in August.

After I sent Lee these recordings, he was struck by the serendipitous timing, and was enthusiastic about releasing even more of our early, primitive efforts to the public, a fraction of which have already appeared in archival releases on Annihilvs over the years.
Lee contacted Elle to procure a series of photos she’d posed for way back when we were all working together in the late 90s (coincidentally shot by Lee’s ex-girlfriend Lisa Cerreta), and also suggested the possibility of doing a new collaboration with Elle and myself. I was more than excited about the prospect.
Will there be even more “new” NTT material in the future?"

- Scott “Solitude” Walker, July 2020

credits

released August 22, 2020

RECORDED WINTER-SUMMER 1997
DIGITISED & REMASTERED SUMMER 2020

ELLE GASTON
PROCESSED VOICE, LYRICS, AESTHETICS, SEXUAL TENSION

SCOTT “SOLITUDE” WALKER
PROCESSED VOICE, GUITAR & BASS, DRUM MACHINE,
ZENITH TRANS-OCEANIC FM-AM MULTIBAND ROYAL “3000”
RECORDING/MIXING (TASCAM PORTA STUDIO) ON TRACKS 1-34, DIGITAL MASTERING/EDITING

LEE M. BARTOW
PROCESSED VOICE, SAMPLES, GUITAR & SYNTH
ARRANGEMENT, DIGITAL MASTERING/EDITING

KEVIN D. REILLY, JR.
ENGINEERING/MIXING (AMEK TAK SCORPION & DA-88 MULTITRACKS) ON TRACKS 35-37

PHOTOGRAPHS BY LISA CERRETA
LAYOUT & DESIGN BY LEE M. BARTOW

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about

ANNIHILVS POWER ELECTRONIX New York

ANNIHILVS POWER ELECTRONIX is an underground record label founded in the Summer of 1997, originally as a means to distribute the works of NAVICON TORTURE TECHNOLOGIES (1997-2009) and associated projects.
Specialising in industrial, power electronics, darkambient, drone, experimental and doom, the label has since expanded to include several other artists from around the globe. ... more

annihilvs.net

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