Friday, June 30, 2017

Destruktionsanstalt: The Extremity Exhibition

“It’s the whole idea of doing some kind of soundtrack music that reflects the world we live in, a harsh reality that we in the western world choose to ignore on a daily basis.”

We head to Viborg, Denmark to meet with Per Najbjerg Odderskov, Post Industrial sound sorcerer and a fellow journalist.

Part of the old guard for nearly 20 years now, he rose to prominence as the brains behind experimental electronic / dark ambient outfit Lidane Livering, (which has been recently resurrected) and since 2015 he’s been building Destruktionsanstalt. 

A furious monster of a project described by Per as “Back to basics death-industrial with atmospheric psychedelic overlays”.

Per also keeps himself busy with other projects God Cancer and Left Hand of God
as well as exploring his funny side with The Gordon Ramsey Orchestra.

I had a quick chinwag with the man himself to find out his thoughts on current events, themes behind latest Destruktionsanstalt release “Ex Bello Volaptus” and how he is worming his way into the art world…

Listen below and you can read my thoughts on the album after this interview.



DMD: How did Destruktionsanstalt get started and from where does the name originate?
Per Najbjerg Odderskov: Destruktionsanstalt was an attempt to get into more extreme sounds, whereas Lidane Livering lies within the boundaries of ambiance and electronics. 

As for the name, I think I read it on the side of a truck driving by full of dead, stinky farm animals.
I remembered seeing a cow’s leg hanging over the side of it. A Destruktionsanstalt is a place where you burn dead animals which have died from a sickness. 

DMD: How is the scene in Denmark? 
PNO: Depends on where you are in Denmark, most of the stuff is happening in the capital (Copenhagen) and a few things are happening in Aarhus and Aalborg. Otherwise, it’s quite dead. 
Right now I’m living in Viborg, which was the capital in the really old days. 

I think I’m the only one here doing this kind of music. 80% of all people in Denmark doing some kind of "extreme" music make some kind of death /black metal mostly, 15% of which are doing Electronic / Industrial live in Copenhagen and the last 5% are spread across the other parts of Denmark.  


DMD: Growing up, what music did you tend to listen to?
PNO: Back in the late 80s as a kid I grew a general fondness of electronic based music, it was just way cooler than someone with a guitar. 
Why I had that view is beyond my understanding. I guess one of the reasons was growing up with a Commodore 64, and listening to the music coming from there. 

We had cracked games for it. These software pirates would leave their musical demos with the games. I fondly remember these low-bit cover versions of Kraftwerk, OMD and Depeche Mode. 
When I got older in the early 90s, early techno and house music were where my interest was. I think my first real influential idol back then was Aphex Twin, later on, I stumbled upon LFO, Orb, Biosphere, Model 500. 

There were the first artists who gave me the idea of producing my own music, so I had my first creations on my Amiga with a sampler. It was just some hardcore techno rhythms with a sample of Margaret Thatcher on top of it! 
All of a sudden I got fed up with the rave and love issues that were around techno and house music, and one day a good friend of mine got hold of this tape with a band called Skinny Puppy so that probably changed my direction at that time. 
This band blew my mind since I was already heavily into cyberpunk-based roleplaying games and of course horror based like Call of Cthulhu. 

To actually hear an act, which made this sort of in-your-face soundtrack thing just blew my mind. 
All of a sudden I was creating my own sounds on my newly bought PC. I was heavily inspired by the likes of Throbbing Gristle, Brighter Death Now and Scorn. That was in the mid 90’s when I made Fragments vol.1 (Lidane Livering).


DMD: How did you first discover the darker side of experimental with genres such as Dark Ambient / Noise /  Death Industrial etc?
PNO: When I decided that the extreme stuff was way more interesting than electronic body music and industrial rock, I was searching for whatever act that reminded me of Throbbing Gristle.

I stumbled upon this website/mail order underground thing, which sold all these weird-sounding acts which I didn’t know. 

They sounded interesting so I bought a couple of em, turned out that they were all released from Cold Meat Industry. It was Brighter Death Now, Raison D´être and In Blind Embrace (Controlled Bleeding side project). And again, it blew my mind. I was just thinking why the hell was I wasting my time on industrial-techno with guitars haha! 

Brighter Death Now was the most frightening and challenging shit I had ever heard, Raison d´être was incredible, beautiful and dark at the same time and In Blind Embrace combining powerful classical opera inspired music with harsh industrial aesthetics. 

That kind of stuff was soo fucking unique, so I kept my primary focus on this scene for many years!


DMD: What is your recording setup?
PNO: Following off whatever I learned from software on my Amiga and PC. 
Using Soundforge, Audacity, synth emulators, fields recordings and grabbing samples from movies etc.


DMD: Name 15 records you couldn’t live without
PNO: Aphex Twin - Selected Ambient Works vol.1

Throbbing Gristle - 20 Jazz Funk Greats

SPK - Leichenshrei

Brighter Death Now - Pain In Progress

Joy Division - Unknown Pleasures

Autechre - Amber

Ministry - Twitch

Caberet Voltaire - Code

Earth - Hex

Klinik - Time Plaque

Front 242 - Geography

Tangerine Dream - Stratosphere

Jean M. Jarre - Equinoxe

Atrax Morque - In Search Of Death

Megaptera - Extended Chaos


DMD: Tell us about your other projects God Cancer, Lidane Living and Left Hand of God
PNO: Lidane Livering explores heavy raw ambiance and cold rhythmic brutalism. The themes are mostly dealing with human-made atrocities to real life horrors. Otherwise, it deals in various post-industrial soundscapes. It was my first project, and it kick-started all my projects more or less. 

Left Hand of God started as an occult based esoteric ritual ambient act. Drawing ideas from NON, Archon Satani, and Ain Soph. 

Today, we´re dealing with a religiously inspired act which gets its ideas from the scene of HNW.
I’m thinking, the voice of a judgemental and all knowing god would probably sound to the human ear like a wall of some kind. That’s what I’m trying to do. 

