“My goal is to build atmospheres that allow the listener to tell his or her own story.”
Once again, Desert…Mountain…Dust…travels to Germany. This time on our list is Walsrode, a town in Lower Saxony where young Ambient / Drone / Noise maker Jott can be found.
Despite balancing music with becoming a father, Jott’s nonstop flow of creativity has paid off handsomely, with him already making a mark on the US...
Jott’s former primary project How I Met Lauren first caught my attention a few years back with the fantastic ‘//////sixsixsick//////’ originally released on Kansas based label Big Pharma Records back in March of 2016 (BPR would later appoint Jott the head of their sub label Big Pharma Europa in early 2017).
To me, it still holds up as some of his most ambitious and amazing work. Resulting in the successful merging of Brian Eno's positive energies with a much darker, indescribable force. Listen below:
Jott then hooked up with the New York based Ben Hudgins, and released a strew of material via Ben’s highly praised tape labels Endless Landscape of Decay and Zero Sum Recordings (under the banner of Machine Tribe Recordings).
The rest of 2016 and most of 2017 saw many collaborations for HImL, including the elaborate storytelling audio experiment in episodic form ‘the_cyberpunk:episode zero’ with Endless Chasm, and the more Wall Noise orientated release ‘Void’ with Melinoe and See Through Buildings.
But the biggest team up had to be ‘With the Blessing of Satan’ - which saw contributions from Armor Breach, hallwayss and Black Sheet Servitude to name a few, resulting in a unique, multifaceted extreme music experience.
Soon after, Jott joined forces once again with one of the participants - Ben Rehling of See Through Buildings - to form the noise / soundtrack duo ‘a wet palace’ who released an EP entitled ‘[]’ on Analog Cowboy Records and their debut cassette on Machine Tribe.
The following September, MT released the cassette ‘Todallem’ (Death to Everything) an EP by Jott’s Metal band “Dovahkiief” which featured stellar remixes by such artists as Lorenzo Abattoir (Mare Di Dirac) and Jack Lynch as well as bonus Dovahkiief tracks.
As well as the title track, the highlights of the release for me include ‘Schluss Machen Bei McDonald’s’ which is rather an out of body audio experience with haunting vocals that truly stealing the show.
Then ‘Satanic Death Ritual’ personifies a powerful conjuration with thunderous tribal drums and low guitar rumbles, the blackened ceremony reaching it’s climax with a wash of feedback as the drums change up their pace to the fadeout.
Finally the tape closes with the simple but effective guitar delay run of ‘-’ It’s a stripped down and sleepy sound but remains one of the most memorable tracks on the release. In short, Todallem’ balances Jott’s love of metal and more eclectic electronic pallette brilliantly. Purchase a cassette copy of Todallem HERE
In late 2018, Jott took another step forward and formed a new solo project entitled ‘Kummer' which saw a release on LSD Induced Nightmares Records in Texas. As well as the creation of a new Ambient duo with his other half ‘K8’ entitled ‘MOMOFUKU’ that fuses both analogue and digital software who were gifted a debut tape release via Chicago based label Lurker Bias ‘Blessed By The Algorithm’ a perfect modern yet minimalisticdream…drift…scape. Listen below:
I caught up with Jott to find out more about his musical beginnings, the happenings of Big Pharma Europa and what the future holds for him and his other projects…
DMD: What artists and bands had the biggest influence on you growing up?
J: ISIS (the band). They are by far the biggest creative influence I've ever experienced. Other people that influence me are The Mars Volta, Tim Hecker and The Boats.
DMD: Where did you first hear drone / ambient / noise / experimental music?
J: I was always interested in audio plays and therefore listened to a lot of ambiences and noises as a kid. I got fascinated by how some noises can give you real shivers.
‘Carry’ my favourite track by ISIS has a heavy drone intro that I listened to on repeat when I was younger. It was used as music in a video about parachuting.
A year later, YouTube added the feature that tells you the song playing underneath the video and that's how I found my favourite band of all time.
DMD: Please tell us the story of How I Met Lauren so far, I am particularly curious as to how you came by the name…
J: How I Met Lauren was the name of my personal music project because I became friends with an exchange student named Lauren from the USA in 2009. She was not the only reason I chose to express myself with music but certainly the biggest at that time.
How I Met Lauren started with a lot of shit songs and evolved into this ambient/drone thing it is now. I had never thought to get into this scene when I started making music at first.
I have put How I Met Lauren on hiatus for now because I felt like I had to leave something for later on. I will return to this project and make some violent ambient again (in the future) but I personally want to focus on more structured music at the moment.
DMD: Is there a strong noise scene in Walsrode?
J: There is none.
DMD: What recording gear do you use?
J:I used to have a studio/rehearsal room with my band Dovahkiief, the hyaenidae. It was a great spot and for two years I recorded most of my music there.
We had to abandon it after moving to another city and now I make most of my music in my bedroom studio.
In terms of software I was using Cubase and Audacity but made the switch to Logic Pro X last year. Recently I got into randomised step sequencing using a digital step sequencer with two oscillators, letting it generate chords within set parameters.
I'm also working with an elektron digitakt at the moment to realise randomised breakbeats and chance-based triggering with samples. I got the digitakt to work less with synths and more with samples but found myself quickly adding synthesisers to the setup since the digitakt has elaborate midi features.
I like to use gear that other people have thrown away. If I have to climb inside a dumpster to get it, it makes it more interesting. I like to use broken gear and I use a lot of circuit-bent stuff.
If I need a certain effect I'd rather let one of my more able friends build it for me to suit my needs rather than buying an expensive pedal everyone else already has.
DMD: Speaking of which, can please you elaborate on any pedals that have been custom made for you?
J: The metaldrone is a hardcore bend by simon the magpie. It's patch bay enables you to connect the bending points yourself. the barbed wire is functional and serves similar to a Thermerin in some settings.
J: The Endless Chasm made by abraxas devotionals (AKA ZS Lawrence from the Futuristic Ambient project of the same name) is a delay pedal with a feedback loop that allows you to process only the wet signal with outboard gear and create feedback with it, for the purpose of creating washes of sound.
J: The phase of the sun (also made by abraxas devotionals) is a circuit-bent phaser that glitches and mangles the input sound then routes it through an echo to create washes and waves. Both the EC and SP are custom build for my needs and basically the only two in existence.
DMD: What’s going on with Big Pharma Europa?
J: Big Pharma Europa has been releasing free music since May '17. All of our releases are free for everyone from everywhere. Since my personal life has gotten more busy lately this project isn’t that active at the moment. We've had a small hiatus since my life got a bit busy but we are back on track and have just released a new split between MOMOFUKU and Dakota Snaketail's project The Flesh, Full of Black Sand which you can listen to here
DMD: What is your favourite release from How I Met Lauren? Also will there be any more releases in the sixsixsaga?
J: My favourite release is //////sixsixsin///// and yeah there will be more.
DMD: Tell us about your other projects and bands:
J: Kummer is my main focus at the moment. I want to combine ambient music with a more structured, approachable track concept.It’s basically a blend of Drum ’N’ Bass elements and Ambient / Drone atmospheres.
My first full album with Kummer is still in the process of recording at the moment.
‘a wet palace’ is an experimental collaboration between californian noise artist ‘See Through Buildings‘ and me. We’re burying real instruments in walls of terror. We’ve got an album out on MTRec and we’re working on a new EP at the moment.
