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:
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…
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.
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
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.