God Cancer is a free based improvisational project which explores sounds and moods without boundaries. Not focused on any sub-genre or anything. 


DMD: What can you tell us about the new Destruktionsanstalt tape Ex Bello Volaptus?
PNO: It´s a more brutal, raw and heavy then former releases. 
The themes of the album also work within shocking taboos connected with death in one way or another. 
Victims of a serial killer, biological weaponry and its experimentations on humans, necrophilia etc…

Whereas former releases worked with sickness and the loss of a close family member. 
In lots of ways, it´s the heavier brother of Vivens Monumentis (released through Craneal Fracture records), which had a slightly more psychedelic approach I think. 


DMD: What inspires you to make music? 
PNO: Whatever I read or experience in the news mostly. It’s the whole idea of doing some kind of soundtrack music that reflects the world we live in, a harsh reality that we in the western world choose to ignore on a daily basis.


DMD: Back in August 2016 you released a cassette of two Destruktionsanstalt and Lidane Livering live performances what was your experience recording these? Do you have any plans for more live releases in the future?
PNO: This was without a doubt the best experience I have ever had, it was actually a music concert in classical terms. It was part of an art venue, where it all concerned sound and installation art. I was so lucky to know some insider people, so I managed to squeeze myself into the art-world. 

The audience was satisfied and bought some releases from me, so I was satisfied too. 
As for the moment, there are no plans for live performances. But I am keeping an eye for another opportunity. 


DMD: What can you be found doing when you are not making music?
PNO: Doing family man work. Cleaning, changing diapers, cooking, shopping etc ... And when I’m not doing that, I spend most of my time being tired at night while watching a supernatural or sci-fi themed series on Netflix over a beer or two. 

Besides that, I read a lot and am trying to find the time to listen to all of my records and tapes and stuff. 


DMD: What does Ex Bello Volaptus mean and what made you choose this title?
PNO: It means the results of war, whatever happens afterward if it all chooses to end which it sadly doesn’t.
A monotonous continuation which carries on like the constant bombardment of information overload.
All about being constantly fed with news about tragic and war, almost to the point of getting numb. 

Something which has been going on in a western democracy. "If we’re comfortable, then why should we concern about others. We have soldiers to do that kind of dirty work".
To me it´s also a reaction against being in the company of people being like that, just being "normal" and being unconcerned about everything. I find it frightening!

While young moms are drinking their caffe latte in a nice and fancy cafe, someone is having their kids ripped apart by militias. I just find it sickening. 
The only tracks on the album that don’t concern this are the last 2 tracks on the album. 
They work more or less like a 2-track EP. These tracks are about the connection between love and death more or less. I also used a sample/recording of a necrophilia trial that I got approval to use. 


DMD: What music do you enjoy listening to these days?  
PNO: These days. Always depends on my mood .. Think I’m still stuck with the dungeon synth and noise wall tapes .. Re-listening to Con-Dom and Grey Wolves, some moody post-punk bands from the 80s like Magazine, Gene Loves Jezebel and Fields of the Nephilim sort of stuff.

DMD: Tell us about your blog (kalteldur.blogspot.dk)
PNO: My Blog…Well, whenever I feel like reviewing a tape release I put something together. It’s focused on obscure electronic based tapes mostly, and moody stuff with an atmosphere, kind of dungeon synth and noise wall releases.


DMD: What does the rest of 2017 hold for you? 
PNO: So far, there is work to be done with God Cancer. I have some cassette releases with this project in the near future. I’m also holding an art exhibition in July at Aarhus artspace 2017, regarding a video and sound /art piece I’ve put together called ‘10000 Fahrenheit - Traffic Collisions’. 


DMD:  How did that all come about?
PNO: Well. At one point I was living somewhere in the sticks. I lived quite close to a road which had high levels of traffic and there was a lot of noise from lorries and trucks driving by. 

I wanted to document that in one way or the other, so I just laid my mp3 player up close to the road.
Afterward, I manipulated the recording and added some extra distorted layers to it. 

I downloaded a 60-minute video about car crashes in Russia, removed the audio, made it black and white and laid my own recording into the video itself.
Then some people I know mentioned that I ought to send it in to Aarhus Artspace, which I did and to my surprise they approved it. 


I’m going to show this installation on a big screen, in a pitch black room with the volume at total maximum. So it’s pretty much bound to overload your senses!

You can watch 10000 Fahrenheit - Traffic Collisions here


My thoughts on Ex Bello Volaptus

Moving swiftly away from the enthralling dark ambient work of previous album Swedenborg (which comes highly recommended if you haven’t already had a listen) Ex Bello Volaptus marks the combination of a slight return to the classic Destruktionsanstalt sound with rabid experimentation that looks to the future of the project. 

A difficult balancing act for sure, but can it be done? Let’s find out!

The sampling is back in a more prominent position, right there in plain sight on first track ‘Caedes' (the slaughter).

The record begins with an infamous clip taken from the 1969 movie Easy Rider, where Jack Nicholson pulls out a bottle of Jim Beam and declares “Here's the first of the day fellas, to ol' D.H. Lawrence” takes a swig, and well, you can hear what happens next…

Nicholson’s madcap reaction is quickly breached by a flood of heavily distorted synth stuck in a droning loop. The mass of gurgling sound is expanded by a handful of field recordings that have been laid about the place and some more unsettling noises also get added to the melting pot.

It sizzles loudly like a dish being prepared and at one point even replicates a computer mid dial up that someone has set on fire, when it reaches it's peak the gas is turned off and it all cuts back to the main ‘gurgle’ which suddenly whooshes off out of earshot.

Next up, Tacet Occidere (killing is silent) quickly changes the scene to a news report describing President Assad’s use of chemical weapons in the Syrian civil war.