'MOMOFUKU' is my newest project. In a phrase, it's complicated Ambient. I’m doing this with the Mother of my Daughter. It’s better than couple's therapy, trust me. MOMOFUKU blends digital possibilities like chance based triggering, randomising sample slices and random chord generation with experimental analogue gear that's in part custom build for our needs.
We are two people behind the hardware but we often feel like randomness is our third bandmate as it's the essential part for creating interesting artefacts and sonic environments that feel organic.
‘Dovahkiief‘ is a stoner/sludge band project I founded in 2015 with a good friend of mine. since we had to abandon our studio, this project is on hiatus until we find a place to shred again. The next tape is currently in the mastering stage though!
DMD: Could you please explain the meaning behind the name Dovahkiief?
J:’Dovahkiin' is the main character in the video game 'Skyrim'. there it means ‘Dragonborn’. 'Dovahkiief' is a word that I came up with, figuring it would translate to ‘Dragonbong’.
'Dovahkiief' also sounds a hell of a lot like 'Doofer kifft' which is german for 'dumb person who smokes reefer’. ’Todallen' would really translate to 'death to all' but it’s actually 'Todallem' which means 'death to everything’ it's a made up word made from 'Tod' and ‘allem'.
DMD: Tell us some of your favourite albums
J: Isis - Oceanic
Tool - Lateralus
Cypress Hill - Black Sunday
Denzel Curry - Imperial
Arsonists get all the girls - Portals
Bob Marley - Exodus
Billy Talent - Billy Talent II
DMD: Any plans to play live with How I Met Lauren?
J: I’m working on a proper live setup but it's not a main concern at the moment.
You can check out my 'Magpie Metaldrone' video (see below) for a How I met Lauren live experience.
DMD: If you could work with any artist living or dead who would it be?
J:Isis or Aaron Turner
DMD: Was there a concept behind ‘NORSEFIRES’ and the ‘A Wet Palace’ albums?
J:Many artists try to tell a story in their concept art. My goal is to build atmospheres that allow the listener to tell his or her own story.
NORSEFIRES was a 'study piece' for me because it is the product of me figuring out a steady effect chain for my guitar setup.
With a wet palace, my partner Ben and I were trying to take this DIY niche music we already make to the next level. Not in terms of popularity, but in terms of production value.
The album definitely tells a story but I am sure mine differs from yours, a wet palace is by far my most complicated album to date.
DMD: How did the record ‘With the Blessing of Satan’ come to be? Are there more plans for another huge collaboration like that in the future?
J: I made WTBOS over the course of 2016, I had so many collaborations going that I found it more a curse than a gift, hence the name of the album. It’s a collection of tracks I made with a lot of great friends.
WTBOS Part II will be a thing at some future time but other things are more important at the moment.
DMD: In the past did you play in any other musical projects / bands? Also how many different instruments do you play?
J: Before going on hiatus, How I met Lauren was my musical outlet since 2009. I didn’t switch from the name but I have switched genres a lot, always doing what I wanted to do.
I’ve played with some bands, mainly keyboard in a metalcore band and vocals in another metalcore band after that.
I own a violin and trumpet next to a variety of synth equipment and my bass / guitar setup but I don't claim to know how any of this works.
DMD: Apart from music, where else do you find inspiration?
J:Movies, people, trash and nature.
DMD: What music have you been listening to recently?
J: I dug up my stoner rock vinyls and got those spinning in the last few days…
At the moment I’m trying to avoid any and all radio music. I tend to stick to Amenra and Old Man Gloom these days.
DMD: Do you have a favourite HImL release?
J: //////sixsixsin//////...However the ////// series is currently on hiatus, as is the rest of HImL. But there is already new material recorded for part four.
DMD: Do you have any plans to play live?
J: it was never my main focus but I am working on a live setup at the moment to be able to play my music in front of an audience.
DMD: Anyone you want to give a shout out to?
J: SHOUTOUTS!
I think I would have stopped making music if i haven't been 'picked up' by my buddy and mentor Benjamin Joseph, the head of Big Pharma Records. What they did for me when they believed in me and my music and challenging me to create a whole album that they would like to put out on CD was the push into the right direction I needed.
If I had to name one person that influenced my music more than anyone else I would name them.
s/o to the three Benjamins, (Hudgins / Joseph /Rehling) who each had their own way to support me and my music.
s/o to the moorstrassegang for being the local support I need. s/o to Dakota Snaketail for their endless creativity and powerful spirit. The brightest diamonds really are made under the highest pressures. s/o to K8 and every friendly noise fire out there. You know who you are!
Everyone who put me on his or her label, everyone who collaborated with me, everyone who waited days for me to send over files I promised. You are what makes me an artist after all. Thank you.
For those not so familiar with Wellington, Kansas sound mangler Zachary Lawrence and his musical outlet Endless Chasm here’s a brief catch up.
By now quite a well known face on the US underground Ambient / Drone / Noise / Experimental Electronic scene, it wasn’t until after a small collection of bandcamp singles that the ‘official’ debut Endless Chasm record exploded onto the scene in the form of a 2015 EP, an all out noise assault entitled ‘A Pedantic Critique of Modern Cultural Discourse’.
Keen not to kill any momentum, the following year saw plenty of activity from the project including two albums, ‘The Myth of Sisyphus' and ‘We Cannot Keep This A Secret Any Longer’ both released on Kansas label Big Pharma Records, run by fellow noise-heads RAGK and Contraktor.
Spreading across the states to various cult tape labels, New York's Endless Landscapes Of Decay put out a cassette titled ‘Sorcery is the Rich Man’s Curbstomping’ that was warmly received while the Chicago based Lurker Bias released ‘Harm Health' which sold out almost as quickly as the tapes could be dubbed! It presented a glowing if not slightly scatterbrained example of EC's progress and potential.
One of it’s most notable contents was the title track, which I stumbled across one day in the YouTube video linked below. Filmed in a decrepit Kansas tavern, Zach clad in smart shirt and trousers works away over his pedals, manipulating dials to twist the chilling words of American Psycho’s Patrick Bateman into a frenzy of cacophony.
Bringing us back to the present day, Endless Chasm returned to another Kansas based label, this time Wichita’s This Ain’t Heaven Recording Concern to release ‘Dweller On The Threshold’ making it’s arrival back in July 2017.
The physical release opts for a simple layout with a few token extras. After breaking the seal stretched across the cassette’s case, it’s front cover splashed with some delightfully entrancing glitch art, I spy tucked behind the colourful tape a translucent plastic card sporting the EC logo, as well as a free download code written upon a small strip of paper that I happily help myself to.
Looking at the tracklist, with titles named after locations in David Lynch’s Twin Peaks series you'd be right to expect an abstract audio experience as opposed to some easy listening.
-Although for those still yet to indulge in the addictive surrealist TV series, the ‘White Lodge’ is a place of purity and all things good while the ‘Black Lodge’ is a darker, more evil spot. (Which must certainly mean that we are due a ‘Red Room’ themed release sometime in the future).
Listen below:
SIDE A: White Lodge
With ethereal whooshes whose harshness could only be found in the coldest, deepest point of space, a descending two note intercom like mantra plus some sparkling audio residue that twinkle like distant stars, White lodge gets itself well underway.
To me, these sounds resemble life onboard a travelling hotel space ship, and it’s continual journey through the cosmos observed through a port side window.
