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tracklist:

download pressrelease.pdf

“it was about 7-8 years ago now when i was living in rhode island and we went to some bar to see a rockabilly band or something and everybody had cleared out because the fire alarm was going off – this high-pitched ringing - but the band just kept playing on. and it was really amazing and just had that entire end of the world feel. a full rockabilly act just playing their hearts out and this crazy high-end screeching behind them. i was pretty sold on that as a musical style at that moment.”
(charles peirce / end)

the sounds of disaster document the past few years of end’s life. a time of shootings, home invasions, and near fatal accidents. outrageous, epic, nihilistic, and absurd, the sounds of disaster is the soundtrack to a world of b-movie fantasies where hydrogen bombs, hippie death cults, subway-dwelling zombies, cannibal midgets, and legions of homicidal madmen all run rampant.

while end's first release science/fiction was filled with spooky space themes, this recording is on a totally different planet. sure, there are recognizable moments - surf rock guitars, crazed breakbeats, cop show riffs, theremins and moogs, screaming choirs, horn sections, spy music, japanese noise, scat vocals.... but they’ve all been forced together into a frenzied mass as catchy as it is schizophrenic. there are jump-up-and-down rock numbers, sitar spaghetti westerns and even apocalyptic sing alongs. not for the feint of heart, this is the musical equivalent of a car crash.

9 essential anthems for your own personal apocalypse.

de:bug

nach einem eher künstlerischen “science-fiction” hat end mit kleinen, auf 7-inch gepressten beatsplatter- flics seine freude am unbekümmerten cut & mash-it-up entdeckt. dabei haben die für “sounds of disaster” auf der plunderphonischen schlachtplatte geopferten samples mitunter unkaputtbare ninja-tune-qualitäten (70s-soundtrack-blechbläser und -gitarrenriffs, beschleunigte jazzbreaks), manchmal sind die quellen einfach mutwillig albern. so gelingt es end, den humor, der im arrangement oder in der breakarchitektur doch auch schon, viel subtiler, am wirken ist, gegen sich selbst zu wenden. was ja meistens nichts anderes heißt, als eine halboriginelle idee ästhetisch gegen die wand zu fahren. erstaunlicherweise überlebt die musik auch das und hält eine konsequente tex avery-gangart ohne lücken und hänger durch. denn wie donna summer, einer der begnadetern vertreter dieser idee von spaß, sagte: es ist leicht, ein düsteres werk abzuliefern, unterhaltsam und sogar humorvolle kunst dagegen eine herausforderung. the end haben sich ihr gestellt, das desaster ahnend und umarmend. der rest ist geschmacksache. (em)

stadtmagazin

http://www.berlin030.de/music/cd.shtml

motörhead verursachen einen autounfall mit dem geist von elvis auf dem datenhighway, bei der explosion verbrennen sämtliche chemischen drogen auf der rückbank, eine toxische wolke entsteht. diese erreicht das haus von aphex twin, der auf der stelle zu einem blutgierigen zombie mutiert und garth brooks in die wade beißt. der startet in seinem wahn seinen von langer hand vorbereiteten weltvernichtungsplan und lässt genmanipulierte kampfbienen auf die menschheit los. diese werden zwar von galaktischen kampfrobotern vernichtet, doch diese knechten daraufhin selbst das menschengeschlecht. ach was, sie zünden mit hilfe einer armee geklonter saddam husseins 23 atombomben und machen gleich die ganze erde platt. end. (ah r.i.p.)