Musically, the track’s base is full of low rumbles while the top layer features anxious sounding synths cut in and out and the use of delay makes them dash off into the distance which all helps to give the track a very frantic edge, matching well with the current mood of the war torn Middle East.

Cranking up the decibels, the intro for Salo (based on the film of the same title) offers a near deaf experience with a series of eerie tinnitus inducing sounds.

These are joined by an ethereal effect and a grating metallic hum, along with a children’s choir and a brass movement that all mingle within it’s patchwork, resulting in a well executed soundscape but it's one that your ear doctor would probably advise that you avoid. 

Centrepiece ‘Agony of Plasma’ is an extended reinterpretation of the same track by Australian Industrial giants SPK (which appeared on their 1982 album Leichenschrei).

Those already familiar with the track will instantly recognise the looped breaking glass and bloodcurdling screams, although in this case they haven’t been lifted from the original. There is good use of dynamics on this track and in my view does the SPK version justice, making it one of the album’s highlights.

Imperium Suffocatis (control of suffocation) kicks off with the use of pitch shifted helicopter blades manipulated into a brisk, unpredictable pulse that shape shifts rapidly while field recordings of background chatter that help to fill out the space.

Semper Amare (always love) brings back the dark ambience of Swedenborg this time with some very fine isolationist drone entombed in a glitchy static shroud. Left with it’s remnants to loiter ominously at the track’s end it’s a ghostly presence that makes for a spine tingling listen.

Final track Suggero A Mortuis (provides a dead) begins with samples a group of people discussing the actions of a necrophile before igniting a bristling wall of sound that rises and falls in tension, constantly hinting at some more ear damage that doesn’t arrive. Almost personifying that Destruktionsanstalt is a project that doesn’t thrive on predictability.

Overall it’s a punchy, diverse release with a strong creative flair running throughout it’s 37 minutes that continues Destruktionsanstalt’s ongoing evolution.

Being at an age where some critics would consider his musical contributions nothing more than desperate attempts to remain relevant, it’s excellent to see that this album proudly displays Per's never lacking enthusiasm for creating music that is all things uncompromising, unnerving and challenging.

Ex Bello Volaptus will be made available in physical form on the 6th of August.




Friday, June 16, 2017

The Second Discovery Channel...5 reviews (Goshen, Writhe and Phonophobia, Crescent Days, Traven, PTRKLLR)


Hello and welcome to another instalment of The Discovery Channel.

The part of the blog where I dish out reviews of my recent musical findings on ye olde internet and any blog submissions.

If you are a DMD regular then I can safely assume that you'll probably notice a few familiar names this time around, and if you discover something here that really grabs your attention and makes you feel alive (or dead, whatever floats your boat) then please support the artist/band/label in any way that you can.

In this second edition we have 5 inspiring releases covering such genres as:

Metallic Hardcore / Mathcore, 
Harsh Noise / HNW, 
Post Black Metal / Blackgaze, 
Experimental Ambient / Electronic,
Lowercase / Avant Garde.
The first Discovery Channel can be found here

Here we go...

Internet findings

Goshen - Demo
Introducing Goshen, a California based quartet who play a mixture of Grindcore influenced Metallic Hardcore and blazing Powerviolence tinged with Mathcore. This fearsome group released their first demo back in early February which has all the fiery unpredictable rage of a bull wounded at the hands of a matador. You can never be sure when or where the injured beast is going to lash out next.

Featuring the venomous vocals of Kyle Ferguson (also known for his noise project Misery Ritual and HNW project Statichor) a man of many voices. Whether it’s low grunts, angry barking, tortured screams or retching in absolute disgust he’s got it all down to a tee.

Beginning with a flare of feedback and drumstick count in ‘Cost of Life’ tumbles into being with wild drumming mixed with powerful riffs that accommodate a few angry bursts of noise. Ferguson can be heard belting out lyrics such as “my eyes aren’t as bright as they used to be” and “the insatiable curiosity has bled me dry” with throat scraping intensity and fist clenching conviction.

Next up, ‘Host’ drags out the inharmoniousness a little more, then restores heaviness before the band spiral into the sort of inferno Converge made their trademark. There is a brief aftershock moment, then they return to the twisted intro riff once more before ending. Crushing stuff.

Shortest song ‘Terminal’ is where the grind brownie points are won, going from an intro of sharp stabs between a Dan Lilker bassline then switching between low, brutal riffing and echoic guitar lines in under 30 seconds.

Before you know what’s happening the dissonance laden build up into closing (and my personal favourite) track ‘Cave’ has already begun, accelerating into a soft exhale of noise before the real brutality is unleashed seconds later.

Featuring lyrics that speak of permanently cutting oneself off from society it’s bound to resonate with anyone who craves their solitude. The untameable heaviness mixed with the frantic reverberating guitar is still the recipe for success at play here.

A short riff break that wouldn’t feel out of place on a Dillinger Escape Plan album explodes into pounding blast beats topped with another mega scream from Kyle. This soon brings us to a bridge section awash with tormented shrieks, and an eerie high pitched guitar played through an octave pedal that cranks up the uneasiness.

Goshen see themselves out on a devastator of a breakdown which ends with a pitch lowering effect, as if the universe simply can’t handle them and is forced to collapse in on itself.

In conclusion, Goshen have produced a demo chock full of perfected twists and turns that proudly flip the bird to anyone who would rather play it safe. With that in mind it’s difficult to digest everything on offer in one sitting, but with a length of just under 8 minutes it’s what repeat buttons were made for! 

Listen / Download here:




Writhe / Phonophobia split - Tomb
With US and Russian relations at an all time low, releases such as this are a testament to the fact that love and noise conquers all. ‘Tomb’ sees Writhe, a one man Drone / HNW project from Indiana teaming up with harsh noise / ambient music maker Phonophobia from Moscow.