For a brief moment everything cuts out, and we are left with nothing but the isolated whooshing and sparkling, illustrating the emptiness of the cold, dark spacial void. Just past the track’s mid point a soft synth passage glides into view, it seems to want to detune itself into oblivion but it keeps rolling on. In the meantime, the housekeeping impatiently fire up the hoover.
A haze of feedback makes itself known, causing the huge space cruiser to groan as if on it’s last legs while the hum of the vacuum cleaner seems to combine with the engine’s thrusters for maximum velocity and maximum cleanliness. An electronic bleeping quietly hints at some approaching sinister space beings but the primary synth part is reprised and calm is soon restored. The ship speeds on.
It is when beheld, a very well layered soundscape with various effects that could have been lifted from some long forgotten sci-fi motion picture soundtrack (think Dr Who meets Stanley Kubrick) now it’s over to Side B.
SIDE B: Black Lodge
This is where our imaginary traveller aboard the hotel space ship finally decides to get some rest, he lays down his head and begins to dream. Backwards loops lead the way along a path of toasty synths illuminated by the hypnotic echoing of soft cymbal hits.
As the track progresses deeper, it builds in thickness, as if closing in around the listener, like some kind of psychedelic beginning to take a firm grip of our protagonist, who is now unable to shake off the trip.
At one point, an icy layer of drone noise gains vast momentum, reaching a raucous level that borders on harsh, it sputters indignantly but doesn’t manage to break away. The shrieking fizz is eventually drowned in the tide of backwards sonics that lap over it like the waves of an uncaring ocean, crackling into nothingness as it expels it’s last.
While the track may dip it’s toe in the abyss, there is no wandering off into the darkness that the title would suggest, instead remaining as a trance induced, meditative slow burner that makes for an exquisitely beautiful listen. It’s pure abstract theatre for the musical mind.
Conclusion
Like many an Endless Chasm release, ’Dweller…’ brings together both the vintage and modern sonic worlds, brilliantly showcasing the duality and ever expanding consciousness of the Chasm. The project’s ability to transport the listener into far away musical dimensions is remarkable and undeniable as always.
Caving helmets on, it’s time to begin the descent into the Endless Chasm once again.
Special thanks to Zachary for sending me a physical copy of the album.
Destruktionsanstalt / Lidane Livering - Live session
A compilation album showcasing the 2 projects of Denmark’s Per Najbjerg Odderskov
Destruktionsanstalt (Death Industrial / Noise) and Lidane Livering (Dark Ambient / Post Industrial).
As the title suggests, this tape features 3 live recordings but there’s also 2 bonus Lidane Livering tracks.
Both the live Destruktionsanstalt and Lidane Livering tracks give off a dystopian vibe, brought out by the sampling, thumping Industrial pulses, manipulated voices and the kind of percussion you would hear Test Dept incorporating.
The 2 bonus Lidane Livering tracks are also worth a visit, ‘Distorted Tones of Teenage Boys’ is a looped Drone topped with surreal effects ending with the doctored sound of a group chattering, presumably one containing teenage boys…‘Toilet Related Deaths’ continues in a more Dark Ambient manner, an exhaled audio cloud and slight use of a gong end things on a chilling note.
Considering this compilation is probably the closest thing most of us will get to experiencing these 2 projects in a live situation but does a good job of capturing that live show atmosphere and energy, leaving me wanting to hear more from the musical mind of Per Najbjerg Odderskov.
There are currently only a few cassettes left, so get them before they’re gone!
A Power Electronics / Death Industrial / Noise project from Rio De Janeiro, Brazil that’s been in operation since 2012.
At 38 minutes long, ‘Continuous War’ doesn’t outstay it’s welcome and makes for a solid release well worth revisiting. Samples are in abundance here including orchestral overtures, National Geographic narration (‘Propaganda’) amongst other war sonics such as artillery barrages and explosions.
Wounded, anguished vocals (‘Inferno / Dust’ and ‘I Survive’) buzzing drones (‘Sex and Lights’) hypnotic noise loops (‘Power without Control’) and flirtations with dark ambient atmospherics (on my favourite track ‘I Can’t Forget You Anymore’) make up much of the tools in Hari Maia’s arsenal which do well to capture the hypocrisy and horrors of warfare past, present and future.
“The war is not meant to be won, it is meant to be continuous.” - George Orwell
Raw Black Metal / Noisecore / Crust Punk / Power Violence
Voice Eater - Con Armas
From half of the duo who brought you Lord Sun and Crescent Days, comes Voice Eater a killer combination of raw Black Metal, Noisecore and Crust Punk / Power Violence plastered with inferno guitars, exploding drums and shrieking vocals.
‘Con Armas’ captures the true spirit of the Zapatista Army of National Liberation (EZLN) as an Anti-Facist, Anti-Imperialist battle cry calling for justice and liberation of indigenous people worldwide.
The record often feels like it’s going to derail any second especially on my personal favourite ‘Propagandist Crush’ but never loses it’s ferocity even when it slows down on tracks like ‘Piss off your Enemies’ and ‘Huesos Quebrados’.
Closing track ‘Chiapas’ (named after the southernmost Mexican state, which has been the base of operations for the Zapatista Army since 1994) is a solemn yet triumphant rally recording that makes for a powerful ending. Keep your eyes peeled for another in 2017.
The 2 piece Noisecore group based in the USA and Austria are hellbent on producing a very audible reaction against mankind’s own destruction of earth, injustices everywhere and consumption culture.
Noise Against Human greed compilation
A spectacular introduction to Money Hater’s bludgeoning noisecore assault, expect deafening drums, rotten riffing, and pissed off vocals spread between audio samples offering food for thought.
On ‘Three Quick Blasts’ Ohio based noisecore guerrilla Methlab Explosion compiles together tracks from splits with Critic, Brainerd Diarrhea and The End Of Life. 12 minutes of lung collapsing screams, and acidic noisecore violence, maybe it’s time to book that hearing test appointment?
As well as physical tapes of beyond recognisable, there’s the ultra rare double cassette Macabre Dismemberment compilation outlining the SS discography from 2015-16 complete with a handmade terrorising photo booklet.
Featuring Zane Martin of Sword Suicide, Logan Threedouble of Ruiner (only playing on the first track) and Jordan Allen, Moist Pony are made up of clattering drums, furious guitar beatings and throat tearing vocals.
Songs like ‘Nixon is the Man’ and ‘The Only Good Nazi is a Dead Nazi’ erupt with raucous punk vigour while the intros to ‘Drug the Bodies Through the Woods’ and ‘Vitamin H’ make small movements toward Noisy Drone tides.
‘A Quiet Night Alone in the Woods’ is a short, sharp shock and it’s a crying shame it’s quite possibly the trio’s last hurrah.
Oh, and make sure to play ‘Anime Is Awful and You Deserve to Be Taken Out Like the Trash You Are’ to all of your friends who indulge in cosplay and attend conventions.
A brief internet search tells us that Black Bloc called it quits with the cassette / zine release ‘Snapshots from the Emotional Gutter’ which included the last (at the time) BB song ‘Hostage Crisis’ coupled with a recording of the final live show, entitled ‘What None Ever Wish To See’.
‘The Exposing of a Man’ marks the first new BB material in roughly 6 years, a deep cutting musical journal of purging mental health issues and quite literal exposure of the one man Fredonia, New York project where he really lets it all out through noise, power electronics, dsbm, doom, drone, and the occasional classical inspired section.