basebog

http://www.basebog.it/template_album.asp?idrecord=101&idutente=11

credo sia universalmente noto che io adori quest'uomo. il quale non fa altro che rafforzare la mia devozione con un altro album spettacolare, totalmente diverso dal precedente science/fiction di due anni fa. questo e' piu' vicino all'amico donna summer / jason forrest come sonorita', con una sostanziale differenza: ds usa esclusivamente samples presi da ogni era e genere per produrre un polpettone sonico, mentre end prende spunto da robe tipo umiliani, morricone e funk poliziesco e le fa suonare ad amici suoi su composizioni originali, mentre si sbizzarrisce in ritmiche scuotiossa e processing aspro e denso. forse e' perche' non ho il background adatto a coglierne le finezze, ma jason forrest mi appare forzato mentre end suona naturale e fresco. the sounds of the disaster potrebbe tranquillamente fare da colonna sonora ad un film di tarantino. gli insegnamenti di pai mei andrebbero accompagnati da ruin anyone anywhere anything, mentre mr. guns starebbe a pennello in sottofondo ad un duello frenetico e ultraviolento. countdown to the end potrebbe essere classificato come beat-core, you live only once come 007-core e brooklyn home invasion come poncharello-core. non dimenticate che tutti i beat sono belli spinti, anche se ad un primo ascolto sembrano batterie funky normali. appena pompate un po' il volume il suono diventa saturo e il dsp incomincia a graffiare, se accostate questi pezzi a enduser o a bogdan raczyinski viene fuori un bel mix fluido. un disco che e' un concentrato di energia irreferenabile e divertimento scatenato. vinile su hymen e cd su ipecac (di mike patton), con in aggiunta le tracce presenti sul 7" mirex come giorgio marauder. (luca)

canned

http://www.cannedmagazine.com/reviews/04/04/19/end.html

the music contained in these 45 minutes and 26 seconds constantly shifts. beats raise or decrease their tempos, stutter to a stop then come back rapid fire or change altogether into some sample culled from 1935 (or more often the middle of nowhere). the beauty of this refreshing new release is that during each close listen i noticed more than the time before. or i thought i heard something differently. regardless, the same subtle and not-so-subtle changes continued to surprise me and were given more depth again and again. this release forces me to recall the times when i first started listening to the genre weirdly dubbed idm. i got sucked into artists like aphex twin, squarepusher, u-ziq and luke vibert because they were creating interesting music-doing things i had never heard before-and the innovation captured my imagination. the frantic pace of end manages to capture the pioneering spirit of early experimental idm and doesn’t get caught up in the unbearable mechanized overload that plagues a lot of fledging idm producers rising out of obscurity today. the quality that allows [producer] c. pierce to shine on his debut is the human touch he gives to the electronics by way of appropriate and expertly placed samples. the vocal snippets and live instrumentation (stringed instruments and even horns!) let humanity rise above the grinding machinery for harmonious moments until the sonic warfare resumes. the sounds of disaster is 11 tracks (and one brilliant untitled epilogue) about destruction that makes me happy. i don’t believe this music was created to inspire people to destroy the world, but it is a response to induce reflection on its inherent doom. the fact is that life on this planet is eventually going to end and there is no doubt humanity is readily doing its part to bring us to this unfortunate conclusion. there is something about coming to terms with that reality that brings a strange peace to me as i gyrate uncontrollably walking down the street with my headphones blaring end. the earth may or may not go up in a blaze of fire anytime soon, but listening to the sounds of disaster reminds me to make the most with my time spent on this planet. 9 out of 10 kicks in the crotch. (kenny acker)

infratunes

http://www.infratunes.com/chronique-album_21086_end._the%20sounds%20of%20disaster.html