Writhe kicks things off with ‘Forced Down’ a swampy marsh of slow, muddy guitar with plentiful use of whammy bar to up the disorientation that gets swallowed by the prickly static forces beneath it. Second track ‘Beaten’ treads a path to a similar fate, with a violent spasming sonic attack that gets buried in a thunderous harsh noise wall. 

‘Forgotten’ begins with the still crumbling dregs of the previous wall before topping it’s layers with a sliced distorted drone. It feels as if the wall is going to strip itself down when the top layer briefly disappears at the half way point, but it makes a comeback and remains unmoved for the rest of the track. An impactful and memorable opening trio for sure.


Phonophobia's one and only track ‘Three Pedals / Closed Doors’ starts out as a thick, mad buzz that transforms into a juddering noise elongation. It changes course to more of a scream before briefly returning to the naked buzzing once again.

Building into a vile cacophonous stream of consciousness and climbing up the loftier registers, the demented choir eventually hits the glass shattering high note, met with a short and stuttering effect that copulates into a drawn out, grinding mass of glitch while the note carries on regardless. 

The noise ensemble reaches it’s coda with one final enrapturing atonal sound that faces some digital interferences before cutting out. 

As a whole, ‘Tomb’ does a great job of ensuring all the frequencies have been covered. Writhe drills down into the most chasmic depths of earth while Phonophobia blasts off into higher altitudes of discordance, allowing both sides to compliment one another and making this pairing of artists a match made in harsh noise heaven!

Listen / Purchase CD here:

The incredible Reason Art Records sub label 'Minimalist Recs' can be found here


Also from Writhe:
Split with Harsh Noise Movement - ‘A tribute to Begotten’

Listen / Download here:


Also from Phonophobia:
6 way split 'Post Soviet and Harsh'

Listen / Download here:


You can read a review of Writhe's split with Macronympha here

Don't miss out on this recent static offering from RAR Label owner Sergey Pakhomov's project LEICHEN on Grey Matter Productions
Listen / Purchase cassette here:




Submissions

Crescent Days - Unbloomed
Since forming in 2013, Germany / USA duo Crescent Days have been hard at work creating a hybrid sound of atmospheric, depressive and post black metal with shoegaze and ambient music.

Latest full length 'Unbloomed' marks the second time in the band's career where founding member Abraxas has written and recorded without partner in crime Sol, who at the time was unavailable to take part in the process. Sol's first full length effort in Crescent Days was 'On This Funeral Mourning' released on Depressive Illusions Records back in 2015. All instruments are played by Abraxas and the artwork was from an outside source.

Setting the tone for much of the record, ‘.daydream’ makes itself known with a melancholy clean intro that snowballs into a set of chords marred with a slightly dirtier tone, plus a rocky beat to match. Things move into a higher gear with the raw vocals making the first of their fleeting appearances while both guitars and drum kit are beaten into submission. After a strumming section and brief return to the beat from earlier we are left with a sorrowful exit.

‘Osnabrück’ is a slow, dancing duel of guitars that ring out like church bells that offer neither hopeful or tragic news, just a stoic numbness that I find rather beautiful. There are some enhancing sounds trying to fight their way to the surface of the mix but I cannot truly decipher if they are hands running across the guitar strings, vocals filled with despair, effect laden field recordings or all three. Either way, they add to the track's aesthetic rather than taint it. For an interlude it’s extremely soulful and remains one of my personal highlights on the album. 

‘Unbloomed' starts off with droplet like chords before getting swamped by distorted guitars and a hard beating of the snare ensues. Building up to a soaring, ear catching melody sitting atop crashing drums that soon quicken up their pace while the guitar stays unmoved, which I thought was a very nice touch. The percussion drops out, leaving both the rhythm and lead guitar tracks uncovered for a short period of time but then returns with more of a slow sway to fade.

Fourth track ‘Sol’ begins with the pedigree of darkened post metal riffing employed by post metal bands such as Amenra and proudly upholds the standard of majestic leads heard throughout this release.

‘Blossom’ shows off the group’s softer side once again, daintily strumming and adding extra harmonies to make an angelic chorus of sound. A sample of a couple breaking up turns this quite delightful track into more of an emotional ordeal.

‘To Wither And Decay’ brings the metallic edge back into the equation, and on ‘Violet Miasma’ you can hear the clean pickings you’d expect to hear on Pablo Honey / The Bends era Radiohead. 

Closing track ‘P Ä L E’ marks the return of the vocals, their harsh groans pouring out over heavy blasts of distorted chords and a pop driven motif. One final clean part cues up a repeat of the motif and the exhausted sounding vocals, which after disappearing subtly change into an epic closing section. All guitars ablaze on the final push which comes to an unexpected end with a hum of sleepy chord haze extending out to the edges of earth.

Unbloomed’s strengths lie in it’s gorgeous guitar leads and the rather unorthodox drumming, which at times operates as a separate entity rather than a tool of accompaniment.

Unfortunately, for me a handful of fragments and endings begin to feel a bit too similar, and an occasionally unforgiving mix doesn’t help matters either (though black metal was never a genre built on clarity of production). The lack of vocals also mean that the record’s sole reliance is upon instrumental passages which in some cases prove effective, but at other points feel barren and weak.

Despite not being quite as multi dimensional as their past work 'Unbloomed keeps the inventive streak and undeniable musical force that is Crescent Days intact with a stripped down vision that against all the odds still prevails.

Listen / Download here:


I had a quick word with Sol, who as well as being half of CD playing the parts of lyricist, co-producer, visual arts director and occasional ambient effects manipulator is also the brains behind the almighty netlabel and blog Sunn Monolith who have released some truly deafening and wondrous compilations under the title of 'Sun Heard'. 

DMD: Despite unbloomed being an enjoyable listen I found it rather sad not to have you onboard, is there going to be a record with both of you appearing together coming soon?
Sol: Without giving much detail, I'm talking to Sebastian (Abraxas) about releasing another version of unbloomed (which will have have a different track listing).

DMD: And what does the rest of 2017 hold for you guys?
Sol: Perhaps the rest of 2017 will see something of a surprise.

