SOME REVIEWS: NOVEMBER 2014

Here's a few reviews to help you sonofbitches wind down from this Thanksgiving weekend.  Having trouble finding the perfect gift for that special someone?  Let Uncle Geno help you with some sweet reviews of some of the hottest noise out there today.  Enjoy.

SBTDOH 'The Gateway Doublet' C-64. Shrouded Recordings.

To give you a little bit of background on this cassette.  It was assembled by the artist himself as a way to have something to trade to those interested in such sport.  I for one applaud his efforts to provide something meaningful in a noise scene that seems more and more closed off and negatively exclusive.  'The Gateway Doublet' is a compilation of sorts as it brings together two of SBTDOH's releases 'Sounds For Mass Extinction' and 'Non-Selective Genocide' onto a single cassette.  Getting down to straight up audio contents, side one dishes up 2 heartless and suffocating tracks which really get down to the essence of what harsh noise is really about. The first track 'Dead Beliefs' is a real claustrophobic and sweaty mess that makes no appologies for its lack of sonic range.  The track gets going and never lets up all while it refuses to allow variation or high end frequencies.  The next track 'Sheep and Goats' follows the same grim path as its predescesor only making small allowances for some upper mid range and sprinkles of high end to contaminate its gloomy hailstorm.  The second side which houses two tracks from the 'Non-Selective Genocide' release follow a similar path to the contents of side one.  However, the first track 'A' betrays a more loosened grip on from the tracks on the previous side.  A bouncier and gristly mix of buried frequencies snake themselves throughout the track.  This to me is where things get interesting.  While I enjoy the purity of a true harsh wall that purposely lacks in variations, there is something to be said about variation and natural flow. I get the most listening satisfaction when an artist allows a piece to play out, to make use of space, to allow deviation.  By the conclusion, the piece has been ripped to ragged shreds as it pisses and sizzles into a disintegrating foamy acid bath. As the final track begins, drugs and psychotherapy are the precursors for a rapidly overpowering blast of deep fried agony.  Our documentarians are rendered nearly unintelligible as a torturous give and take commences.  A struggle to maintain clarity all while the swirling morass of tornadic middle range has its adolescent way with long winded scientific explanation. By the track's conclusion, the drugs fail to stave off the feral drive of the brutal sauteeing sounds reaching a feverish crescendo. In the end, youthful exhuberance and concerned innocence gets totally buried by a dense filthy layer.  If you like your noise to be harsh and unrelenting this is a great way to go.  There is a full side of studies in restraint and true wall worship and a killer second side of grimy excursions into the darkened shadows just beyond the wall.  All you tape traders get in touch with Shrouded Recordings and get your hands on this deluxe edition of murderous tonality and brutal frequency hymnals.  While this does not blaze any new trails in sound sculpting, it still makes it no less of a potent mix of oppressive violence. 

BLACK LOVE. 'Soundtrack For Black Power' Cassette. Hertz Lion.

According to the liner notes that accompany this cassette, the first side consists of sounds from a Texas Instruments 'text adventure cassette game' entitled STRANGE ODYSSEY.  These sounds which amount to antiquated electronic frequencies, crispy glitches, and broken loops.  It is noted that this material was used as a source for a live show which took place in the autumn of 2008.  Side two seems to be essentially the same oddball, spare, glib electronic fuckery which appeared on the first side, albeit in a slightly altered form.  I have given this several listens and find myself compelled to keep playing this tape over and over. Perhaps there is subliminal messages implanted in amongst the crumbly signals.  While it would have been great to have seen this source material utilized in the live setting this is still a strangely interesting tape. Its short length makes it all the more intriguing.  This is devoid of personality in the most delightful way possible. The beeps, blips, squawks, and fragmentation are strangely hypnotic.  While I will hold back on saying that 'Soundtrack For Black Power' is a 'game changer' I will say if this tape ends up in your hands you will more than likely find the same sort of enjoyment I did.  Again, I would love to hear this material employed as it was during the live show as I am sure it made for fantastic grist for an ear splitting night on the town.  

BAPTIZER / CARL KRUGER 'Split' 3inch. Petite Soles.

Here is a little gem hidden in my 'to be reviewed' stack that has languished long enough. This 3inch contains 2 tracks from North Carolina based harsh militant Baptizer.  In both of his pieces layers of carbonized sound waves get pulverized and chopped up and humiliated into submission.  By the conclusion of the second track, the power electronics rager 'Doing What I Wanted' Baptizer is really just warming up as his brand of harsh reality really messes with your head.  The menacing waves cut in and out and are interspersed with serial killer dialogue which dances across your skull.  It finally concludes with a foreboding industrial pummeling off into a spectral distance, dying a slow death as it lays its decaying form down to rest forever.  You are then jolted awake by Wilmington North Carolina's king of agony Carl Kruger.  His track 'Chance is its Own Reward' does not let up for a single goddamned second as he puts you through your paces and strangles the life out of his noise set up.  More than just a simple harsh wall but more like an obstacle course of decay, ruin, and rage.  It climbs up, falls down, lays twitching, and climbs again, all while it seems to just get louder and more stiflingly violent.  Even toward the tracks close as it percolates and bubbles away with sinister hate, what seems to be a reprieve is nothing more than another way to punish you. There is no way to pick a favorite on this release as both artists let it all hang out with devastating style.  This is yet another dose of pure underground noise goodness that will ride in your CD player for a shit ton of listens.  The dildo goes up your ass slowly tonight baby.

A RANDOM MISSIVE + CRACKED DOME / BURNT SOUND UPDATE

GREETINGS:

It has been a long time since I have had anything to say in regards to the goings on in the world of noise.  My life is a strange patchwork quilt of family, college courses, band practices, work, dreaming, eating, and planning.  In amongst all that are those good intentions that I have for all the projects I surround myself with.  For reasons both intentional and unintentional, noise really just fell out of favor on my list of priorities.  I make no excuses and only small limited appologies for this having happened, but I must say that for the sake of my own sanity I really needed to get away from noise and away from the shit that surrounds noise. In the following paragraphs I will attempt to explain my feelings about the noise scene as I see it today and some of my plans for the coming year.  

For a long time I had simply had enough of the strange attitudes and narrow minded indifference of a scene that I had long identified with.  When I started getting actively involved back in 2003-2004 I truly felt that there was a scene full of people willing to share, willing to take part, willing to trade, and willing to listen.  The early shows that I participated in were always full of enthusiasm and energy like anything was possible.  There was an openess to ideas which was prevalent throughout the scene, an almost communal way of doing things.  

The idea that anyone could start a project, a label, a zine was attainable in those early days.  I never felt like an outsider despite my origins being rooted in a dirty, depressing, and meth rattled mill town.  I helped my friend Matt Jenkins run his label BARFING DAGGER RE-RECORDINGS, offering labor, insight, and support.  We both picked artists we were interested in and released stuff in a wide variety of formats, from CDR, 3inch, B-cards, and cassette.  There was a time where I truly felt we were doing something special for the noise community.  Then, the bottom dropped out.

I cannot precisely pinpoint how or why things changed.  I cannot even figure out what sorts of elements went into creating the climate that is still so damaging to the scene today.  I think part of it stems from an influx of artists who were less about community and more about fostering an attitude of exclusivity.  My friend Matt moved to Portland which effectively put an end to THE SUNKEN and to BARFING DAGGER RECORDINGS.  In the aftermath of this move, I realized that Matt and myself believed very different things about how to do noise.  He believed in practice and planning where I believed that practice was unnecessary in a genre that was open ended and happy accidents were things to be explored.  Philosophically speaking we grew apart and the partnership ended.  He went on to do his own explorations as REDNECK and I continued to work as CRACKED DOME.