The slow, demonic death growls that BB has made his trademark ensure that every word is emphasised through his tortured tone, but for those who can’t make out every word the lyrics are included.
A heartbreaking listen, but by the time the bristling static and dozing guitar of ‘V’ have rolled around you will feel truly cleansed. Music is an emotional release, and you’ll do well to find a more bruising catharsis than on The Exposing of a Man. The Bloc is Back!
Residuos Industriales (Industrial Waste) is a 37 minute bombardment of harsh noise, skin searing electronics and fractured Noise Wall from second wave Japanoise legend Thirdorgan.
The anarchic Harsh Noise project from Čačak, Serbia has been firing out screaming vortexes of abrasive Noise since 2011. Here’s a list of releases that I enjoyed from Raven in 2016, also stay tuned for splits with Crank Sturgeon and Richard Ramirez this year!
Negative Mass
Released on Colorado label Analog Cowboy, Negative Mass is a caterwauling complex, the result of Djordje taking all the Negative Mass he feels and unleashing it through pedals and noise boxes, enjoy.
Recorded live in his UK abode and described by Clive as “a heavy dose of sh-101 worship” Hymns is quite a few steps away from the usual crumbling HNW that Clive Henry is known for.
‘We gathered, invulnerable’ starts things off with a single point of wavering feedback, followed by ‘and then into the streets, to smash and destroy’ the slow layering of more frequencies and small melodic indications as the piece evolves.
‘We watched, quiet or cheering’ to me comes across like a gaggle of extraterrestrial beings trying to communicate through some demonic audio portal. The overlapping sonics eventually exiting leaving behind an arrangement of twinkling signals that shift to reveal a sonic picture of an exquisite star filled sky.
The mammoth end track ‘and we did nothing, and it began’ depicts a space odyssey of unimaginable terror, bringing an impactful end to an amazing release.
Dog milk - Behind The Closed Doors Of The Human Puppy Fetish
For those not in the know, Dog Milk is the London based Experimental Noise duo comprising of James Shearman and Rosie King. With a constant stream of releases since Summer 2016 and at this rate of reproduction we’ll probably be overrun with 101 dog-milk mutations…
With the feel like of an improvised noise set, ‘Behind The Closed Doors of the Human Puppy Fetish’ is 7 shorter blasts ending with one final epic tirade.
The toy keyboard glissandos and pained notes on ‘Leather Puppy’ and ‘Puppy Play’ added with the almost constant buzzing whirr going on underneath much of the tracks here add an insane edge to the process.
The title track is a poorly contained noise outbreak primarily lead by the guitar’s movements between playing the vague resemblance of a melody to Romain Perrot / Derek Bailey guitar destruction ending with disgusting note dregs mixed with humans howling, before sputtering off.
Rejoice! The Dog dairy is open for business, so make sure you get some of that creamy noise goodness in your dinner bowl.
TV and the radio are often the first places we encounter a static sound signal, and James decided to utilise one of these devices to create a series (now in it’s fourth volume) of releases dedicated to it.
This first chapter released back in October 2016, is an almost constant turn of the radio dial, we have everything from snapshots of Beatles songs, orchestral overtures to scrambled presenter dialogue and a religious sermon that is turned on it’s head becoming like a demonic ritual accompanied by blasts of noise.
There hasn’t been an overload on the effects, so expect a healthy mix of edited and un-edited sounds going on here. In conclusion, the Radio Transmissions series is essential listening for anyone who has ever found joy in tuning their radio to the static between stations.
God Pussy - Retratando A Realidade Bélica (Portraying the Reality of War)
Jhones Silva (the Rio De Janeiro based Harsh Noise activist who established God Pussy 18 years ago) contacted me with a link to his album ‘Retratando A Realidade Bélica’ and I was mightily impressed with his work.
If you are beyond pissed off at the corrupt establishment then make sure God Pussy is setting fire to your eardrums while you go out and tear it down!
Verjault is a Noise / Experimental project from Rio De Janeiro, Brazil who released this album back in May on Brazilian indie label Seminal Records. On ‘Geographical Misanthropy’ each track represents a different isolated part of our earth.
‘Oodaq’ is named after a small stretch of land off the northeast coast of Greenland, the track is a mesh of cymbal hits and a looming underbelly marking the first movement in this Drone / Noise score.
‘Inalik' (more commonly known as ‘little Diomede’) is one of two islands located in the middle of the Bering Strait between Alaskan mainland and the east of Russia. Featuring low cello strokes that hint at a more positive destination but instead the track peaks with a shrill outbreak before returning back to the cello drone.
‘North Sentinel’ refers to a forested island located in the Bay of Bengal occupied only by a tribe named the Sentinelese who reject any contact with outsiders, remaining untouched by modern civilisation. Here the cymbal hits return (without effects) accompanied by a braying bass guitar to aid in the making of the track’s chaotic ambience.
Final and longest track ‘Ratmanov’ (the larger of the two Bering Strait Diomede islands) begins as a wash of noise/drone then adds the rattle of a speeding train.
Racing along these imaginary rails, the journey builds into more dramatic tones which to me seems to illustrate a bird’s eye view of the islands before returning to the sounds of the train.
A fitting soundtrack to anyone wishing to isolate themselves away from the drudgery of modern life, just remember to download the album for free and send it to your Geography teacher.
Recording in the solitude of Santa Barbara, Hermit (not to be confused with the 90’s Canadian noise group of the same name) is the experimental Harsh Noise / HNW project of Daniel Cornejo.
As well as crafting formidable and unforgiving creations he also runs US tape label Grey Matter Productions. Be sure to keep those ears open for new Hermit material dropping this year!
Reject Mankind
Hands down my favourite Hermit release of 2016. A 2 part, hour long misanthropic meditation that falls somewhere between bubbling electronics, darkened drone and grating noise walls.
No unnecessary extra bells and whistles have been added, with Hermit using only the most crucial of ingredients. This is mirrored by a simple but effective cover that needs to be made into something physical (sticker/patch/T shirt etc). Make it happen, Daniel!
Reject Mankind is currently going for free download right now on the GMP bandcamp.
A four track, wall noise spectacular that moves through 3 phases: static waterfalls (Self Hate) coldhearted abrasiveness (The Death of Care and Anti Existence) and finally wonderful tape hiss (My Death Will Be Brought Upon By Complete Disgust For Who I Am)
Suffocating In Silence has an interesting concept, the music heard within has been intended to be heard from an insect’s point of view. It’s distorted, diced up movements range from scuttling to screeching, marking a healthy dose of dark ambient, drones, harsh and wall noise.
Closing track ‘There Is Nothing Inside Of Me’ is probably my favourite track on the release, it’s first half containing a repetitive buzz turned into a hypnotising pulse and engulfing, noise encrusted drones.
There also lurks a disturbing, looped effect that sounds like it was ripped straight from a horror movie finishes things on a sinister note. Overall, Suffocating In Silence is a great debut from a project we need to hear more from in 2017!
Arizona’s doom / drone / noise demon flower ilithl (previously known as Lilith) is a builder of dark, engrossing musical landscapes perfect for those who want to block out the terror and harshness of everyday life.
‘I’ begins with what sounds like a reversed cymbal sound, then a low whirring is ushered in, and both parts merge together, becoming one solid piece of static.
‘II’ smashes through with bludgeoning force, whilst listening to it I imagined witnessing a conductor keeping the percussion in time as if I was in attendance at some nightmarish orchestra. As the track nears it’s end, the cymbals are left exposed and fade away.