If you are in a band / project and are in need of artwork, Sol can be contacted for rates and more information here: sunmonolith@gmail.com

A small review of the duo's debut release from side project Lord Sun - 'Suncatcher’ can be found here


Also Try: Pathway to Inexistence
Listen / Download here:

Also try: Violetten Blüten EP
Listen / Purchase cassette here:




ЯTLLCTЯNCS - traven.
Currently residing on a section of fenced-off wasteland in the middle of a motorway intersection somewhere in Southern England is the experimental, ambient and electronic artist clad in mystery known as ‘traven.’ has been transmitting what he describes as “strung-out pastoral execution music” since early 2016.

ЯTLLCTЯNCS (pronounced ‘ritual electronics’) is the project’s debut EP and another offering from high quality music purveyors Aetheric Records. This short but action packed effort boasts a set of 7 polished soundscapes ready to dive into and explore.

Opening track ‘t H e c A R F A x f R A G M e n T’ gets things started off heavily in dark ambient territory with ominous synths and cold piano tones striking the hour while field recordings tread lightly beneath. A wail of feedback breaks into a screech and the synths stand sharply upright in terror before dying down. It’s only the first track, but one can sense there are some sinister audio spirits at play here.

The darkness continues on ‘What is This Place We Are In’ looped arpeggios bring a further chill to the already icy air, the crack of spine shivering guitar strings helps paint a bewitching picture of a church graveyard at nightfall.

Standing in the pouring rain, (hade) restores peace with soothing synth parts and plenty of surface noise to pass around resulting in a drenched but relaxed number.

The downpour carries on into follow up and shortest track ‘#Noguchi's NUMB3Я5’ which has a strange atmosphere thanks to an ethereal looped effect and some even stranger sounding embellishments but still holds its own when compared to it’s much longer counterparts.

‘THE NEW RADIATI∞N .I’ is a bustling hive of activity featuring amplifiers buzzing, guitar chords crashing lazily like ocean waves while people and cars appear to be going about their day in the layers of field recordings.

A piano line switching between melancholy and mysterious at the drop of a hat, the surface noise going from fizzing to light crackles, a serving of uplifting synths and a short use of ricocheting sound all make ‘To Reach "The Invisible”’ an abstract but intriguing piece of sound art.

Closing track ‘3 - ЯK’ is a soft, peaceful drone with a few rattles and screeches happening on the roadside, as the drone begins to evolve into a bright and breathtaking audio cosmos it all gets quickly shut off by the sound of a single bird call. An ending very much outside the box, but traven. pulls it off with ease.

For only a debut it’s extremely progressive, palatable and promising. It’s shortness definitely makes it all the more accessible for newcomers with each track resembling a brief but enjoyable musical getaway. Evocative, sleek and highly atmospheric, ЯTLLCTЯNCS is all killer with no filler.

Listen / purchase CD here


You can read a review of another Aetheric Records release - this time it's Clive Henry's Hymns - here




PTRKLLR - Anatoma Tobeyoides
PTRKLLR is a Seattle based lowercase wall noise project, but if you fill in the vowels then you get the name of Peter Keller, a well known and respected face on the scene. 

But for those not in the know, some of Keller’s most notable efforts include: 
  • The Anti-gentrification Harsh Noise Wall colossus known as Condo Horro
  • Hosting supernatural atmospheric HNW séances in Geist
  • Opening up the crackling noise void with Dirac Sea
  • Contemplating our imminent doom through use of drifting noise walls from Unser Verhängnis
  • Spreading the hazardous harsh noise virus through a deadly organism called Bacillus

‘Anatoma Tobeyoides’ indicates the debut release of PTRKLLR. described by Peter as “an entry into a new label of minimalist sounds called ‘lowercase noise wall.’ ” The record sees Keller honouring two of his fellow countrymen, the first of which is sound artist Steve Roden and in particular his revered 2001 album ‘Forms of Paper’. 

The other is highly influential painter Mark Tobey, who rose to prominence during the Northwest School and Abstract expressionism art movements. Mark Tobey’s painting ‘Written Over the Plains’ is used as the record’s cover and the tracks have been gifted the names of some of his other famous works. 

The title of the record itself comes from a species of sea snail found off the south coast of Australia dubbed in recognition of Tobey.

I would say that while he has made it clear whom he is doffing his cap to on this release, Keller’s more organic approach as opposed to the ghostly, digitised tones heard on ‘Forms of Paper’ make for an impressive lowercase wall of sound, even if these walls are quite literally paper thin.

Opening track ‘Canticle’ starts off with a gravelly crumpling that sets the tone for much of this release before adding more layers to create a denser structure, made up of soothing scuffles and a wet rummaging that carries on uninhibited throughout it’s 25 minute duration. 

Second track ‘Bars and Flails’ has a rougher surface featuring more tears and shredding that build and drop in intensity and by the time ‘Advance of History’ rolls around the sound emissions have come to resemble light static rainfall.

Unfortunately I feel at this point I have spent my word bank on trying to describe the events heard on Anatoma Tobeyoides but I urge you to check out this recording for yourself and draw your own conclusions from it. 

But whether you’re drawn inside it’s aura of tranquility or left in a rather irritable state in dire need of harsher textures, there can be no doubt that this recording breaks new ground in the wall noise category. 

If it’s not too bold to say, I would declare ‘Anatoma Tobeyoides’ a triumph of modern minimalism and further proof that Reason Art Records is the gift that keeps on giving. 

In search of a fresh new sound? Ditch the pedals and pick up the paper!



I briefly caught up with Peter to find out more about this groundbreaking record…
DMD: What is your personal relationship with Mark Tobey and Steve Roden’s works?
Peter Keller: I heard "lowercase" music back in the early 2000s when it first coalesced. Steve Roden is the artist that coined the label "lowercase" to describe the minimal form of sound art that uses sounds normally unnoticed and amplifies them to bring them out. 

