'Hatred Of Pain' is an audiovisual work two years in the wrenching, the likes of which has never been seen before - bare witness to it's crusty packet - will you recycle it or generally waste?... perhaps let it accrue even more moss n flack loss less.

"31st Century Archaeologists will still be mulling over this one',
Bamba Lamb,

*AN EXCERPT FROM '@ Thrill Hill', AN INCLUDED ESSAY WRIT BY WITNESS K.T. ,

'The name Hatred of Pain seemed like a punishment -”You don’t know how to work, how to make sacrifices,” it said. “That’s why you’re in this house that has lost the romance of youthful poverty-chic rather than being a normal person, or even making any art (or initiating fruitful conversations) to make things romantic, relevant to our crowd and good, like Glen.” The house band under the Hatred of Pain name dissolved after only one absurd show at the Cave-Inn where I pointed at him accusingly and said something like, “Him! It’s all his fault!” in a confused quasi-social-realism-absurdist-stage-theatre gesture, and only Glen kept up the Hatred of Pain mantle after that show. Plugging away. '

DUTCH VINYL OF PADDINGTON BRISBANE WEIGH IN FIRST,
'Psychedelic, spikey, heavy, landscape-infused rock. Sounds somewhere between suburban Gold Coast and dry qld bushland impressed onto a rare mid-80s Oz post-punk 45RPM 7” played at 33RPM.' ,


GOODBYESUNBALL.TUMBLR.COM THROB'D,
"Record of the fuckin’ year right here. Not sure what planet Glen Schenau is on but more artists could take a cue from Hatred of Pain’s reckless, insular experimentation. Glen’s solo output thus far has been singular, to say the least, and his first LP pushes him much further out to sea. Opener “I Took Off Your Ring” is an endurance test, Schenau throwing backward carnival organ and ear-piercing flute into the mix at points where the listener might have settled in. “The mix,” by the way, is this amazing black metal guitar tremolo picking, sans effects, and plodding, woozy drumming with Glen’s clenched jaw intonations serving as the vocals for it all. Nothing really approaches the extremes of “I Took Off Your Ring” in length or sonics on the album again, but that same aggressively insular approach continues. “Lit a Little Fire” is a highlight, Glen sounding like he’s in a submarine that’s slowly going under but holding onto hope that “she’ll be right back,” enunciating the latter as fast as he can while his head’s above water. The most aggressive track, “Frowntown,” has the most animated vocals that almost refer back to his earlier solo work, barking “This is a venue I was banned from!” over a gnarled bed of descending guitar and rolling drums. It’s not all sandpaper and scrap metal on Hatred of Pain, though: “Vapid” rides a jazzy bassline for its duration, “A Thankless Crime” is a hard-plucked acoustic loner, and “Hammer Smashed Phone” (yes) with its muffled robotic vocals and piercing melodica sounds like a warped collaboration with the Native Cats. The record reaches its logical conclusion on “So Dark,” a deep and moving trip that turns black metal inside out, with lyrics that are basically the title and Glen crooning “I’m not blam-ing YOU-OOH” from the bottom of the well. When this record first arrived, it came with a handwritten note from Glen explaining how he thought maybe the record was a little too personal but he made the choice to put it all out there, basically blowing up his life to make something from all of the pieces in some sort of cleansing act, and that framing makes a lot of sense. I think it’s a brilliant piece of work, bleak and sharp and funny and desperate in equal measure, and the physical package reflects the care and probable over-analysis of the whole project. I haven’t heard anything this inwardly focused and completely unaware of musical and societal norms since Courtesy and Good Will Toward Men. Amazing stuff. If you trust me, trust Hatred of Pain more."


YELLOW GREEN RED SED,
"Doubt I’ll find a heavier avant post-punk album this year than Nusidm’s Hatred Of Pain, and I mean that literally – packed with thick glossy inserts, posters and writings, it’s massive! I should also clarify that Nusidm is more or less the work of Glen Schenau, a musician whose work with Bent and Kitchen’s Floor I’ve enjoyed as well as last year’s 7″ single under his own name. After wading through the numerous laminated, hand-scrawled and pro-printed inserts (whose frenetic and colorful style is redolent but not a direct lift of the prevailing Fort Thunder aesthetic), I found the vinyl LP (which is also quite heavy) and put it on. While I’m not surprised that I love the music of Hatred Of Pain, I’m surprised by what it is. These songs are fairly similar in structure, which generally involves a guitar (or sometimes a bass) picked wildly with abandon, just absolutely flailing while the percussion slugs along and Schenau recites his words with conviction. Is this the world’s first free-dirge record? The playing is often quite out of control, in a sort of post-Harry Pussy freakout mode, but rather than mirroring that intensity in the rhythms, Nusidm lurches along slowly. It’s immediately appealing to fans of no-wave, great terrible music or outer-limits post-punk such as myself, but it’s without easy comparison as well – the closest comparative description I can render is Slugfuckers’ “Deaf Dub” and live Public Image bootlegs soundtracking those scenes from Fitzcarraldo where they push the boat up a mountainside, but that’s not really too close to anything, now is it. I should also mention that Nusidm stuck a DVD inside this too, but I’m saving that for a rainy day when I’m in need of some freaky inspiration."