‘III’ takes things down to a crackling noise wall attached to an ominous drone that slowly uncoils then scrunches itself up again.
The final track, taken from the 2015 release ‘Rådnende Rødder' is a cavernous, feedback filled dark ambient / noise ritual with chanting vocals, making a strong ending for this excellent release.
NO123NOISE / ZoDiaCMaSSaCrE split - Just One Fall to End it All
Both projects hail from Texas, USA but are known for tinkering with differing styles, which is well showcased on this split:
N0123NOISE’s contribution is 2 windy dark ambient passages with a few unorthodox notes making themselves known.
Meanwhile ZoDiaCMaSSaCrE’s 6 tracks are in more of a Harsh Noise direction (Void and Pit) but also throws in some dark ambient dubs (Negative and Disintegrate).
Despite the time lengths being unequal, there are some very stimulating and destructive sounds being thrown around here, making Just One Fall To End It All a worthy investment of your time.
The Detroit, Michigan Power Electronics / Harsh Noise pair have been in the business of ear damage and pissing off concert goers for over 10 years, and 2016 was yet another successful business year, so let’s cue the clinking of champagne glasses and the evil grinning of CEOs….
Peel Sessions
A self-released album that besides the usual dosage of Harsh Noise and Power Electronics also delves into Noisecore (9 untitled songs) HNW (Radio Interview 97.1 The Ticket 8-7-16) and includes the weirdest covers of Slipknot, System of a Down and Creed you’re likely to ever hear.
If I remember correctly this was my very first encounter with BM, and as of today still remains their sole release on Big Pharma Records.
Opener ‘Placentard Pussy’ is a small starter containing shouted vocals and dollops of noise. ‘Penis Envy’ often resembling a fly on speed, is an unforgivable stream of Harsh Noise consciousness that’s bound to leave your ears ringing and stinging.
Another short track to finish, ‘Fuckin Wuss’ sputters static and feedback with an angry rattling underneath it all, making for an excellent bookend to their side of the split.
See Through Building’s contribution ‘Radio Disappoints, Time After Time’ is a 15 minute crushing, occasionally wailing harsh noise wall with a radio signal suitably buried within the brickwork.
Tapes are of a limited edition and bound to run out soon, so pick up yours now!
The third appearance of Torturing Nurse on the Bullshit Market’s DIY label imprint ‘Trashfuck Records contains a live set of the Chinese harsh noise group playing at the Inferno bar in Shanghai.
While BM’s side includes studio track ‘Carnal Malefactors’ plus a live recording from a Kansas show…and a strange ending.
The Harsh Noise / Power Electronics project of Treven Damo, co-founder of US label Big Pharma Records. Just incase the album title or cover art hadn’t already given it away, the opening track ‘Loser’ is a Power Electronics / Noise cover of the song by US artist Beck.
The lyrics are barked out with a fiery rage to match the intensity of the piercing veil of distorted noise. The distortion gets switched off adding emphasis for the delivery of “Things are gonna change I can feel it” ending with a final squeal of static.
‘Secret’ is a Noise-scape interlude, then the vocals return for ‘Narcissistic Piece Of Shit’. ‘You're No Better’ is where both noise and vocals intertwine in one garbled angry blur. ‘Worthless’ brings out the spazzy high pitched frequencies while ‘Retard’ is a churning whirlpool of sonic murder in which Ragk thrashes about in disgust.
But ‘I Just Wish You Hated Me’ is where the emotional dam finally bursts, the shredded vocals erupt in pain and self loathing. ‘Right’ comes and goes instantly in a brief shot of noise, followed by a demolishing Harsh Noise Wall with buried speech on ‘Ambiguation’ leading us into the grand finale of ‘Claims’. Beginning with soft fumblings before the harsh noise hisses and spoken word take ahold, delivering a powerful diatribe that finishes with a final yell turning into a maddening glitch.
‘Kill the Lights and Put it in Neutral’ is miles and miles of feedback worship on I would recommend to anyone on a quest for tinnitus and self exorcism. At the time of writing there are only two cassettes left, so get it or regret it.
Contraktor - True Confessions Of A Teenage Communist
Another Kansas native and co-founder of Big Pharma Records, Benjamin Joseph is the brains behind Contraktor a Harsh Noise / Power Electronics project that has been active since the release of debut ‘Private Contractor’ back in September 2013.
Beginning with samples from an old newsreel film of the McCarthy hearings spliced with Oliver North's testimony from iran-contra before launching full speed ahead into the main body of work, an electrifying 25 minute noise set that not only succeeds in deafening anyone who cares to listen, but sets out to completely strip them of all their other senses too.
But even it’s quieter moments remain alarming, and it’s impossible to not stay tense while in anticipation of another noise blitz.
‘True Confessions Of A Teenage Communist’ is further evidence why Contraktor is one of the most respected names in Americanoise today.
‘Lakes and Churches’ the 18 minute long contribution of Siberian Noise titan Model For Assembl is impossible to doze off to, a gloriously schizophrenic harsh noise jamboree with light speed changes that had me coming back for more.
Contraktor’s side is of a slower pace but it doesn’t drop in fearsomeness. After a switch is hit and some fiddly synth ‘Xanax’ goes off into hails of treble raining down over disguised cries, becoming an unmerciful howling noise flood ending with a flicker of feedback.
‘Reconstructed’ is more of a respite compared to the ear bashing of ‘Xanax’. Building up from the previous track’s leftovers into crazed buzzing atmospherics with plenty of high register notes adding to the madness but the track cuts out before it can do any more ear damage. ‘Immunity’ is a triumph of a split that I urge any fan of harsh noise to grab a hold of.
Just under 30 minutes of hyperactive, mega glitchy Harsh Noise that ensures there is never a dull moment. Tracks like ‘Shanghai Is A Lie’ and ‘Box Full Of Steampunk Bulls’ go off in a more warped ambient direction.
Agenda moves at the speed of a kid who puts red bull on his cereal, and after listening to this, I feel that a film scored by Model For Assembl is something we all need in our lives.
With album artwork Spinal Tap would approve of, this BPR off shoot label has every release going for free download or unlimited physical CDs available through Kunaki.
They are always accepting submissions, so if you are a wall noise artist get in touch!
Here’s my picks from the Big Pharma Records subsidiary walls label:
A three way collaboration with Model For Assembl, Ragk and Flourine dishing out smaller bricks in the Harsh Noise Wall, perfect for noise wall fans in a hurry!
‘Wallcore' is a release by Uruku, project of Reason Art owner Sergey Pakhomov featuring Grinding noise walls with programmed drums that spit out punky beats, a few technical changes and fills that remind me of the sticks work of Obituary’s Donald Tardy and Sepultura's Igor Cavalera.
Plenty of thought has gone into the execution of this, the wall occupying the space where a guitar or bass would normally be and often beefing up nicely when the drums come in to avoid being drowned out (Track 3).
Despite most of the songs aiming for the higher tempos in order to bring out that crusty aggression, Track 7 is caked in atmosphere and proves that speed isn’t everything.
There’s a few single 30 second walls spread out on this release, acting as an intro for the next track which I think was a nice touch. The wallcore genre starts here!
It’s always intriguing to witness the evolution of an artist/band’s music, and one man Indiana noise project Writhe is no exception.