Richard Chartier, Francisco Lopez, and Bernhard Günter are some of my other favorites in this extreme form of ambient music. Their approach lead me to think that it can translate well into the realm of static minimalist sound.

Mark Tobey is a painter who lived here in Seattle that was influential in laying the foundation for abstract expressionism; his calligraphic forms that spread all the way to the edges of the canvas to me is very much the visual equivalent of static minimal walls of sound.

DMD: What was your experience of recording Anatoma Tobeyoides?
PK: Calming and meditative. The act of manipulating paper during the recording was almost a ritual, as well as a meditation on the act of labor itself. 

While lowercase as a genre focuses on bringing to the fore the unheard sounds, the act of recording these tracks brings to focus the minor acts of work itself, and of entering the moment and staying with it while having a dialogue with the physical objects.


DMD: Will there be any more PTRKLLR releases this year? 
PK: The next album will be out on Nahàsh Atrym Productions later this year as soon as I'm done recording for it, other recordings are being planned and labels approached, so we'll see what this year brings, it's been a productive one so far.


Listen / purchase CD here:

A remastered version of Steve Roden’s Forms of Paper is available to listen to here

Thanks for reading!

Monday, May 29, 2017

Insufferable: Northern Noisecore


Scotland. The Nation that gave us (amongst other things) the Steam Engine, Television, but in more recent years the deliciously dark humour of Frankie Boyle and the music of Snow Patrol and Calvin Harris.

But beneath the country's more widely known musical exports lurks a darkened underbelly of audio butchers, hellbent on screaming their faces off while producing a din so wrathful that it could turn Proclaimers fans to stone.

Insufferable are one such entity, starting life as the solo noise project of Nick Waller before joining forces with drummer Matthew Ian (of Scottish noise outfit Deathwank) in favour of a more straight up grinding noisecore assault. 

The chaps have wasted no time in pushing out a seemingly never ending stream of releases and the last few months saw a retrospective compilation ‘The First 2 Years’ which documents the group’s evolution from solo project to fearsome duo, as well as ‘Survival’ (which you can listen to below) released on the Florida based imprint Fermented Bile Vomit Productions alongside God Pussy, Gets Worse and Pure Noise.

I caught up with Insufferable’s balaclava wearing guitarist, noise maker and vocalist Nick to find out more about the man behind the mask...




DMD: Growing up, what music were you into? 

Nick Waller: I listened to a lot of hard rock and heavy metal growing up, some punk and hip hop as well. Video games had a strong influence on my early music taste. 
Tony Hawk's Pro Skater 3 introduced me to a lot of music I hadn't heard about before and opened my ears to a whole new world. Motörhead became my favourite band after I heard Ace of Spades for the first time.


DMD: How did you first discover harsh noise / experimental music? 

NW: I watched the 2007 remake of Funny Games and heard Naked City for the first time and was fascinated. This was around the time I had started listening to The Dillinger Escape Plan and other weird avant-garde stuff so it was right up my street. 
A couple of years later my best friend introduced me to the project Limbs Bin and my interest in harsh noise/experimental music grew further from there.



DMD: Tell us the epic tale of Insufferable!

NW: Well, my best friend and I were in a half-arsed powerviolence band called ‘Worst of It’ a few years ago and we had dabbled with some noise tracks after he introduced me to Limbs Bin's chaotic madness.

After some correspondence with Limbs Bin I felt inspired to have a go myself and using my friend's synth, Audacity and some other stuff I recorded a demo of the track that would end up becoming Fractured. 

Once I got the hang of it I spent time recording the Harsh Noise Violence EP and then went on to do a bunch of splits and some solo releases.

I didn't play a gig until nearly a year after I started the project, which wasn't just my first Insufferable gig it was my first gig ever. I played a few shows, organised a few more and continued to record but after hitting the two year mark I was starting to get fed up. 

After 120 something tracks I was getting tired of using a drum machine, synths, recordings and other electronic equipment but I didn't feel as though I had done everything I wanted to do with the project.

I knew Matty from shows we'd played together and I'd done some guest spots for Deathwank and he and I had practiced and written tracks together before for another project (which may or may not happen someday) so I asked him if he was interested in drumming for Insufferable. 

I dusted off my old guitar I bought when I was 16, we went to the practice space and recorded "Survival". At that point it was the most fun I'd ever had making music. Since then, we've done a few splits and put out some live recordings.



DMD: Who are your current favourite noisecore acts?

NW: My current favourite noisecore acts are Holy Grinder and pretty much any other project Andrew Cleveland is involved with, Goth Girl and Fake Flesh. Goth Girl recently released a collaboration that blew my mind actually! 

So good. Limbs Bin of course. Shitnoise Bastards as well. Matty's a big fan of Hazree, who has been really supportive of our releases as a duo. 

He recently released another version of "Survival" on his label Flyingkick Records. Penis Geyser. I've recently gotten into Developer, Skin Graft, No Dreams, and Plague Mother as well.



DMD: What gear did you use before and after Insufferable became a duo? 

NW: For most of the shows I played solo my accompaniment was backing tracks from my laptop that I screamed over, any shows I've played solo since becoming a duo I play noise tracks from my phone and manipulate them through my old Zoom G2.1u guitar pedal.

It's pretty punishing listening. I only occasionally use Matty's guitar pedal live or when we're recording, most times it's just my guitar through an amp.



DMD: What inspires you to write the music that you make?

NW: Insufferable has been a very cathartic experience for me, it's helped me come to terms with a lot of things that have plagued me mentally, kept me sane and stopped me from killing people haha! 

To be honest there not much of a filter on what can influence an Insufferable track. Generally it tends to be whatever or whoever is pissing me off at the time, but anything from an article or book to a good film I watched or video game I played can inspire a track. 

I feel like I'm constantly influenced, perhaps more than I realise, when I look back over the tracks they're kind of like an audio journal of where I've been and everything I was feeling during those times. I hear the track and it takes me right back to where I was in my head.