I must back track a bit to illustrate a point.  I am unsure of the year but I think it may have been around 2008 or so when THE SUNKEN was playing a show in Portland.  Bits of conversation were picked up from various parties throughout the room.  It became quite clear that the new prevailing attitude in the noise scene was the one that had also infected the punk scene:  It is way cooler to act like nothing impresses you.  This attitude is one that I find to be patently disgusting and counter productive to the creative process. The room started to reek with a sort of arrogance and hipsterism that makes me want to fucking puke.  By the time THE SUNKEN started to play it became less about the noise we could deliver but more about the novelty of who we were and where we were from.  To be from Longview / Kelso was not cool in their eyes, it was something that made us inferior, poseurs, and interlopers to an exclusive club.  

Around this same time period I had taken a break from my project CRACKED DOME and took a different approach in a project I had named DEAD HITCHHIKER.  I set up my gear in a filthy and cold basement and prepared to deliver what I felt was something different and challenging.  What I got was cold stares and complete indifference on the part of the audience.  Again, I felt like an outsider who was only being tolerated and not accepted.  Portland was no longer the open noise market that it once had been.  It was now a den of self absorbed strangers who worked harder on trying to look like they were incapable of enjoying anything.  Many of these people also had their own noise projects and each of them acted like their noise shit did not stink.  When a scene becomes populated by individuals who only react to their own hype and fail to feed off the energy of their community, the community dies.

With BARFING DAGGER RECORDINGS and my own label BURNT SOUND OFFERINGS, many of the releases were on CDR.  This had been the prefered medium for which to put noise on.  Here, a disposable genre being imprinted on a disposable medium, seemed so utterly appropriate.  Especially to those more prolific artists who developed with each succeeding release, leaving previous works in the dust.  However, this medium fell out of favor and in turn it affected the output of the labels which I worked for.  It should be noted that BARFING DAGGER releases barely sold enough that the best one could hope for is to make some money back for all that we put in.  Only select releases sold out and we never made more than 50-70 copies of any release.  BURNT SOUND OFFERINGS ran on an even smaller scale as I never produced much product.  The scene had moved on from CDR and into boutique vinyl and high end one sided lathe cut releases.  If you were a label doing CDR based products you were basically an amateur not to be taken seriously in the larger world of noise.  Even oddball formats such as 3inch and B-card had fallen out of favor and were no longer seen as cool.  BURNT SOUND OFFERINGS simply died a slow death due to lack of interest and publc support.  

When I started the 'zine WITCH KUNT my love for noise and outsider music was still running at an all time high.  However, this 'zine came at a time when the elitist attitude and hipster generated scene politics were starting to infect the Portland scene like a bad case of AIDS.  While the 'zine enjoyed an great early run with orders coming from all over the world and even a notable order from one THURSTON MOORE, it was not to last. The 'zine died a sort of death and even changing the content a slight was not enough to keep things going.  It was simply too expensive of a project to maintain.  With a family to support and interest being at an all time low, I simply could no longer justify keeping both the label and the 'zine going.  

However, I find myself drifting back into the scene that I feel I made a notable contribution to despite scene turk sponsored beliefs to the contrary.  Indifference can be a bitter pill to swallow but it is not a valid enough reason to stop doing the things that one is passionate about.  In the final analysis I had to face the fact that I, GENE SYMPTOMS / BLASPHEMATOR / TYLER STOCKTON am an artist who has no real reason to stop creating.  The larger world may not see my work, may not read my words, may not hear my sounds but there is still people who I may still be able to serve.  While Portland Oregon's scene suffered a steady cannibalization by self serving try hards and the dictatorial whims of hipster creeps, places like EUGENE OREGON and SEATTLE WASHINGTON are still alive and thriving.  These towns still appreciate art and noise, the are still open to newcomers, still ready, still willing.  

To illustrate my point, I played my first show in several years at the 2013 EUGENE NOISE FEST.  I had long been waiting to get back into doing live shows and felt that this event was the perfect opportunity to do so.  Upon my arrival at the venue I was greeted by the friendly faces of noise allies I had not seen in several years, everyone was having fun, everyone was welcoming, and the negativity of the classic hipster put on was non-existent.  My set was far from flawless, but it was loud and enjoyable.  It was a great place to return to and an even better audience to play for.  Nothing makes the difference more than when one is allowed to ply their trade in a supportive environment free of the pathetic desire to look cool.  Some of you may scoff at this but it is a fact that I have experienced first hand. 

In the days and weeks leading up the Eugene show, I heard some offensive things being said about the Eugene scene.  A unnamed party, who should just know better in the first fucking place, made a backhanded comment about EUGENE NOISE FEST being the place for amateurs.  This to me seemed strange considering that ENF is one of the longer running fests in the northwest noise scene while PORTLAND has lacked any sort of community spirit since NOISE BBQ 2008 which was curated by ME. Again this is the sort of attitude that has ruined the cooperative spirit of the noise scene in Portland.  I truly believe that if Portland's scene wants to survive it is going to need to shed its parasitic participants rather quickly or else be passed up once again.  It is this infection which has made it nearly impossible for there to be anything exciting like ENF in Portland.  No spirit, no heart, no fucking scene.  The Portland scene is a joke and I think the punchline is becoming more apparent to those parties who have turned it into an exclusive club just for the phonies and assholes.   

From the looks of things on the MANIACS board, the only places where things are going on are in EUGENE and SEATTLE.  Seattle seems to be brimming with great shows full of newcomers and old schoolers.  While it has been at least 6 years since I have done noise in Seattle, it seems that the classic spirit of comraderie and support is allowing a vibrant scene to exist.  I hope to experience it first hand very soon as I plan on doing quite a few shows in 2015.  Again, there is no reason to allow the indifference of others to prevent me from doing the things I want to do.  The people who truly believe are out there and I want to engage in a true spirited give and take of a living breathing vibrant scene. 

So with all of this bitching, moaning and theorizing aside I would like to get to the real point of why I am writing all of this.  2015 is going to be a year when I get back to creating and not worrying about the fucking trends.  I am going to do the things that please me and those who want to be a part of it can join in.

GENE SYMPTOMS GOALS FOR 2015:

1. BURNT SOUND OFFERINGS will start releasing new material in 2015.  The first project on the table is the long awaited compilation which I solicited submissions for way back when.  However I am going to do something slightly different this time.  I want to release the compilation as a series of 3inch CDRs featuring 2-3 artists each.  In doing this I will be able to put out a killer series of discs with a great batch of artists.  The list of artists involved is long but suffice it to say each track I recieved was deadly and inspiring.

I also intend to release some material which has sat in the vaults for far too long.  The first of these releases is by 2673.  Not sure if he is still out there doing noise but he submitted material several years ago intended for BARFING DAGGER and I want to make that material available.  The other artist whom I plan to release is by GHOST MOTH. Their release 'Cosmic Bulldozer' is a scorcher that also deserves to be available to the public.

2.  In the first week of January 2015 my garage will be set up as a work space for both the label and the small scale screen print shop I hope to operate.  I will start doing limited runs of shirts for projects whom I deem worthy of such a thing.  The first shirts I hope to do are for CRACKED DOME and WARNING BROKEN MACHINE.  I may even do a  FUCK PORTLAND shirt just for shits and giggles but who knows.  I just want to have fun and learn some new tricks.

