Excessive ramblings on timbres harsh, elating, groovy, boisterous, and psychotic.
“Laid out on the floor without a tongue trying to ask why”
Succinct reviews of some cybergrind, harsh noise/industrial, and hardcore-infused death metal.
Steeped in mysticism, Farewell’s amorphous and verdant folk compositions beckon us into an early onset of autumn.
An in-depth wandering about the introspective, ambient-laden album that pays respects to John’s brother, Peter.
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.
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.
Featuring 45 artists across the genres of death, black, and sludge metal, noise, crust, ritual ambient, and neofolk.