Steeped in mysticism, Farewell’s amorphous and verdant folk compositions beckon us into an early onset of autumn.
Meth explore the potency of darkness and thematic tension on their new LP.
An in-depth wandering about the introspective, ambient-laden album that pays respects to John’s brother, Peter.
Lingua Ignota uses sharp sound and expansive composition to carve an emotionally-grueling odyssey on their latest LP.
“All the wrath of god, none of the salvation.”
Ashley Jane (Dysphoria) expounds upon her early explorations of noise and discusses how these experiments eventually culminated into her biting debut album, Salt & Piss.
Alex of Death Tape Super Bass explains his reasoning for not adhering to a specific style of sound, the process by which he produces a track, and his innate desire to unearth new sounds to broaden his soundboard.
From his auditory experiments, a keen sense of candidness percolates. And amidst what sounds like unbridled chaos and static froth curdling on the surface, the baritone drones undulating underfoot lull you into a trance-like state.
Noxious Insect takes a sincerely novel approach to noise production as he channels frequencies we regularly hear whilst walking about nature or shuffling across the asphalt architecture of human design. Beyond this immediate realization, however, Noxious Insect presents us a reflection on the micro-biology us humans typically do not contemplate.
Drano Cocktail satiates Ben Campbell’s drive for tinkering with sounds, mood palettes, and morose themes in liberating ways as he does not tether himself to a single noise style or flavor.
Abstract expression? Innovative art? Or absolute shit? Drummer Ryosuke Kiyasu’s experimental live performances are pushing the very concept of percussion beyond definition.
Dead Twin digs into his early days of experimenting with noise. He describes his piercing sound, some of his wildest live shows, and he touches on some key influences, in particular, the Japanese noise scene.