DMD: What is the scene like up in Scotland? Are you mates with the guys in Gendo Ikari?

NW: Very diverse and interesting if you look in the right places. There are a lot of really cool bands and projects all over Scotland. 

I only really know Chris (bassist) from Gendo Ikari, we've hung out a couple of times, but the rest of them I met for the first time when we played Leith Depot with them in April. They are awesome live.



DMD: What is the general feeling in Scotland post Brexit and post referendum?

NW: Most people I know voted Yes and also voted to remain in the EU. The feeling I get is that people are frustrated and very concerned about what lies ahead. I could be wrong.



DMD: What are your 15 favourite albums?

NW: In no particular order:
1. Cro-Mags - The Age of Quarrel 
2. Iron Lung - Sexless // No Sex
3. The Dillinger Escape Plan - Miss Machine
4. Crossed Out / Dropdead - Crossed Out / Dropdead split 5"
5. Metallica - ...And Justice for All
6. Converge - Jane Doe
7. Limb Bin - Primitive Response
8. Trash Talk - S/T
9. Black Flag - The First Four Years
10. Infest - No Man's Slave
11. Fuck On The Beach - Power Violence Forever
12. Charles Bronson -Youth Attack!
13. Punch - Push Pull
14. Witch Cult - South Coast Powerviolence
15. Man Is The Bastard - Mancruel


DMD: Here’s a question for your skinsman Matthew…who are your top 5 favourite drummers of all time?

Matthew Ian: Booze Joogler Smith, Shit Noise Hazree, Biffy Ben, Big Phil, Animal



DMD: What do you do when you’re not making music?

NW: University takes up a lot of my time, I'm currently in my honours year of a criminology and psychological studies degree and I'm doing it through the Open University so I'm responsible for managing everything. 

I try to catch local gigs or gigs relatively close by when I can, I work weekends so it's usually shows on Thursdays and Sundays. I draw or paint when I can. 

I've recently been rewarding myself after revision is done for the day by chilling and playing video games. Something I've kind of had to force myself to do believe it or not haha. It used to be I couldn't wait to play my Xbox but now a lot of the time I have to force myself to sit down and play and shut off my brain for a while. 

I don't really know what Matty gets up to besides working and buying soundtrack vinyls haha!



DMD: Why do you guys wear balaclavas when performing live?

NW: Matty doesn't wear a balaclava when we play, I just got him to do it for that one photo haha. I think he got sick of wearing them due to playing in Deathwank. 

For me, the balaclava helps me get fully in to the performative side of Insufferable. I feel more at home in that mask screaming like a lunatic than I do when I'm not wearing it, being a socially awkward/anxious weirdo.

All the horrible, ugly, thoughts and feelings get let out and none of the other bullshit going on matters. 

The only focus is what's going on in that moment. I chose red because it's my favourite colour but also because back in the solo days of Insufferable I was inspired visually and somewhat sound wise by the video game Manhunt.

I really liked the uncomfortable vibe of it. As much as I love the Smileys, the Hoods had a more practical look so I went for the red balaclava.



DMD: How did you end up on Fermented Bile Vomit Productions?

NW: They had previously put out physical copies of a split that I had done with NoiseMasochist that I was happy with, and I also saw the quality of their subsequent releases and knew I had to work with them again. 

"Survival" means a lot to me and it was important to me that we release it physically in the best quality we could get. 

Arron and I have a good rapport and he's very understanding and did everything he could to make the release look how I wanted it to. I can't recommend this label enough. The CDs are great and the upcoming tapes look awesome as well.



DMD: What does 2017 hold for you guys?

NW: For me, 2017 has been the year to just go for it, write and record as much as we can, play as many shows as we can, play outside of Scotland, do splits with some of our favourite projects/bands. We have another release in the works which is sounding pretty banging! 

It's funny because I was incredibly unwell when we recorded it, I felt like dog shit and I honestly thought the recordings were going to suck but it's probably some of the best stuff we've written so far. We also have a couple of splits in the works as well.



You can listen to ‘One Bad Day’ from the upcoming Insufferable release ‘Endless Affliction' here:






Sunday, May 7, 2017

GOD PUSSY: RUÍDO IN RIO

Starting a new series of interviews for 2017, grab your sunglasses and let’s jet off to Rio de Janeiro, home of 28 year old sonic desecrator Jhones Silva, a man who’s been in the Noise business for almost 10 years. 

Whether he’s playing ear-shattering live shows with God Pussy, putting out formidable releases through his side projects Natural Nihilismo and Jhones Junkie, or documenting extreme music online at Dissonance From Hell, his unbreakable work ethic has cemented his status as a fearsome figurehead in the region.

I briefly caught up with Silva to find out more including his beginnings in noise, the current state of the Brazilian scene and the origin of the name God Pussy…



DMD: Growing up, what music did you listen to?

Jhones Silva: Hello! I grew up listening to a lot of different things, but mainly punk, grindcore and rap. 

I only started listening to noise in my adolescence, due to my taste for grindcore I was sinking through several different strands until I finally reached the harsh noise level.



DMD: How did you discover noise / experimental music?

JS: Through grindcore and noisecore webpages and blogs, it had quite an impact on me, I started listening to try to understand it.

I didn’t really begin with experimental music, after finding harsh noise I was completely confused and fissured with the brutality and insanity of it all.



DMD: How is the music scene in Rio de Janiero and who are your favourite bands / projects from the scene?

JS: The scene...? I often say that the scene is dead!! Lately it has gained plenty of space in other distinct corners and places, events, festivals and anywhere else. 

The cool thing is to see things happen, of course! 

A lot of it will disappear in a few years, but for now the flame is still on, so we will continue to produce and walk into the chaos of noise every day.