ce nouvel opus de end. risque de faire vraiment parler de lui. résolument moins axé vers une electronica pure et dure, c'est un univers apocalyptique et pourtant typiquement humain qui est ici mit en musique. caricatural portrait de l'économie culturelle (en ce sens on comprend mieux les revendications de charles pierce, compagnon de route de son homologue de l'hémisphère sud, david thrussell) et kaléidoscopique maëlstrom des genres et des saveurs, the sounds of disaster s'apparente à une éructation bruyante et révoltée, synonyme de toutes les folies, mêmes contre-nature. compositions hybridées aussi fiables qu'un clône humain de la première heure, anomalies structurelles et joyeuse hystérie sont les maîtres-mots de ce lp, tout bonnement jouissif et agréablement décalé. mais derrière ces considérations métaphysiques en guise d'introduction, on trouve un vrai talent de compositeur. ca grouille littéralement de samples en tous genres visant à créer une sorte de bande-son anti-conventionnelle et misanthrope, affligée d'une inconstance proche de l'effondrement perpetuel. explosif et chaotique, autiste et lucide ... les paradoxes sont l'essence même du travail de charles pierce, qu'on imagine presque à l'image de sa musique : une sorte de héros des temps modernes qui aurait troqué son collant bleu électrique pour une blouse de scientifique allumé, persuadé d'obtenir une part de privilège divin car son esprit serait capable d'élaborer l'inédit, l'atypique. d'un point de vue strictement sonore, on se délectera de ce mélange corsé d'electro-jungle frénétique et disloquée, agrémentée de rockabilly, de guitares surf-rock, de funk de supermarché ou de sithar westernesque. on pense à snog, le discours subversif en moins, et puis on se repasse le vinyle, séduit par cette liberté récréative, hors de tout cliché. une vraie claque, celle qui fait du bien et qui remet les idées en place, s'apparentant à un défouloir intellectuel, salvateur par les temps qui courent. le son du désastre en fait.. (yragael)

absorb

http://www.absorb.org/reviews/a_end2.html

the warped commingling of synths, spaghetti-western guitars, slamming breakbeats, and brooding orchestral surges that comprises the opening half-minute of 'you only live once' pretty much fills you in on how the rest of the sounds of disaster by end (charles peirce) sounds. pounding synths and deranged beats maintain the opening's whirlwind pace, and, when it dies out, 'to hell with everyone' barrels explosively forth with the twangy guitars of jim cargill leading the charge. from start to finish, end's music swaggers outrageously, imploding relentlessly throughout yet somehow managing to re-assemble itself at every turnñan absurdly unsubtle, cartoonish, yet undeniably engaging music. fans of 2003's 7" to hell with everyone (released under the name giorgio marauder) will already have three of the tracks here and know what they're in for. suggesting some bastardized spawn of john barry, kid606, dick dale, ennio morricone, and v/vm, end's pastiche style calls to mind john zorn's naked city more than anything else. like that group, end's tracks are just as happy rocking out in surf guitar mode as they are in hardcore thrash, jazz noir, lounge, or stomping rockabilly. the sounds of disaster is no sampledelica exercise, however, as peirce has assembled a full band to play these tracks which, in spite of their busyness, approximate conventionally structured songs to a large degree. as a result, his music doesn't directly quote other artists' music but generally references their styles and thus comes across as personalized in spite of its derivativeness. and don't be put off by the catastrophic tone of the artwork and song titles which might suggest that the music's dark, depressing, and humorless. on the contrary, in spite of their obsession with shootings, bombings, and apocalyptic mayhem, the songs are frenzied anthems of spirited liberation. (ron schepper)

sweet jane music

http://www.obrac.de/sweetjanemusic/review.php?datensatz=431

ipecac ist bekannt für außergewöhnlich kranke, schizophrene klänge. ich denke da an delirium cordia von fantomas und ähnliches. hinter end steckt charles pierce, der u.a. von den klängen kid606 beeinflusst wurde. auf der einen seite tanzbar, mit beats im großen stil a la propellerheads, reisst pierce andererseits beängstigende soundorgien auf, die an aphex twin herankommen. dann wieder erklingen cineastische elemente oder easy listenig jazz oder charleston, was an die barszene in the shining erinnert. gesang wird keiner eingesetzt. viel mehr ist the sounds... ein (horror-) trip durch unterschiedlichste soundhöhen und -tiefen, wie der titel schon vermuten lässt. die sich durchziehende surf gitarre verleiht diesem apokalyptischen renngalopp eine freche coolness, auch der männer chor, der aus senior rossi stammen könnte. denn sie wissen nicht, was sie tun. nichts für zartbeseitete. denn das ist das ende. wer aber auf den ipecac backkatalog mit sekundärem krankheitsgewinn reagiert, dem kann ich dieses schizo-meisterwerk nur wärmstens empfehlen! (cs)