3.  While I am considerably light on gear, I hope to remedy that little by little as I gear up for some shows in the summer of 2015.  I want to rage in EUGENE and SEATTLE and meet up with old pals and meet new friends.

4.  While WITCH KUNT as a physical 'zine may be long gone, I am going to spend a lot more time on this blog page adding reviews, interviews, and anything else I feel like posting.  To those who have sent me stuff and have yet to see a review I truly am sorry for the delay.  You should start seeing your reviews as of this writing.  I will make a more concerted effort to review materials as they come in.  As always I will be open to all styles of noise / grind / hc / black metal etc and so forth.  Keep your stuff coming gang.

5.  I want to support the rest of you.  Even as hipsterism and elitist attitudes fuck up scenes all over the goddamned place, there is still so much good stuff to hear, see, read, and digest.  I will be sure to post lots of links to blogs, bandcamps, and websites worth your time and energy.  The only way to foster a positive scene is to spread the word.  

6.  I have started recording new stuff under the CRACKED DOME banner and my next release is going to be a split with A SNAKE IN THE GARDEN which will be released on California based label NEFARIOUS ACTIVITIES.  I am really stoked with the track I recorded as it truly runs the gamut of what I have become recognized before on past releases.  It has brutal harsh wall action and paralyzing drone.  Stay tuned for this one.  I am willing to work with any label who is interested in my work, especially the truly underground D.I.Y. labels.  Get in touch with me and lets make some noise happen.

Anyhow that is all for now.  Drop me a line, leave some comments, lets shoot the shit. Best wishes to all my long time noise homies. Hope the rest of the year is good to each and every one of you.  Stay safe and worship Satan.  Cheers. Symptoms.

CHECK OUT MY OTHER BLOG AT:

headlesspymprockalliance.blogspot.com

SUPPORT THESE BLOGS:

shroudedrecordings.blogspot.com

eugeneexperimental.blogspot.com

SOME OLD INTERVIEWS FROM PAST ISSUES.

SO IN AN EFFORT TO BRING YOU SOME OF THE MATERIALS FROM PAST ISSUES OF WITCH KUNT I DECIDED THAT IT WAS HIGH TIME TO INCLUDE SOME OF THE INTERVIEWS.  BEAR IN MIND THAT ANY ARTIST LINKS ARE AS ORIGINALLY PRINTED AND MAY NOT ACTUALLY BE ACTIVE ANYMORE.  THIS SHOULD NOT DETER YOU FROM DOING YOUR OWN FUCKING RESEARCH. ENJOY.

ARCANE XV:

ARCANE XV. I HEARD THIS BAND AND WAS TOTALLY FLOORED AT THE UNYIELDING PATH OF HATRED THEY LEFT BEHIND. GET INSIDE THIS BRUTAL FRENCH BLACK METAL HORDE IF YOU DARE.

who is involved with this project? names ages locations.

For the coming demotape(called maudit)the band consisted of KROF(drums)and I(guitars,bass,vocals).After the recording of the drums parts krof left the band and was replaced by A.R. I'm M.Z.K,I'm 28 years old.We're coming from Marseille city(the south of France)

how long has arcane xv been plaguing the earth?

started in the beginning of 2005.So there are four black years that ARCANEXV exists and grows in grimness and negativity!!

what are some other projects that you have been involved with?

KROF plays drums and vocals in MALEFICUM ORGIA(one of the oldest french black metal band),he also plays bass and vocals in GLOK,I play bass in GLOK too,and A.R plays guitar. It sounds really dark,sick and dirty!!!!  Some stuff'll be out one day. There is also another member of Maleficum orgia playing drums for glok

to me and my ears french black metal has a certain brutality and atmosphere that isn't found in other parts of the world. do you feel that is the case with arcane xv?

I agree,i think that the 90's have given birth (in France)to one of the darkest and most interesting scene.Some releases of the black legions remain definitely CULTE!!! To my opinion,bands likeVLAD TEPES,BELKETRE,MOEVOT and others represent the very essence of what the underground must be:  SOMETHING ELITIST!!! not for kids and posers. No need of expensive instruments and costly studio sessions but faith in what you create with your wicked mind!!! I don't know if ARCANEXV's sound spreads these atmospheres,your talking about....

who influences your art and music the most?

Of course,the 80's/90's black gods like hellhammer/celtic frost,dark throne,possessed,von,sodom(old),burzum and many others...that's for the musical aspect.

In literature I appreciate the works of Sade,A.LaVey,Nietzsche and the mysticism of A.Crowley. Addictions,nihilism,solitude and other deviant attitudes are very important in our way to play music.

does arcane xv play live? if so describe a typical show.

hope we'll do the first gigs in the early september. We want to create something very cold,dark...we've got some ideas but nothing really concrete for the moment. I want to add that we don't want to play live for fun but to create something very evil and sick!!!

what are your upcoming plans, releases, and the like?

We are working on our debut album.

The drums and rythm guitars are already recorded!!!

Otherwise we'll play live as soon as possible,drink a lot and Worship SATAN!!!!

You can contact us or listen to ARCANEXV's unholy noise at the following links:

CONTACT.

myspace.com/arcanexv

evilives_m.z.k@orange.fr

FOREVER I REGARD THE WORLD WITH CONTEMPT

FOR EVIL IS THE ESSENCE OF MY EXISTENCE

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MARTIN SASSEVILLE OF BRISE CUL RECORDS:

BRISE - CUL  RECORDS has  been holding the banner of noise aloft since 2002 and does things as they should be. the list of artists that have released works on this canadian stronghold of noise reads like an all star cast of deadly blasters. frosty droners. brutal black metallers. and crushing harsh gloom. from foutredieu to pulse emitter to karst to oscillating innards each artist always brings their best to the table and martin is the grand master dishing out the true d.i.y. goods. 

how many projects are you involved in?

my main project is Wapstan, this is the one I work the most on the aesthetical aspect. That's the one I record the most stuff with and the one i'm playing under live. GRAND NORD is the other one, it's my Knurl tribute project, concentrating more on very limited releases. I play only once a year live under that name, last year's one was opening for Knurl, which is one of my all time favourite noise project and now personnal good friend. Another recording project is named "ça" and is more of a field reecording thing. I got some other bands with friends like Selfish Implosions, Incapables, The TDK C90 but they are more on a sporadic basis as other members have personnal commitments...

give a little history about your artistic endeavors.