The list of projects I like listening to is immense, there is so much good stuff and I believe I still haven’t heard everything…



DMD: Are there many places to hold noise events? Or is it difficult to organise regular Live Noise Shows in Brazil?

JS: As previously mentioned, there are specific places to host live noise and organise events...more lately going well beyond that, Brazil has some great festivals and other places that showcase extreme music.



DMD: Which God Pussy / Natural Nihilismo / Jhones Junkie albums are your favourites and why?

JS: I'm usually pretty wary about things like that, but I was able to list a few favourite albums of mine so that surprised me a lot:

Jhones Junkie - Outro 
Released by Antena netlabel

Natural Nihilismo - Opróbrio (Opprobrium)
It's quite a complete and touching album that I worked on for a few months…

With God Pussy I have a vast discography
Each record has a differentiated feeling, I will mention some recent ones that I enjoyed making.

Desaparecidos (Missing)
Launched by two international labels ‘Malware’ and ‘Al Revés’ it is a gripping album, I used real facts about missing persons and have two tracks with statements from mothers whose children have gone missing, it is a record that draws attention to a subject that often goes unnoticed... 

Governocidio
This had it's first edition released by the American label 'Darker Days Ahead' soon after came the Brazilian version 'Tercerio Mundo Chaos Discos' and this year I'm preparing a DIY cassette version.
There are 59 tracks at less than 1 minute each and one track which is 8 minutes, totalling 60 tracks.

Retratando A Realidade Bélica (Portraying the Reality of War)
I launched it DIY on cassette and zine with images representative of each track’s source material… 

Anyway, I do not have a favourite album. I try to find or identify with a theme or something, I hope to please the listener and make them aware of it in some way.



DMD: What musical instruments do you play and do you play in a band?

JS: I do not know how to play anything, I try to just do a lot of Noisy stuff. I’ve never played in any bands…only Noise Projects!



DMD: What are your 15 favourite albums ever?

JS: I think 15 is too few for this list, I will quote some here that I listen to frequently:

ABesta ‎- Tosco

Animal Machine ‎- The Third World In Perspective

Napalmed - Up To The Ears In Tinnitus

KalvaryBass 666 - Revelations of Noise

VICTIM! ‎- Pupila

T.E.F. / Sickness / Facialmess - Schizoid 

T.E.F - Corrugation

Kazumoto Endo - While You Were Out

Noise Machine - Return To Chaos

Incapacitants - Box Is Stupid

Verjault - Brainflesh

Gengivas Negras - Confronto

Yersiniose - 1911

Guilty Connector - First Noise Attack

Thiago Miazzo - Volume 1

Shallow Waters - Equal Eyes

Superalma Project - You- The Living

I was making a list of the number you asked for, but I ended up quoting  a few more, leave it as a bonus because they’re all very good!



DMD: What pedals / gear do you own and what software do you use for recording?

JS: Various, I have a fetish for Pedals-DOD, I like to use distortion, overdrive, equalizer, oscillators (many of them homemade), synthesizers, microphones and amplified objects...I use audacity to record all the sounds.



DMD: You say you have made your own oscillators, would you ever consider starting your own pedal company? (Maybe you could call it God Pussy pedals?!)

JS: No No! They are for home use, but I do not make them, I get them from friends and acquaintances, I do not have the patience to build that kind of stuff, hahaha!



DMD: What inspires you to make music?

JS: I do not make music, I try to carry a positive message and awareness in the form of NOISE.



DMD: What does 2017 hold for you and your music?

JS: I am planning to release physical materials inside and outside of Bra$il. 

This year has been very productive, I already have several splits with countless projects and several full-length releases inside and outside the country: 

God Pussy - negerplastik [No Yearning] 

God Pussy - Abnegação Filantrópica [Human Cross Records] 

God Pussy - CRIME [Fermented Bile Vomit Productions] 

God Pussy - Ato Criminal, Ascensão ao Terrorismo [L.White Records] 

and one cassette release for Ruido Horrible coming soon.



DMD: What can you tell us about your Dissonance from hell blog?

JS: The blog has been active since 2010, formed with the intention of divulging some of the artists / projects from Brazil and Latin America. 

There are not many blogs or pages writing about this kind of extreme sound, so I thought It would be nice to have a focused online location to spread the ear disease. The blog has already held some events and released a compilation.



DMD: How did you get the name God Pussy?

JS: I just wanted to use it in a striking way, so I chose it, but it's just the name of my noise project, it goes beyond the interpretation that some see…God Pussy is not sexism nor blasphemy. 

It is not even music, just a manifestation...But see it as you want.



DMD: What do you do when you are not making noise?

JS: Work, hanging out with my family, I live a normal life like any other citizen.



DMD: What are some of your favourite live shows you have played?

JS: I enjoyed it very much when I played with Pharmakon (NYC based Industrial Noise outfit) the place was packed, I was playing really close to the audience and they didn’t stop crowding the place. It was something beautiful and surprising…

I love to play live, no matter how much I need to work to travel to play a show I enjoy this mess.

God Pussy - Live @ Campos de Experimentação Sonora



DMD: If you could play live in any country in the world, which one would it be?

JS: That would be wonderful. I do not have a specific country, but I would like to go out and tour different places...who knows, possibly at some point.


DMD: Is there anybody you would like to give a shout out to?

JS: Thank you for wanting to know more about God Pussy and all those who follow me thanks to the people who attend the events and who acquire the materials for download or physical, thanks to you this noise project can continue at full steam ahead... 

Thank you to those who already collaborate with me (events, splits, compilations and label friends)

Thank you all!! 

A big hug and thank you for getting to the end of this interview.

To stay informed, simply log onto these pages:






Read a review of 'Retratando A Realidade Bélica (Portraying The Reality Of War) here
and a review of Natural Nihilismo - Opróbrio (Opprobrium) plus reviews of fellow Brazilians Verjault (Experimental / Noise) and Hari Maia (Power Electronics / Death Industrial / Noise) in the final DMD 2016 highlights list here