I first heard Writhe back in May 2016 with the release of his promising self-titled debut, since then the Indiana based noise project has gone from strength to strength, putting out well received releases and splits with such projects as No-joy, Shadow Figures, Grutesk and most notably Macronympha.
Writhe’s guitar noise screamscapes are absolutely terrifying, with walls that feel like they’re coming alive or in the throes of an unspeakable death, highly recommended!
Split w/ Macropnympha
Writhe serves up two heartless walls before finishing things off with a blackened guitar drone that evolves into a merciless Harsh Noise Wall.
Macronympha doesn’t pull any punches, and any quieter patches are merely the eye of this destructive audio storm. ‘Emptiness’ is a noise collage of eardrum splitting proportions and a strong reminder why Macronympha have been around for so god damn long.
With abrasive live shows to match his music (see video) chain wielding noise-ician Kyle Ferguson AKA Misery Ritual has been releasing malicious chaotic transmissions to an ever growing following since October 2015’s A Victory Over Suffering.
I Hurt Because I Must
‘Reduce’ ignites somewhat reluctantly into life, beginning as metallic waves gently lapping at an unseen shore that grow into a blistering sonic mass.
‘A Throat Filled With Fire’ continues the build up, finally erupting with a doom laden gush of noise and disappears almost as quickly as it came.
You can really feel the rage and honesty behind every noise storm Kyle casts out, and none more so than in the dealt slabs of self critical static heard on ‘A Lash for Every Failure’ which is an equally sturdy and vicious harsh noise wall.
Closing track ‘The Dull Ache of Acceptance’ is like the slow motion aftermath of a bomb detonation. There’s a ringing wail that symbolises a severe case of tinnitus and a crumbling wall with a short looped drone that represents the still toppling debris.
The wail turns to a brittle, helpless scream that fades away and we’re left with the cut-up drone and crumbling wall. In conclusion, ‘I Hurt Because I Must’ is a remarkable release, and a great place to start with Misery Ritual.
With over 24 hours of walls painstakingly put together by net label curator James Shearman, this is the ultimate HNW compilation contains enough to barricade yourself away forever, get buried alive in the brickwork and become the wall….
Released as part of the ongoing Blue Velvet series, In Dreams is a vast monolithic slab of Harsh Noise Wall, and even features a touch of the Roy Orbison song of the same name.
Black Matter Phantasm - Spiritual Retreat To The Holy Mountain
An essential free download release from Hallucination tapes, with 2 untitled, un-changing walls. Listen to this while watching the 1973 Alejandro Jodorowsky movie ‘The Holy Mountain’.
Shurayuki-hime - In The Beginning, Woman Was The Sun
A 40 minute HNW release of twin, gravelly walls which slowly add more texture as they continue. The title comes from the opening line in the very first issue of early 20th century Japanese feminist magazine (Seitō; 青鞜) Bluestocking:
“In the beginning, woman was truly the sun. An authentic human being. Now she is the moon! She lives in the light of another star. She is the moon, with a pale face like that of a sickly person.....This is the first cry of the Bluestockings!
We are the mind and the hand of the woman of new Japan. We expose ourselves to men’s laughter, but know that which is hidden under that mockery. Let us reveal our hidden sun, our unrecognised genius! Let it come from behind the clouds!
That is the cry of our faith, of our personality, of our instinct, which is the master of all instincts. At that moment we will see the shining throne of our divinity.”
Founded in 1911 by Raichō Hiratsuka, Yasumochi Yoshiko, Mozume Kazuko, Kiuchi Teiko and Nakano Hatsuko, all of whom were members of the Bluestocking Society (Seitō-sha；青鞜社).
Although Bluestocking was originally a magazine about Women’s literature, after several years it’s focus changed to Women’s liberation and gender equality. Bluestocking was an instant hit all across Japan, with the magazine selling 3,000 copies every month at the height of it’s popularity.
Often shocking the public with articles on premarital sex, women's right to vote, abortion as well as speaking out against women’s traditional roles and arranged marriages.
Unfortunately the magazine’s open discussion of such issues resulted in a backlash from the Ministry of Home Affairs censorship bureau, who banned several issues of the magazine deeming their expressions of female sexuality a threat to public morality.
Raichō Hiratsuka’s house was vandalised and she often received death threats, even the Japan Women’s College struck her name from their alumni list (although they would later reinstate it in 1992).
To add insult to injury, the press indulged in a smear campaign against Bluestocking’s contributors which caused the magazine to completely fold in 1916, with the final issue published in February.
But the spirit of Bluestocking refused to die, and a new wave of Japanese feminism emerged in the 1930s. Whilst Japan was occupied by American troops during World War II, Officer Lieutenant Ethel Weed worked with Japanese feminist organisations to promote women’s rights in Japan, and their efforts were successful.
Resulting in women finally being granted the right to vote in late 1945 and the right to abortion in 1948.
Tapes have long since sold out, but you can purchase the album digitally here:
A wonderful double helping of walls, the first ‘O Joyous Spring’ is rough and abrasive but not impossible to sink into while the B side ‘山に沿って歩きます’ goes along at a crawling pace and is much softer.
One of the first few releases to come out on physical through US label Grey Matter Productions and as of now is sold out.
The Californoise giant should need no introduction, but for those just waking up and smelling the coffee, grizzled noise veteran Ben Rehling has been dishing out the ear wrecking goods since rejoining the scene back in 2015, so here’s a few of my personal STB favourites that came out in 2016….
I Walked Among The Elders
Across the 15 minutes of ‘I Walked Among The Elders’ there’s a healthy amount of pitch displacement afoot; including thick hums, low drones, crumbling walls as well as plenty of dramatic shifts through it’s furiously murky mists.
Track 2 is a remix by Ben Hudgins, ‘I Walked Among The Elders (Abandoned Child Remix) embodies the harshness only hinted at on track one. Made of a stretched, hair raising scream with a sample jumping out the wall around the 6 minute mark, it’s a real terror drone.
‘I Walked Among The Elders’ is definitely not the sort of HNW tape you should listen to if you plan on a peaceful night’s sleep, but it’s a must listen for any noise wall fan with a taste for the macabre.
A 30 minute track that made me feel like I was standing in a busy spot in Los Angeles and feeling hopelessly overwhelmed by everything around me, unable to speak…
Ben had just released this record when I interviewed him, but I unfortunately didn’t give it a proper review, so I’m here to give that a try…
By using sounds from brain scans and other sounds with potential to affect the brain, ’Brain scans…’ certainly pushes HNW into crazy new places. Strap in and prepare yourself for a cerebral pummelling.
The top layer of track 1 ‘the brain scan revealed high levels of nothing’ twinkles like a ringtone while the gargantuan wall below shakes in the most violent of fashions.
Next up ‘apparently your brain didn't get the memo’ begins with a rapid fire skidding noise while the wall builds itself up around it, it’s probably the most normal sounding track out of the three, but not without it’s weird streak.
Final track ‘synapses are firing blanks to your head’ is a fast flowing piece of static with a high pitched surface that cuts out, leaving the distorted stream still running isolated.
Overall, it’s a very hypnotic, unique Wall noise album that I would recommend to any HNW fan that’s tired of the done to death pedal sounds or anyone studying Neurology.
This release, from a lesser heard Ambient side of See Through Buildings is a wonderful listen containing two nebulous tracks perfect to drift away to.
Considering this was a rare occurrence I caught up with Ben to find out more…
DMD: What can you tell us about An Empty Venice Beach?