I started as Foutredieu!!! with a friend. It was a widely focused project with mixed aesthetics mostly based on making experimental music with a kind of artistic vibe. I started Wapstan 7 years ago focusing on making very cold noise. I dropped the dark side of it years ago as I think dark ambient is boring unemotionnal music. Wapstan is focused on very cold and direct ambience. I think with ages the sound matured and sounds more direct and cold to my sense. I think the biggest influence is the experience of being in a cold storm. I think the sound experience matters more than image and that's why all the provocative aspects of the noise scene never interested me. Being the most cold and neutral noise act is my goal... Same with GRAND NORD, there is always guidelines of no figurative artwork, no infos, releases have just numbers as titles. I'm slowly getting sick of all the very repetitive imagery of noise because in a way the importance of the sound is getting the second place. Same thing with the medium of the releases...

you have released black metal based projects on your label do you feel that there is a relationship between black metal and the more noise based material that you have released? Well, i'm from a northern part of Quebec and metal is a big thing. Metal is a very big part of our generation's culture in Quebec. I don't know if there is a relationship that is THAT relevant between both, but both are music that are made mostly by passionate people. There is some kind of imagery that can be shared by both scenes and somes sounds, but I don't know. Based on the label experience, I released mostly people who were interested in releasing their sounds on a DIY noise/experimental label on a format that 99% of the people hates. That's the thing with the label with every style, people who agrees to release something on Brise-Cul on the usual format are very welcome when they are invited, those who are too punk rock do their thing and that's the way it is... That's the point I guess, most people think the format is the message, that's maybe the most narrominded attitude part of the noise scene that bores me, there's too much emphase on the recipient and not in the content and i think that's the whole attitude of my label and the music, to focus of passionate music, not on how it looks...

what moves you the most when it comes to music? what do you want out of expect out of it? What I like is a big punch of energy, not the abuse of concept and words or image. You can feel it when you meet passionate stuff. There are too many stuff that are working way too much on the look than the energy the music delivers... It's all about the energy, whether it's hardcore punk, noise, metal, pop music or classical music and the cover art of the release or the lyrics have very few to do with it...

you have maintained a strictly d.i.y approach to your label when others have done otherwise. what is your opinion on those labels who are moving away from d.i.y. to more slick productions? I keep it because it's the way I like it, it's simple, not expensive to produce and it made it easier to release many artists I like instead of a couple per years. I have in mind to move to more conventionnal releases since I think there are artists in my entourage that deserves more exposure than the label can give them and as I like to work with them I am ready to go on a bigger level with them. I also think a more conventional compilation of Wapstan can be a good exposure to the project. For now it's just a plan... For now I keep on the usual spray painted CDR with the usual package.

do you apply your d.i.y. philosophies to other aspects of your life?

It makes me a very independant persone I think, for the good part or the bad part, it makes me do everything by myself and not working with other people... It can have positive sides but sometimes it can put you in bad ways...

what are some of the negative aspects of having a strong d.i.y. philosophy?

the relationship with "normal people", hockey will cure it...

you mention that metal is very important in your local area. who are some projects and/or bands that you enjoy? I think a band that i like a lot these days is Riotor from Québec City, they play the most conventional retro-thrash with leather pants and denim jackets and singing about how it's cool to be metal. I like Mortuas from Sept-îles, they are friends of a younger cousins and I released a solo project from a member, Night. By the moment that you read this there should be a release from an amazing project named Neige et Noirceur from here in Montréal. I like Menace Ruine from Montréal, they a very cool friends of mine and they have their own very intense sounds and I think Alien8 gave them a very nice exposure. There's also very nice sludge band I played with like Ghast and Cortisol. Most of all, one of my best friend is drumming in a party thrash band with 18 years old kids named Mouse Trap. That friend is also in a new band named Who Cares? with some other good friends including my best friend. Wapstan should be on their demo...

how do you feel that noise or music will change in the future?

I don't know, well, there will be more and more people doing stuff in their basement and will try to emerge. I just see it by the amount of crap that wants to be my friends on Myspace that there so many people that emerge and very few are good. The big change is that many will try to have play and very few will try to listen... It's like a very boring era when you get more people sending you email to know if you want to release stuff from them as an opportunity for them than people interested on the stuff you're working on. Everybody wants to write and no one wants to read... I don't know, I never sent a demo to anybody and I build the name behind Wapstan by working on my own and I don't know why people don't do that anymore... But there is still warriors that produces their own stuff and trade and promote their stuff, book their own gigs even if it's in a weird venue, invite people to play in their town, create a community with local artists that goes along well with him, etc... There are still hardworking people...

future projects, plans, label or otherwise?

I got many projects coming, but maybe they will be done by the time you read this, so keep on being cold and energitic both live and on stage are the main focus my projects should have and release most of the artists that I think are passionate and energitic on the label is my plan...

CONTACT

http://kvlt667.com

www.myspace.com/briseculrecords

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FINAL CHURCH:

FINAL CHURCH IS A GERMAN BASED NOISE ARTIST WHO IS BRINGING A SCALDING DOSE OF VIOLENCE TO YOUR PATHETIC CRANIUMS. GERMANY WILL BE ON THE FUCKING MAP IF FINAL CHURCH HAS HIS WAY. READ ON FOOLS.

name age location.

My name’s Michael Münnich and I just turned 29. I’ve been living in Hamburg, northern Germany for about 5 years. I grew up in the south-western part of the country, close to the french border. The area I used to live in is quite a provincial one, most people down there are pretty narrow-minded and it’s culturally neglected, so I left when I had the chance to.  

explain the name of your project. what are its origins?

The Final Church was founded in the late 1960’s by Charles Manson, referring to Aleister Crowley’s Ordo Templi Orientis, better known as O.T.O. But that’s actually not where I got the name from. One night my housemate (who owns a record store) came home and brought me a record, which was Christiane Felscherinow’s  ‘Final Church’ 12”.  That’s an awesome piece of vinyl as I’m pretty much into early 80’s german post-punk/obscure/wave stuff, and my first thought when I read the record title was kinda: “I should start something called Final Church.”

how long have you been doing noise?

I’ve been into noise and all kinds of strange and experimental sounds since the end of the 90’s, but mostly as a consumer. I started experimenting with the manipulation of sounds in 2003 or 2004, but just for fun with my computer and no hardware at all. I didn’t really get my teeth into it and quit the whole thing quite quickly. In the years that followed I rather spent my days in stuffy rehearsal rooms, either behind my drum set or with a mic in my hand. I seriously concentrate on doing noise since the spring of 2009.

 what are some other endeavors you have been a part of prior to final church?

I used to play in a few Hardcore bands since I was 16 or so, whereas the only one worth mentioning was “The Gentle Art of Chokin”.  We did a couple of records and toured Europe quite intensively, without a doubt a very important experience to me, which I wouldn’t want to miss.  However, certain things within the band didn’t work well (at least in my opinion), that’s why I quit after returning from touring the UK in 2008. As far as I know they continue with a new vocalist.

who are some of your influences be it music or art or literature?

That’s hard to tell, probably most of the stuff I’ve been into during the past 15 years or so. I guess concerning the sounds I make, there’s a few specific  artists who really made a lasting impression on me, e.g. Whitehouse and Best/Bennett’s related projects, The Schimpfluch Gruppe and associates, some japaneses acts such as Masonna etc, and not to be forgotten my good friend Alex, who gave me an understanding of bizarre sounds in several ways.

what is the story behind the tracks 'saturday night boredom'?

Nothing special, just what the title suggests. It was a saturday night and I was bored to death, so I started recording a couple of cut up pieces with my sampler and a contact mic. It was more kinda fun thing, no serious recordings, the tracks won’t be released in any way.

how do you describe your noise? obviously you work in the harsh realm but you appear to not stay too rigid in your approach.

Usually I avoid describing my sound, as well as using the term noise, as it’s been turned into a featureless, trivial item (however, I will keep on using it for the interview, as it makes certain statements easier).  I suppose it takes several years to find something like an own style or sound or whatever. I’m just doing what I feel like and probably no FC release will sound like the one before. I’m still trying to combine different elements/objects/devices to get the most out of my capabilities. Concerning the harsh thing… yes I’m pretty much into severe, unpleasant electronics, especially when it comes to performing/recording things. To me it’s comparable to playing a good Hardcore show or the feeling I had when I listened to certain records for the first time. It’s intense. I don’t know in which direction Final Church will develop, I’m quite curious about it.

being from germany what is your local scene like in terms of noise? are people supportive of what you do?