wmuc radio

http://www.wmucradio.com/wmuc_final_db/make_cd_reviews.php?review_id=66

cool drum & bass, post-industrial sound collage with a hot tempo and some fine touches including groovy 60s riffs & samples from sources like motorhead and italian soundtracks. if a 60s garage surf band led by some freaky techno dj with an overabundance of samples was asked to complete a soundtrack to a science fiction movie about the end of the world—you might get something like this. f---ing brilliant. (j max g)

pataphysics research laboratory

http://www.pataphysics-lab.com

a band inspired by a fire alarm playing during a rockabilly band that refused to stop. the basic premise is that this is music for the end of the world. loud. bombastic. exciting. surreal. a mix of breakbeats, bombastic noise cut ups, exotica, commercial jingles, surf, country, rockabilly... etc. etc. sort of industrial with a more contemporary edge. abandon is your middle name. the surface of hell is breaking up under our feet and we are hopping from piece to piece excited by the possibility of more tokens or perhaps a booby prize. apocalypso comprised of every doomed moment from 1945 to 1995. the cold war on speed dial in fast forward. jubilant spy music encourages the 007 in all of us to leap out of amazon belly buttons and hang onto the fur of a guided percussion instrument. a cd about 6 bits shy of insanity. charles pierce, the guy behind the curtain, is a vet of v/vm and so on. sk8 and destroy. frank sinatra is now spinning in his grave. we're on drugs. let's pass the bananas, i'm hungry. ever notice anything special about the color yellow? if this was an exploitation film... are we the exploited? your carnival tent is gonna fall. but that's okay, it's the end of the world. run for your leg room? a wild one. expect lot's of electro fused d&b overloaded with fastly played surf and wild west crap thrown in. you must wonder, what would yma sumac or les baxter have to say about this record? did they ever realize that car alarms mostly work in cars? with

power. we're stuck running down the street from a chain gang cause none of the gas pumps will work. i think this record might provide us with adequate chase scene music. do you know ward cleaver? (m.)

inthemix.com.au

http://www.inthemix.com.au/p/np/viewnews.php?id=15469

when you know a band is on ipacec recordings, you usually know it's going to be a quality psychedelic, experimental smorgasbord of fun. and this release proves to be no exception. with an accompanying bio, claiming things like 'nihilistic, go-go dancing booty queen/ sound as attitude mash-ups/ rockabilly, breakcore/ white trash jazz.' i wasn't quite sure what the hell to expect, but it sounded like my idea of a good night in and discovering this warped new world i never knew existed. much like settling down with a good book, but easier on the eyes. so i settled down with a joint and a glass of classy red wine at 1am and

strapped myself in for the wicked journey ahead. what began was a never ending pshychadelic, acid dream inducing madness. it's hard to believe that end is all created by one guy's thoughts and ideas and brought to life with some help from his friends, it isn't however surprising that he is a ny based artist. this release screams schitzophrenic freakout, with old timer's vintage samples of brass bands, coupled with wildly screaming synths, then the entry of a soft lull of female vocals, not unlike kate bush and jane siberry. then it turns around and launches intowhat sounds like it belongs as a backing track to a western show-down scene, before bleeping and blipping and fading away into the next more sedated track. each track on this record compliments the other, i can't imagine listening to this record in any other way, than just straight up, as a 45 minute journey through the mind of a madman on a rampage. it takes you back to your first bad acid experience, with lilting livid colours draining into eachother, many voices all moulded into one rather evil sounding, cheesy talk show host drawl, with all the paranoia and anxiety ridden thoughts of many eyes watching. that's when you break down and admit that you like this release and all of it's craziness, cause it explains your head in times of anxiety completely. this is definitely a trip i recommend everybody should take at least once, who knows what you'll find inside after listening to this frighteningly eccentric record. well worth a look in for all experimental noise fans, another quality release from mike patton and the kids at ipacec recordings! (vocal assault)

