I suppose the title should stand. It is shit– just three tracks of “harsh” noise indistinguishable from practically anyone else toiling in the increasingly narrow confines of the genre. GRKZGL is loud, busy, and wading about in deleriously distorted sounds– but for anyone who remembers his earlier release “Esque” on the Angle Rec label, “C’est de la Marde” is just the noise made by GRKZGL setting the bar a bit low.
Although I fully recognize that the sheer number of available recordings is one aspect of noise, (it’s just another type of volume, see?) this definitely isn’t where I’d want a new listener to start with this artist. For all of releasing label Brise-Cul’s hype that “C’est de la Marde” is “so harsh that it is ridiculous,” and “so meticulously recorded and mastered” the noise genre remains a game of limits, not unlike speed metal. These bold statements invite listeners to make comparisons, with the result that “C’est de la Marde” doesn’t stand in any such category.
Brise-Cul, having over 100 releases, should know better. Like DJs, the folks who run labels get a birds-eye view of music the public isn’t afforded– turning out some old spray-painted CDR that sticks to its cheap plastic slipcase and turns over no new ground is an abuse of the buyers’ goodwill, and hardly serves to do anything but falsely inflate the artist and leave much of the label’s catalog suspect as well.
It’s bad enough that experimental artists relying on CDR labels will have tremendous amounts of product spread across innumerable imprints and still receive little more than a handful of copies to sell on tour, but when these labels neglect their responsibility to help positively shape the music they love, we all lose something.
GRKZGL’s “C’est de la Marde” isn’t the only example of this, and by no means is Brise-Cul the worst offending label. Still, we’d deserve whatever we get if these sorts of things weren’t pointed out.
“C’est de la Marde” is available as the sixth installment of Brise-Cul Records‘ “Red Series.”