After 5 years of living here, Hamburg itself is still awesome to me, but when it comes to extreme experimental music in any form it sucks ass. Totally. There’s a few boring, bourgeois, pseudo intellectual morons who deal with experimental music in the broadest sense, but only very, very few dedicated people i esteem, people who do decent and exciting things. Noise gigs are rare, and if there’s exceptionally  a promising act playing the city, I usually don’t go there because I’m sick of the same 20 bored, lame faces who show up everytime. They make me puke. I don’t even remember the last gig I’ve been to, probably it wasn’t a noise gig.

The people who are important to me (and that’s less than a few) are totally supportive of what I’m doing. I guess some of my acquaintances don’t even know that I’m doing something like noise or experimental electronic stuff, but that’s ok, as most of them aren’t into noise anyway.

do you perform live? if so which do you prefer: live or recording?

I didn’t perform in public yet.  Up to now I enjoyed recording sessions and living room performances very much, therefore I wouldn’t exclude live performances at any time in the future.

what are some of your upcoming plans and projects?

Concerning Final Church, I have a few upcoming releases to be out even this year, such as a 3”cdr on Quitter’s DumpsterScore label, as well as a split with Richard Ramirez on Deadline Recordings, and possibly, as you know, a split with Cracked Dome later this year (While typing these lines I notice that the names Cracked Dome and Final Church go very well together). Further I’m going to release a C24 on Fragment sooner or later, which is the first part of a 3 piece cassette series.  There’s some more plans and ideas, but nothing definite yet. Besides I’m busy with running the Fragment Factory, trying to bring a few more releases into the light of day this year.

CONTACT

fragmentfactory.blogspot.com

www.myspace.com/thefinalchurch

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RHUITH:

RHUITH is a unique black metal project from italy who has managed to maintain the true grim aesthetic while reaching out into other genres for inspiration. while his black metal works are straight from a dark cold basement lit by candlelight rhuith also finds further avenues to stalk by covering some interesting non metal artists.  i firmly believe that rhuith is someone that you need to hear. 

what are the origins of rhuith? 

I’ve started thinking seriously about Rhuith in 2004. At that time I was playing bass guitar, as a session musician, in another  band. The singer, a friend of mine, asked me to join his band to record a promo cd and do some gigs.  Rhuith was a name that was in my mind since the nineties but i was always afraid to use it cos’ i was involved in other bands and didn’t want to “waste”  this moniker starting a project just to end it in after a couple of months.  I felt that was important to me  to create something stable and concrete named Rhuith. As I said in 2004, being just a session musician, i was free to think about a new project  so i resumed “Rhuith” from my memories and started recording stuff. But, as always, things are never as we want and the band i was playing in started to demand more attention from my side cos’ we did a lot of rehearsal, played some gigs and recorded a lot of stuff. In 2007 during the umpteenth change of the band’s line-up i found the time to return to Rhuith and record the “Demo 2007”. At the beginning of 2008 i decided to leave the band and concentrate only on Rhuith.

had you done other projects prior to rhuith?

Yeah, I’ve been involved in many project before Rhuith; like many people i’ve started my first band when i was a teenager but we went nowhere, people were coming and going since the beginning and only in 1994 i started thinking about doing a solo project instead of looking for other members over and over. Anyway,  project  that meant something to me prior to Rhuith are:  Absurdum (occult weird black metal 1994-1995) Thou Ask Divinity ( a sort of proto avant-gard black metal 1994-2000) Uji (ambient-noise 2000-2004).

how would you describe your music? 

I think that we can easily describe the music of Rhuith as “weird black metal” and with “weird” i mean unconventional lyrics, strange sounds, lo-fi production, and a piece of “i don’t care if this doesn’t sound completely black metal” attitude.

list a few of your influences and how they reflect in your own work.

Regarding the lyrics we can basically sum my influences up in three groups: Twin Peaks, H.P. Lovecraft, the occult. I always write the lyrics after the music, the music creates the feeling and I write the lyrics in a sort of “trance”. In the past it was different, my approach to the lyrics was more “straight”, I was obsessed about writing lyrics that were perfect in every way while now I have a totally different approach, more chaotic, a little bit confused but more primitive and exciting. Regarding music the influences are many,  what I’m trying to do is to create a “Rhuith sound”, I really like the use of the voice in Urfaust, the quickness of mind of Circle of Ouroborus, the primitive and improvised composition of Dead Reptile Shrine, that’s the kind of music that i like to listen to, and that’s the kind of feeling that i want to create with Rhuith. I like artists that have no fear to expand the territories of their music.

you mention twin peaks, are there other works by david lynch that you enjoy? 

Well, I love everything he has done, movies, painting, photos, luckily last year there was an exhibition in Milan and i had the chance to see all his painting and some interesting sculptures too. Talking about movies, besides Twin Peaks, i really like Lost Highway, Blue Velvet, and Dune. There’s an interesting old book called “Lynch on Lynch”, it’s a long interview on all his movies (from Erasehead to Lost Highway if I’m not mistaken) with a lot of great anecdotes. Recommended.

since you are known to do some bizzare cover songs why do you pick the songs that you do?  Ah! the cover songs! It seems that Rhuith is gaining attention because of this and that’s really interesting, i’m glad that many people like my cover songs. Anyway, back to your question, a lot of bands do cover songs but they always cover bands that make the same kind of music. I don’t like that, since i listen to a lot of music, all kinds, i found more fun in covering non–metal songs. I don’t like ultra–structured songs, with complicated arrangement; bands like Placebo, Portishead or Depeche Mode do very simple songs with great feeling. That’s what I’m looking for, feeling. The choice of the song comes very naturally, sometimes I grab a cd from my collection of non-metal artists and if there is something that draws my attention or a song that reminds me something special, i try to write down a cover version.

rhuith.bandcamp.com

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RICHARD RAMIREZ:

RICHARD RAMIREZ needs no fucking introduction in my estimation. if you are among those who like harsh blasting hatefilled sonic violence pounding on your eardrums there's a good chance that richard ramirez is behind it in some way. the man has been a mainstay of the noise scene for 20 years and is far from finished punishing you. he is ever changing and d.i.y. to the core. so bend over and take your noise beatdown like a man.

a brief history of richard ramirez.

I STARTED BLACK LEATHER JESUS IN 1989 AND MY LABEL, DEADLINE RECORDINGS IN 1992. I DO VARIOUS STYLES OF EXERIMENTAL MUSIC, BUT MOSTLY HARSH NOISE AND HNW (HARSH NOISE WALLS). I'VE DONE SHOWS MOSTLY IN TEXAS, BUT HAVE DONE SOME IN SEATTLE, PORTLAND, ATLANTA, NYC, VANCOUVER B.C., MEXICO, AND TOKYO. I ALSO DO A TAPE LABEL, DEAD AUDIO TAPES, AS WELL AS, A HNW ONLY SERIES CALLED, H SERIES.

have you done any other projects that are outside the noise realm.

I DO HAVE PROJECTS THAT ARE MORE DARK AMBIENT, DRONE, EXPERIMENTAL THAN JUST HARSH NOISE SUCH AS BATTERY SUSPECTS, THRESHOLD OF SLEEP, AUTOPSY EXPERIMENT, PRIEST IN SHIT, ANATOMY OF A BLACKOUT, AND SEVERAL OTHERS. OUTSIDE OF MY WORK WITH NOISE/LABEL, I AM A FASHION DESIGNER. I DO "AVANT-GARDE" CLOTHING UNDER THE ALIAS, RICHARD SAENZ. RAMIREZ IS MY REAL LAST NAME (JUST FYI). MANY DON'T BELIEVE THAT, BUT IT IS TRUE.

what was the first noise related projects or artists that set you on your current path?