igloo

http://igloomag.com/doc.php?task=view&id=718&category=reviews

having previously recorded for hymen and mirex record labels, end delivers his second full-length cd- this time on mike patton’s ipecac recordings after coming off a month-long tour opening for melt banana and fantômas. this no holds barred collection of apocalyptic spy-fi tunes sound like an appropriate soundtrack to a radioactive surf-rock beach party, but after recent conversations with him, i am positive that end is not someone i would want to run into after a nuclear fallout. “oh yeah, i would become a cannibal if i had to,” said the currently vegan east village dweller. he really didn’t seem too afraid of a doomsday scenario, noting the benefits of having superpowers and exhibiting a confidence that he would make a rather fierce road warrior. “i mean, once it's a world of zombies and mutant bikers, all the rules are gone... go feral i say!” feral indeed, this blistering 11-track album will tear your imagination to shreds and then victoriously roll around in the entrails. missile silos, showdowns, cartoonish impulses, and rockabilly heartbreak all decorate the musical terrain and if there is a common thread through it all, it is that end does nothing halfway. his outlandish outbreaks are that much crazier, his production that much tighter, and his breaks that much hotter. the breakneck pace at which he flips styles, moods, and hooks disables the listener’s ability to differentiate what is possible or even real, only to succumb to siren’s call of the ‘repeat’ button. no, not to repeat a track- the whole album. again and again. end may use a computer to realize his creations and he definitely flexes a barrage of broken beats, but i wouldn’t really consider the sounds of disaster to be an electronic album. his science/fiction album on hymen was a wonderful opus of glitchy technoid grooves, but this is something different. surely not an easy feat to accomplish, but it almost sounds like this album could have been played by a band. yes, the percussion is too chopped up and the changes would definitely be a challenge to even the most talented musicians, but the riffs are band riffs. granted, it would probably be similar to the band i would imagine that plays the nightshift at mos eisleys’ spaceport, but the arrangements are very deliberately orchestrated so that each voice has its moments of solo and supportive roles, much like the way a live ensemble would perform. it’s important to state, though, that even with the previously mentioned unifying motifs, there is a considerable wealth of diversity to be experienced. “ruin anyone anywhere anything” is a horn-based funk jam born in flames and will spread like wildfire on the dance floor. however, only two tracks later, “mr. guns (the theme from 11th street)” starts with a dark and saucy big band swagger but builds to a full out gun battle that recapitulates as a part of the beat for the finale. “good riddance” seems to help let the album breathe a bit, slightly more innocent in character and even showcases some cut-up scat solos, but still brings an infectious head-nodding vibe to the party. there are some slightly more minimal vocal jazz stylings in “the patricide song” that give way to hysterical laughter [human and computer], but the cherry on this yellow-cake uranium fudge sundae is the album’s closer, “fit to die.” if jan and dean threw a barn party in the kashmir mountains during the end of the world, this would be the soundtrack, and i would be dancing blissfully as the earth swallowed me whole. (mad e.p.)

san antonio current

http://www.zwire.com/site/news.cfm?newsid=11449927&brd=2318&pag=461&dept_id=483211&rfi=6

the wonderfully ugly: as i type these words, my ears are under assault. they're being pummeled by an entity known as end, whose debut record the sounds of disaster (ipecac) is aptly named but more fun than any car wreck or industrial accident i've heard about. the record is fast and loud and willing to make room for every electronically generated percussion sound you've ever encountered, and then some. according to the liner notes, end features such suspiciously named musicians as giorgio marauder, adolf hasselhoff, and yanni cash. maybe, maybe not. there may be nobody on the disc other than songwriter charles peirce, who has a habit of adopting a plethora of pseudonyms. according to peirce, end was inspired by a rockabilly band who continued to play even when a club's fire alarm shrieked madly over their set. makes sense: pieces of musical business almost never go it alone here; bits of soundtrack exotica get trampled by jet engines, breakbeats are beaten down by broken synths, and drum machines - well, drum machines and samplers just fight with each other in the most delightful ways. a guy who works with ipecac calls peirce a "sample terrorist," which describes his sound pretty well. i don't aerobicize, but if i did, it would be

to end. (john defore)