Ben Rehling: An Empty Venice Beach is actually a covers project but no one really knows that as I have never discussed it much. The tracks are actually manipulated songs with a various theme in common.
I use Reaper to do some computer manipulation and then run the results through an Eventide Space pedal and BOSS DD-7 Delay. Everything is based on delay with this project. I slow down the originals and manipulate them with pedals.
DMD: What do you have planned for this year with See Through Buildings? I saw that you recently posted about an upcoming true crime themed noise release, could you tell us more about that?
BR: I am a HUGE true crime person. I was listening to a podcast called "True Crime Garage" and a particular episode about a pit in Mesa, AZ where they found 11 bodies. They called it The West Mesa Body Pit and if that doesn't scream noise I don't know what does! So the thought was to have a track for each body found and possibly collaborate on those tracks.
As for releases with STB I am finishing up a 3" CDr release for Fall Into Void Records, a split with Black Cat (https://noiseblackcat.bandcamp.com/) will be out soon. The Misery Ritual split should be released this year (it's been done for a while) and I will be working on a yet unannounced large scale set of covers and original tracks.
DMD: Do you have another release with an empty venice beach planned at all?
BR: I am working on another release now actually! I currently have 1 track done. It may end up as a split but we'll see!
You can read a full interview with Ben Rehling here
Vomir / Train Cemetery Split
Easily the most popular cassette release on Reason Art Records in 2016, Romain Perrot (Vomir) and Sergey Pakhomov (Train Cemetery) come clashing together with a fantastic split.
Vomir's side ‘Untitled’ is an explosive but intricately layered torrent of abrasive harsh noise, listen closely and you can just about hear some hefty drones moving amongst the battering brickwork. Once again, Vomir effortlessly proves his place with the HNW legends.
Train Cemetery’s counter attack to Vomir’s armoured audio assault that lays off the distortion but turns the sharpness up. ‘Scaur’ makes for a lacerating wall with deep crackles and icy stabs, then changing to a death rattle on it’s way out.
In conclusion, it’s 90 outstanding minutes of all out wall-fare that you’d be mad not to sign up for! Also kudos to Pakhomov’s son George for painting the fantastic artwork!
There were many of stellar releases to be heard last year from Noise Jersey’s finest, but 2nd full length ‘The Human Condition’ stood out the most prominently.
The first three tracks feel like a larger noise wall cut down to size, with most of the changes occurring in ‘Distant Screams’. Oddly enough, ‘Plague Death’ is smoother compared to the fierce album opener ‘Spontaneous Combustion’.
The single ‘Our Bodies are Vessels’ is a mini harsh noise set in itself, an abundance of swirls, flatlines and even some wind chimes, but the calm is shattered by the spiteful and grating HNW ‘Heaven is Helpless’ followed by the frozen walls of ‘Slave Worship’.
‘Burning Alive’ goes straight back to the signature KIRA wall sound, increasing in intensity until it mimics the title and literally incinerates, but returns to a rather singed low rumble.
The Final (and my favourite) track ‘Cult Oath’ begins with an ever present metallic drone that fluctuates randomly and gets interrupted by amplifier screams, eventually turning into a scratchy, fumbling noise wall.
The drone does keep attempting to re-emerge, finally erupting and spraying everywhere like opening the coke can you left in the bottom of your backpack all day, the track cuts out as the wall continues to build. The unexpected ending definitely gives it a greater impact.
Admittedly I am missing some of the dark ambient / horror soundtrack elements heard on the last KIRA full length (Modernism Tragedy) but Vincent’s focus on his world of wall-craft has paid off in spades.
DMD: You announced earlier this year that KIRA was going on a brief hiatus, at this moment in time do you know how long it’s going to be for? Do you have work planned for any other musical projects?
Vincent Ceraso: Unfortunately, this is an indefinite KIRA hiatus. It could very well last until the end of the year, or longer if need be. I released "Mankind's Virus" as sort of a farewell-for-now album. I could make a comeback, but I'm unsure as of now.
Part of why KIRA is on hold is because of other projects I have at the moment. One of those projects is music under my real name. In September, I released "Every Step is a Mile," and that's when the KIRA albums began to slow down a bit.
In October, I began working on my sophomore album, "If I Could Stop Time," which is due out this Summer. At that point, KIRA was officially on break, despite releasing a few previously recorded tracks over the following months that I already had archived on my computer, and submitting my work to a few compilations. Technically speaking, "Mankind's Virus" was the last freshly-recorded set of KIRA tracks.
DMD: What else do you have planned for 2017?
VC: As for the rest of 2017, I'll still be doing other music. Like I said, my sophomore album "If I Could Stop Time" will be out this summer, June 25th to be exact, and two days before my 22nd birthday. Albums released under my real name dive into more electronic music, with rock influences.
This new album will have 12 songs in total, and I plan to release an album or EP at least once a year. I won't say much about this right now, but I'll be doing collaborations with several other artists very soon…
The debut release on Russian label Reason Art Records offers up a nice, slow trundling wall split into two tracks exploring the theme of an ever sinister mainstream media.
A 2 CD release that firmly speaks out against human exploitation, oppression, inequality and injustice worldwide. Disk 1 is a trio of cold ambient noise walls, while disk 2 lays down the harsh noise gavel and screams out a sentence to all those responsible.
Again tackling mainstream media bias but also documents the widening gap between the rich and poor in the harshest manner possible, released on Hungarian label the level of vulnerability.
Spoons and lighters at the ready…if you can’t get enough of crack(!) then the four part Crackling series is the fix you need! 4 excellent and varied (2 were released during Noisevember) approaches to experimentations with noise crackles.
*DMD highly encourages the frequent use of hard audio drugs*
SSTGFLS J222557+601148 and Relicuum split - SWIFT J1745-26
Nemanja’s pure ANW project Relicuum and HNW outfit SSTGFLS J222557+601148 team up to create ‘SWIFT J1745-26’ a deep vacuuming wall of noise. Imagine the sound of being very slowly dragged into a black hole and all existence disappearing. Headphones only.
The project of John McVay based in Tempe, Arizona specialises in dark ambient, drone, death industrial, harsh noise and HNW sonics.
Electronic Miracles
For the first 18 minutes of this live recording, McVay leaves the harsh noise faucet on allowing a river of sound to accumulate that’s as scorching as the Arizona summer it was recorded in.
After shutting off the waterworks and turning on a reverberating hum that sits against a backdrop of light noise textures, becoming more and more threatening as the track nears it’s end. Overall, it’s a very fulfilling listen and I look forward to hearing the next Go as DeatH release
A collaboration with Dosis Letalis that would perhaps be well suited to run over the ending credits of a nuclear themed movie (probably not Dr Strangelove or Duke Nukem though).
Self-classifying the project 'nuclear disaster noise' RFP's debut cassette is entitled 'Kyshtym Disaster' after one of the most serious nuclear accidents in history. In just under half an hour, both artists do an excellent job of cooking up an eerie post-explosion atmosphere where the air is thickly contaminated by nuclear fallout.
A HNW / Funeral Drone project specialising in torment and despair found in Lake Elsinore, California.
Addict
With a musical scenery of blackened Drones, buried pulses and atmospheric Noise channelled through themes of drug addiction and loss, ruiner. opts for sunken subtleties rather than bashing ears into oblivion and for me that’s what made this the quintessential ruiner. album of 2016. Check it out for yourself!