I FIRST GOT INTO EXPERIMENTAL MUSIC AFTER HEARING NURSE WITH WOUND ON A LOCAL RADIO STATION. I WAS BLOWN AWAY BY THEIR WORK. AS FAR AS NOISE, THE HATERS WERE ONE OF THE FIRST THAT I HEARD AND LOVED. I ALSO STARTED LISTENING TO HIJOKAIDAN, CHOP SHOP, EMIL BEAULIEAU, THE NEW BLOCKADERS, MERZBOW. I THINK THE HATERS WERE MY MAIN INFLUENCE IN MY WORK.

since the majority of your work is on the harsher side of things was that the case from the get go or had you experimented with other sonic approaches?

MY INITIAL WORKS WERE MORE IN THE STYLE OF NURSE WITH WOUND, P.CHILDREN, SUDDEN INFANT. THAT WAS THE STYLE OF THRESHOLD OF SLEEP. BLACK LEATHER JESUS WAS ALWAYS NOISE, BUT GOT MORE HARSH AROUND 1991.

does being from texas play any sort of role in how you go about making noise? to me there seems to be this sweaty undercurrent that seems to pervade your work which would betray some southern origins.

HONESTLY, I LOVE TEXAS A LOT! THE WEATHER IS HORRIBLE, BUT I LOVE HOUSTON THE MOST. HOUSTON HAS SO MUCH TO DO. IT'S NEVER BORING. HOUSTON HAS THE SECOND LARGEST THEATER/ART DISTRICT, SECOND TO NYC. AGAIN, IF YOU'RE INTO THAT, WHICH I AM. THERE'S A LARGE NOISE SCENE IN TEXAS AS WELL. HOUSTON ALONE HAS OVER 30 ACTS THAT I CAN NAME INSTANTLY. I THINK A LOT OF TEXAS NOISE ARTISTS' WORK TEND TO BE MORE "RAW" IN SOUND. VERY "INDUSTRIAL" IN THE OLD SCHOOL WAY OF CREATING.

to go even further off the beaten path: how much does your sexuality play into your work?

IT PLAYS A MINOR ROLE IN MY WORK. MOST OF MY WORK HAS MORE TO DO WITH HORROR FILMS, BUT WITH BLJ AND UNDER MY OWN NAME, BONDAGE/S&M/GAY SEX TENDS TO BE THE GENERAL THEME. I USED TO SEE ALL OF THESE "PORNOISE" RELEASES WITH CUNTS, TITS ALL OVER THE COVERS, AND I THOUGHT, "LETS SEE SOME DICK TOO!!!", SO I DECIDED TO DO SO WITH ART. IT WAS NOT INTENDED TO BE "IN YOUR FACE", BUT I GUESS SOME THOUGHT SO. I REALLY DIDN'T GIVE A SHIT WHETHER PEOPLE HATED IT, IT WAS MY EXPRESSION OF WHO I AM, SO WHY NOT SHOW IT? I AM NOT SAYING ALL GAYS SHOULD DO THIS, BUT I JUST WANTED TO.

who are some artists both inside and outside of noise that you admire? this could be musicians authors painters et al.

I ADMIRE G.X. JUPITTER-LARSEN, MARK ROTHKO, FRANZ KLINE, RICHARD RUPENUS, SAM McKINLAY (THE RITA), LUCIO FULCI, SERGIO MARTINO, REI KAWAKUBO, DARIO ARGENTO, MARTIN MARGIELA, JESS FRANCO, HELEN FRAKENTHALER, AD REINHARDT, AND UMBERTO LENZI.

with all this rampant violence and devious sexual tension in your work, what are some your favorite movies and horror classics?

I AM A BIG FAN OF UMBERTO LENZI, JESS FRANCO, SERGIO MARTINO, DARIO ARGENTO, MARIO BAVA, PETE WALKER, MASSIMO DALLAMANO, & ALDO LADO.SOME OF MY FAVORITE FILMS ARE: JOHN CARPENTER'S THE FOG (original one), THE BIRD WITH THE CRYSTAL PLUMAGE, EYEBALL, BLOOD AND BLACK LACE, THE NEW YORK RIPPER, GIALLO A VENEZIA, THE HOUSE OF WHIPCORD, THE BLACK BELLY OF THE TARANTULA, TORSO, JU-REI, OFF-BALANCE, CANNIBAL FEROX, AND THE MIDNIGHT RIPPER. I HAVE A HUGE HORROR FILM COLLECTION AND CANNOT LIVE WITHOUT THEM. MY FAVORITE GENRE OF HORROR/THRILLER IS "GIALLO".

how many projects are you a part of? seeing as how there has been a large proliferation of harsh horror / sexual / deviant harsh wall artists in the last few years do you feel that your work has influenced others? how do you feel about all this harsh noise going on?

I HAVE TOO PROJECTS TO EVEN COUNT. I DON'T EVEN KNOW. I HAVE SO MANY FOR TWO REASONS: I LOVE WORKING WITH OTHERS AND I GET BORED WITH DOING THE SAME PROJECT OVER AND OVER. I LIKE TO START FRESH AND SEE WHAT HAPPENS WITH A NEW PROJECT. I'M SURE IT'S ANNOYING TO SOME, BUT I LOVE WORKING ON NEW PROJECTS/NAMES. IT KEEPS ME INTERESTED. IF SOMEONE TELLS ME THAT I INFLUENCED THEM, THAT'S A HUGE COMPLIMENT AND HONOR. I AM VERY GRATEFUL. I HATE ARROGANCE IN ANY FORM OR GENRE. IT'S STUPID. IF AN ARTIST THINKS HE/SHE IS THE BEST, THEN THAT MAKES THEM LOOK PATHETIC AND NOT IN TUNED WITH REALITY. WE ALL COME FROM SOME INFLUENCE. THE WHOLE POINT OF THAT IS TO GET SOMEONE MOTIVATED TO CREATE AND THAT'S GREAT. NOT TO MAKE OTHERS FEEL INFERIOR. ENJOY WHAT YOU DO AND HOPE OTHERS LIKE IT AS WELL. THERE'S NO NEED FOR "THIS IS BETTER OR THAT SUCKS". I MOSTLY DO NOT LIKE ARTISTS THAT I KNOW THAT ARE ARROGANT. THERE QUITE A BIT OF THEM IN NOISE. THEY'RE A JOKE. MOST OF THEM DON'T LIKE ME EITHER AND THAT'S FINE. I'M NOT THE BEST AND I HAVE NEVER CLAIMED TO BE. THEY NEED THEIR REALITY CHECK THOUGH. SOMETIMES THE NOISE FORUMS TEND TO BE "HIGH SCHOOL" AND THAT'S ANNOYING AS WELL. IT TURNS INTO EITHER AN ASS KISSING THING OR A "WHO ELSE HATES..." DISCUSSION. I GUESS IT'S EASIER TO SAY SHIT OVER THE INTERNET INSTEAD OF IN THEIR FACE. I'VE CALLED OUT PEOPLE SO I GUESS THAT MAKES ME AN EASIER TARGET OF HATE MAIL AND COMMENTS. THAT'S OK. IT DOES NOT BOTHER TOO MUCH ANYMORE. I'VE DEALT WITH WORSE SITUATIONS THAN HATE MAIL.

what do you prefer: playing live or recording? what sort of preparations or thought processes do you go through to make either situation happen?