radionova.no

http://www.radionova.no/musikklister.php?adid=48

tror du at vi nærmer oss slutten? at vår sivilisasjon står for fall? det tror i alle fall end., som med sitt nye album, sounds of disaster, har laget det definitive lydsporet til den forestående apokalypsen. og hvis du da tenker trist post-rock a la godspeed you black emperor, så klandrer jeg deg ikke for det, men tar deg heller ganske forsiktig i armen, geleider deg rolig vekk i fra de triste ruinene av utbrente skyskrapere, og inviterer deg med på den store festen. for om end. får det som han vil (han heter egentlig charles peirce, er bosatt i new york, og har tidligere operert under dekknavnet giorgio marauder), så kommer vi alle til å danse apokalypsen i møte med et fett glis om kjeften og spastiske bevegelser i alle ledd, komplett likegyldige til at morgendagen aldri kommer. musikalsk kan end. raskt oppsummeres som et sammensurium av svære rytmer, spaghetti-gitar, science-fiction-synths og tøffe samples. tenk deg hvis ennio morricone, cloroform og kid 606 sammen hadde bestemt seg for å lage white trash-jazz for superhelter. nå er ingen av disse involvert , men end. har allikevel med seg et knippe interessante musikere ved navn som adolf hasselhoff, yanni cash, zsa zsa szabo og alice dunaway, som seg i mellom trakterer en rekke sjarmerende instrumenter: trompet, sitar, trombone, kokt squash, theremin, harpe, moog, saksofon og "nuclear deathtrash drums". nylig avsluttet de en usa-turné med fantomas og melt banana. hvem var det nå som sa at dommedag behøver å bli en trist affære? (glenn)

infratunes

http://www.infratunes.com

ce nouvel opus de end. risque de faire vraiment parler de lui. résolument moins axé vers une electronica pure et dure, c'est un univers apocalyptique et pourtant typiquement humain qui est ici mit en musique. caricatural portrait de l'économie culturelle (en ce sens on comprend mieux les revendications de charles pierce, compagnon de route de son homologue de l'hémisphère sud, david thrussell) et kaléidoscopique maëlstrom des genres et des saveurs, the sounds of disaster s'apparente à une éructation bruyante et révoltée, synonyme de toutes les folies, mêmes contre-nature. compositions hybridées aussi fiables qu'un clône humain de la première heure, anomalies structurelles et joyeuse hystérie sont les maîtres-mots de ce lp, tout bonnement jouissif et agréablement décalé. mais derrière ces considérations métaphysiques en guise d'introduction, on trouve un vrai talent de compositeur. ca grouille littéralement de samples en tous genres visant à créer une sorte de bande-son anti-conventionnelle et misanthrope, affligée d'une inconstance proche de l'effondrement perpetuel. explosif et chaotique, autiste et lucide ... les paradoxes sont l'essence même du travail de charles pierce, qu'on imagine presque à l'image de sa musique : une sorte de héros des temps modernes qui aurait troqué son collant bleu électrique pour une blouse de scientifique allumé, persuadé d'obtenir une part de privilège divin car son esprit serait capable d'élaborer l'inédit, l'atypique. d'un point de vue strictement sonore, on se délectera de ce mélange corsé d'electro-jungle frénétique et disloquée, agrémentée de rockabilly, de guitares surf-rock, de funk de supermarché ou de sithar westernesque. on pense à snog, le discours subversif en moins, et puis on se repasse le vinyle, séduit par cette liberté récréative, hors de tout cliché. une vraie claque, celle qui fait du bien et qui remet les idées en place, s'apparentant à un défouloir intellectuel, salvateur par les temps qui courent. le son du désastre en fait..

the cd version is released on mike patton's label ipecac recordings.
http://www.ipecac.com

discography 04.2004:

science/fiction. cd. hymen records ¥725. 2002
errata. 12". hymen records ¥044. 2003
to hell with everyone (as gorgio marauder). 7". mirex records 09. 2003
the sounds of disaster. 12". hymen records ¥049. 2004
the sounds of disaster. cd. ipecac recordings ipc49. 2004

end website:
http://www.worldwentdown.com