Ruiner’s ghostly aura of FX are well matched by the male & female vocals and acoustic guitar strumming of K+J. Despite only being a demo it made me want to hear these three come together again soon with an EP or album!
Natural Nihilismo is a Harsh Noise Wall project from Rio De Janeiro, Brazil that tackles themes of social injustice.
Third release Opróbrio (Opprobrium) opens with a crackling noise wall Cama de Papelão (Cardboard Bed) then goes on to lay down 4 unchanging, merciless harsh noise walls and a brief respite from the harshness on minimalist track Recaída (Relapse).
A biting, fierce album that deserves nothing less than your undivided attention.
The Harsh Noise/HNW project of Ben Hudgins started life back in August 2015 when another Hudgins project Bonechurch released a 13 minute noise wall named after the Greek goddess of nightmares. It was originally dubbed a failure by it’s creator but the seeds were sown and today Melinoe continues to release material and has grown to become a respected name in the genre.
Sin Eater
A loud, unholy Harsh Noise Wall with an awesome disorientating mix that packs enough tremors to bring down the heavens like shaking apples from a tree.
Back in the Summer of 2016, See Through Buildings, Condo Horro and Dosis Letalis teamed up to make a HNW supergroup called the Climate Refugees.
A popular saying is that too many cooks spoil the broth, but our 3 experienced wallers have ensured that these harsh audio structures are of the most solid and brutal build.
The tracks ‘Kivalina' and ‘Shishmaref’ are named after two Iñupiat Eskimo island and coastal communities under threat by rising sea levels and shoreline erosion and in 30 minutes the three piece capture the horrifying destruction ravaged by an uncaring ocean reclaiming it’s prize. Start gathering those survival supplies for part two coming sometime this year…
Charlotte Thevenin, the mastermind behind Paris based BDSM / Love themed HNW project Naughty and head of Rapture Records is one of a handful of prominent women in the scene. Active since 2015, Naughty’s colossal noise walls are ideally suited to lose oneself in.
Nylon Insomnia
A highly intoxicating double HNW release that sold out of it’s 50 copies faster than you can say ‘Signora Ward’ three times.
The ambient noise wall construction of Julian Skrobek has gained much attention in 2016 and rightfully so, also known for his label Hallucination Tapes and project ‘Absurde’ with Charlotte from Naughty (https://absurdehnw.bandcamp.com/) Sumbru’s sprawling noise textures fill up your ears and tap into the furthest reaches of your mind.
Beyond My Hopes
One of my favourite ANW releases from 2016, I really dig the evolution of the wall with each track, always with two layers for the listener to follow. A dingy listen full of spacey rumbles that dig deep into the subconscious.
Made up of Black Matter Phantasm, Küne de Lisch, PsôM and Sumbru, this self-titled effort was released as a free download through the French Label Hallucination Tapes.
When listening to this release, I imagined that I was stranded alone without shelter in some wretched arctic region, the bone marrow chilling winds lapping at my body while I try to pick up a signal but my radio equipment just continuously spits out static. On Side B, after managing to find shelter I still desperately search for a signal, although perhaps it is already too late…
Tissa Mawartyassari is a Harsh noise / HNW project based in Pennsylvania, the handiwork of Monica Isabel Sanchez who has been active in the scene for 10 years now, working with artists such as SERPENTINE, Death Carries a Cane, An Innocent Young Throat Cutter, Big Hole, She Walks Crooked, and Werewolf Jerusalem to name a few.
Los Muertos (The Dead) was one of four cassettes released in 2016 on Charlotte Skrobek’s label Rapture Records, which all sold out rapidly.
Me Llamen (They call me) is a wall of sunken static that resurfaces then returns to the depths to disintegrate and wither away. Me Llevan (They take me) begins as a breezy landscape heard through a grainy filter then as the distortion is piled on and the pace quickens, it turns into a mad frenzy peaking with several screeching bursts of noise energy.
Los Muertos is a supernatural but respectful audio prayer for the deceased, highly recommended.
A farewell for the foreseeable future, I do hope this isn’t a fully fledged goodbye for natural actors but if that is the case, then it makes for a fantastic send off.
‘Parity’ is a shroud of static while ‘Leaving’ transforms from a low crackle into a thick, swirling wall.
‘Meeting the End’ hits you like opening the front door on a cold morning, a droning buzz fills the while distorted breeze rush past like traffic on a busy road. A 9 minutes in a layer of angry noise is added that eventually swallows up the rest of the wall.
Overall it’s a dignified exit for a HNW project that many are going to miss. Listen / Download here:
For some unknown reason this was taken offline which is a crying shame because it’s an excellent release. ‘Fold In On Itself (Regarding No One)’ erupts with unprecedented terror while ‘A Heartbeat Away From A Committed Relationship’ tears down the wall leaving audio debris scattered everywhere. ‘(Truth Serum) Cocktail’ rebuilds it into a respectably fierce noise structure.
For a digital version and details regarding cassettes of X, please contact Lurker Bias through bandcamp here:
Eugene Critchley, one of the many projects of prolific experimental composer Cory Strand. Stick on a good pair of headphones and allow your mind to travel back to 1980s Ireland at the height of 'the troubles’.
A time of bitter political conflict between Protestant Unionists who wanted Northern Ireland to remain in the United Kingdom and Catholic nationalists who favoured a united Ireland.
The sampled conversation between Provisional Irish Republican Army member Bobby Sands and Father Dominic Moran (an excerpt taken from Steve McQueen's film “Hunger”) adds more weight to the wall than all the distortion pedals in the world ever could.
When the chatter ends and we’re left with the rumbling noise wall, make sure to stay tuned for the impactful ending. An incredibly cinematic release that really sucked me in and kept me coming back for more.
The aptly named collaborative project between Dosis Letalis and Eugene Cricthley, released on Cory's highly acclaimed label Altar of Waste. The Terrorism of Modernity is an Ambient Noise Wall release with forewarning speech samples discussing the dangers of technology, deals out some cold hard reality.
There may be cracks and squeaks along the way, but these wallers manage to achieve a deep rumbling zen, so bravo gentlemen!
Another of several Condo Horro highlights was a release in remembrance of those who tragically perished in the Oakland Ghost Ship warehouse fire of December 2nd, 2016.
The Ghost Ship was a ‘24 hour creative space’ that attracted artists and other creatives based out of California who couldn’t afford the area’s high rent. Unfortunately, years of landlord negligence and lack of proper safety inspections eventually lead to 36 people losing their lives one tragic Friday evening.
Condo Horro’s ‘Ghost Ship’ is a trilogy of harsh / ambient noise walls. The aptly 36 minute long ‘I’ is a sweeping, distorted downpour while ‘II’ is slightly more toned down, it shifts between letting it all out and dropping back to a more relieved (but no less sorrowful) state.
Closing track ‘III’ is the quietest of the trio, a stretch of light crackles and the now barely audible crumbling downpour mark the conclusion of a solemn, respectful release.
I will leave the final words to Peter Keller of Condo Horro:
Throughout the years, an out-of-control real-estate market in the Bay area drove artists out of previously affordable spaces into cobbled-together spaces which were unsafe and weren't meant for human habitation.
Gentrification does not just displace the marginalized, the forgotten, and the creative types that give soul to a city, but also exacts a death toll.
All proceeds of this release will go to the Gray Area Foundation for the Arts, a local arts non-profit, who set up a relief fund for the victims to cover medical bills for the survivors, and funeral services for the deceased.