I PREFER RECORDING. I HAVE A MILD CASE OF STAGE FRIGHT. I DO LOTS OF LIVE PERFORMANCES, BUT I ALWAYS GET NERVOUS. I ENJOY IT, BUT IT STILL SCARES ME AFTER ALL OF THESE YEARS OF DOING IT. I DON'T PREPARE FOR LIVE SHOWS. I DON'T REHEARSE OF ANY KIND. SOME SHOWS GO WELL, SOME DON'T. THERE ARE ARTISTS THAT REHEARSE AND THEIR SHOW STILL DOES NOT GO WELL, SO FOR ME, REHEARSAL DOES NOT MAKE FOR A GOOD LIVE SHOW. FOR RECORDING, I HAVE TO BE IN THE MOOD. IF I'M NOT, IT USUALLY DOES NOT COME OUT THE WAY I WOULD HAVE LIKED IT. I REALLY DON'T LISTEN BACK TO ANY OF MY RECORDINGS. I ONLY LISTEN TO THEM RIGHT AFTER I RECORD AND DECIDE IF I LIKE IT OR NOT. I WON'T GO BACK TO OLD RECORDINGS AND RELISTEN UNLESS I HAVE TO DO SO. I PREFER LISTENING TO OTHERS WORK, NOT MY OWN.

what are your upcoming plans? releases? projects tours? so on and so forth.

THERE IS A WEREWOLF JERUSALEM CD BOX SET COMING OUT ON SECOND LAYER RECORDS, A MEAT SHOP RAPIST LP ON TRASH RITUAL, A RICHARD RAMIREZ COLLECTION CD IN THE WORKS, SOME BLJ CD REISSUES, AN INNOCENT YOUNG THROAT-CUTTER/...MASSACRE SPLIT LATHE ON PHAGE, LAST RAPE LP ON TRASH RITUAL, A BLJ/HOMOPOLICE SPLIT LP IN THE WORKS, AND HNW CD V/A COMPILATION FORTHCOMING. SOON, THERE SHOULD BE TWO LPS ON URASHIMA RECORDS, VICE WEARS BLACK HOSE (A PROJECT THAT I DO WITH SAM McKINLAY OF THE RITA) AND A LAST RAPE SPLIT LP WITH ALO GIRL. THERE'S A BLACK LEATHER JESUS TOUR PLANNED FOR SPRING 2010 FOR THE NORTHEAST. WE ARE LOOKING AT 5-7 SHOWS BEING PLANNED. WE'RE HOPING TO DO SOME SHOWS WITH TASKMASTER AS A JOINT TOUR. I AM WORKING ON A COLLABORATION WITH THURSTON MOORE. FINALLY, A FULL-LENGTH WITH ANATOMY OF A BLACKOUT SHOULD BE READY SOMETIME SOON. ANATOMY OF A BLACKOUT IS A PROJECT WITH MY BOYFRIEND (of 9 years), JOVAN HERNANDEZ(ze'r0-sum).

when the fuck are you coming up here to the northwest to play noise bbq? you are definitely high up on the list for must have performers. 

MAYBE NEXT YEAR. I LOVE THE NORTHWEST. I HAVE BEEN A FEW TIMES, DONE SHOWS THERE AND HOPE TO RETURN SOON. JOVAN AND I HAD DISCUSSED MOVING TO SEATTLE IN A FEW YEARS, BUT WE WILL SEE.

CONTACT

http://richardramirez.blogspot.com

http://www.deadlinenoiserecordings.com

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SAILOR WINTERS:

SAILOR WINTERS  is a georgia based ambient / drone artist whose work i find to be among the most engaging within the underground. his work dredges up both dreamy and hellish feelings that will stay buried in your ears long after listening. his label black noise is home to equally phenomenal artists that i highly urge you to check out and support. get ready for total oblivion.

name age location etc

Hey there! I am Ryan Cox. I live in Snellville, Georgia. I am 31 years old. I eat baby poke salad once a week.

give us some history behind sailor winters

I started the Sailor Winters project after my band Nocturne for a Dying Planet went under (James went on to form the thrash band American Cheeseburger). This was about 2004.

you appear to cross alot of genre boundaries but none of it sounds contrived. what type of music do you consider sailor winters to be?

All of the projects and bands I was in prior to Sailor Winters I had less than total control. I want to make whatever music hits me on that particular day and not have some genre prick tell me otherwise. Sailor Winters is anything and everything.

what sort of equipment do you use to create your music?

I use keyboards, guitars, drums, pedals, organs, toys, piano, and I make my own instuments.

influences music or otherwise.

Heroin(past),Nature,Too many types of music to list,my hatred for all past people I have played with,my hatred for most women,John Fante,Cosmos,Steve Reich,Marilyn Chambers,movies from the 70's (mostly horror),analog equipment.

you mention heroin. had you done music under its influence? how does it compare to current works?

i most certainly did. i don't think much has changed. there was less productivity at first but, that corrected itself.

i noticed that you have burzum as one of your top myspace friends. i for one can hear a definite parallel between your work and varg's especially in some of the more morose keyboard parts you use which remind me of 'daudi baldrs'. do you feel that there is a connection in any way?

his music is inspiring. i can't put my finger on it. his songs are dreams. i want people to think of my songs that way. i live in a dream.

tell me more about your label black noise.

there were alot of bands i love that hadn't put out proper releases due to lack of funds. i was happy to help. no manifesto. no politics. no boundaries.

do you play live? why or why not?

I did with other projects but, not this one. Too much equipment, not a big enough vehicle, too far away from venues, and I'm trying to stay sober and that is hard as hell when you are playing out.

what are your future plans?

Lot's of releases, keeping my label BLACK NOISE up, and staying alive long enough for a double gatefold album. 

you mentioned staying alive long enough to release a double gatefold l.p. is this the ultimate goal for sailor winters?

yes. i also want to play a cruise ship.

contact:

www.sailorwinters.com

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CHEERS:

GENE SYMPTOMS

Reviews Fall and Winter 2013 / 2014

Before I throw you sons of bitches head first into more reviews let me first state what's up with Gene Symptoms these days.  I had good intentions of relaunching the zine when I sent word out in the Summer.  However, I opted to change my mind, so instead of wasting a bunch of money on a zine that I cannot afford to make enough copies of to meet the periodic spikes of demand that come my way; I will post all reviews here.  This next batch of reviews were intended for issue 8 and here is a small fraction of those.  I still have more material to review and it will all get posted within the next few weeks.  After this, if you send stuff I will review it and post it immediately.  That way the reviews will be current and up to date.  At this point I'm still reviewing stuff I received over 2 years ago.  But even though some stuff may be old news I am pretty sure a lot of this stuff has not been reviewed by anyone; at least in the United States so there is that.  As this blog grows in size and scope, I hope to start posting images, sounds, and other things of interest to you sound consumers out there.  I appreciate all the support I have gotten over the years and I intend to keep flying the flag for extreme music despite not doing it in the form of a physical zine.  Again, if you have material that needs to have a non-biased, nonjudgmental, even handed review please feel free to get in contact with me at witchkunt@gmail.com and lets hook it up.  As stated previously, after this and the next round of stuff, I will review things only as they come in so that everything you read is timely and current.  Send me stuff because I love packages.  Also…..feedback is greatly appreciated as well. Enjoy and Cheers. Gene Symptoms.
SPECIAL NOTE: I just noticed that there are some typos here and there. Future reviews will not have any of that. I got in a hurry so fuck you.

Loopool. ‘Navigator's Spicetrance.’ 3inch. Ad Nauseam Records.

some definitive deep trancelike stuff to be had here. immediately i was transported to the deepest regions of space and left to contemplate nothing. loopool's delivery is one that is ever shifting, albeit very slowly, yet maintains even tones and thematic texture. very dead and empty sounding but still rich in haunting ambient power and a very dense mournful mood. while far from a reinvention of the wheel, loopool has demonstrated great skill and care with his art. this 3inch is a quality listen and should warrant further investigation into loopool's work.

Resin Cum. 'act V: Arbeitsschew.' CDR. Gay Noise.

this 6 track disc goes in several different directions and each of them is fantastic. resin cum manages to straddle genre barriers and cross pollinate to give your ears a real goddamned treat. this can only be described as bleak lo-fi ambient soundscapes with songs creeping in and out of crispy layers. hot crumbly breathing gives way to in the red piano and guitar treatments. while things shift rather rapidly from track to track and within, resin cum seems to be able to move about freely into different areas without coming off as a forced production. to my eyes and ears this is what DIY is all about: a thorough ear scrubbing jaunt through the backside of the night packaged ever so nicely in a handmade package. this is a shoe in for top release of this here issue of witch kunt. seek this out and get inspired. act fast though as there are only 50 physical copies otherwise go support resin cum's facebook and bandcamp pages. seriously excellent stuff that is well worth your while to check out.

Junko and Kylie Minoise. 'Nature.' CD. Dirter.

I think you motherfuckers know what you are in for here. a single 39 minute holocaust for your auditory system. what you get is a three pronged attack of brittle static, degenerative feedback, and bowel curdling screams. there is no subtlety, no relief, and no hope to be had here. you will feel the pain and you are going to like it. this one is definitely one for the serious devotees of damaged speakers and domestic violence. cruel and barbaric hatred for the harsh heads. cheers fuckers.

Zalhietzli. Self titled. CDR. Zugzwang productions.

This CDR is a compilation which includes 2 releases and is a great overview of what Zalhietzli brings to the noise table. The five tracks on this disc are in the 5 to 12 minute range and run an interesting gamut of styles.  On the one hand, with the opening track “Juvenile” you the listener are thrown head first into a frosty bleak soundscape that exhibits no changes or variations. The dramatic emptiness continues into the second track but with the additional introduction of some primitive electronic beats. This particular addition is a non intrusive one and rather compliments the ambience quite nicely. The disc continues onward in this particular manner and closes as it begins with a deadened morose drone on the track “Chemtrails Over the Rainforest”.  So again, Zalhietzli brings together the heavy droney ambience with some proto electronic rhythms and loops to create a very interesting listen.  The one knock against this disc is the sampled vocals which take away from the power of the sounds on display.  A great release nonetheless that retains a powerful simplicity that could warrant repeat listens on your hi-fi set up.  

Arvo Zylo / Dental Work. 'Velcro Bismol.' CD. no label listed.

Here you have a killer disc full of stuff to crush your delicate eardrums for certain. According to the inside credits, this release consists of source material provided by dental work which was then reassembled and very handily mutilated by arvo zylo. Some brutality, mixed with some quiet loops, violent stop start harshness, and some low key moments where you can catch your wits. What I found was that the quiet bits were often so long that I sort of tuned out but then would get jarred back to attention when the heat got turned up.  When this disc gets harsh it goes straight for the balls with a nice loud swift kick.  Again, when I say this fucker gets loud, it gets very loud, which is exactly how I like noise releases to be.  The loops which I would attribute to dental work’s source material are often quite rhythmic and hypnotic and get buried when arvo zylo turns on the power. In some spots I really felt like I did not want to hear the source material but that is just a personal preference of mine. For me this disc succeeds when it is crushingly loud and violent as it feeds my need for harsh noise. This disc falls short in some of the quieter bits as they sometimes seem too long.  However, this should not deter you from at least giving this release a spin and judge for yourself. A very solid outing this one.

Richard Ramirez / Crucifix Eye. Split. C32. Forever Escaping Boredom Records.

Well gang I think you know the goddamned drill here.  Anytime a Richard Ramirez release shows up at my house I always know I’m gonna get buttfucked out of my panties with some of that evil Texas brutality. This cassette is no exception as it is crammed full of trashy hatred on both sides.  Crucifix Eye dedicates their 16 minute side to dishing out a simple yet heavy duty wall that never wavers and never relents.  No Earth shattering noise revelations to be had, just a brain scorching wall of hatred. Richard Ramirez dishes up some nasty grit and grind with plenty of screaming feedback, skin peeling static, and plenty of stop/starts to keep you guessing where you’re going to get stabbed next. Throw your ears in a deep fryer and think it over. A solid split to be certain.

Zone Tripper / False Flag. Split. C18. Forever Escaping Boredom Records.

Holy shit, this split cassette is a ghastly reminder of what noise can be when people quit with the trends and get down to the business of making some noise. Both sides are densely layered with pure audio terrorism and harassing PE styled vocals. I am calling this one right down the middle as both sides absolutely slay. I cannot recommend this one enough. Get the fuck with it and seek this one out at all costs and come on in for the big win. Stellar work.

Su Sous Toulousse en Rouge / Roro Perrot. Split. Forever Escaping Boredom Records.

This split here is a true mixed bag and in my opinion is actually only a one sided cassette.  First off, Su Sous Toulousse en Rouge deliver a nicely formulated howling spectral blast with intermittent pulses and scratchiness.  Its variations are slight and hardly noticeable yet just engaging enough to hold your attention.  For me it is these sorts of pieces which I enjoy the most as it takes great restraint to not go all over the place and the restraint is what makes this one work. A real loud and dead wail of lost souls coming for you.  However, as is often the case with split releases, where one project makes the most of their respective side, the flip side can sometimes be incredibly difficult to make it through.  Here we get Roro Perrot, bumbling and fumbling his way through a broken mess of damaged folk noise.  Out of tune acoustic guitar, tons of reverb, garbled singing and tons of weird out of place stops and starts. This is just simply terrible stuff.  If Roro Perrot is in fact HNW master Vomir, then he really needs to stick with his main project and not fuck around with this goddawful bullshit. Maybe I’m not hip enough or I just fail to get the joke but I find this sort of stuff tiresome and without merit whatsoever. This split gets the nod only for Su Sous Toulousse en Rouge who pull all the weight with their capable and powerful work.

Emil Beaulieau and Raven. ‘s/t’. tape. Forever Escaping Boredom Records.

It has been a long time since I have heard anything from Emil Beaulieau and it is nice to see he has not lost any of his penchant for the loud and harsh.  On this collaboration project, Emil Beaulieau and Raven get down to doing some serious HNW action. There’s no real reason to describe to you what you should already know.  This tape is total fucking burial.  Crank it up and go to hell motherfucker. 

Zalhietzli. ‘Chiral Tape.’ Cassette. Zugzwang Productions.

Don’t let the slightly unimpressive yet mercifully short beat excursion deter you in any way. Once this tape gets cooking it gets crispy as fuck and stays there. Helicopter flying through dirt. Face melting off slowly. Skin turning to syrup. Totally dead frequency action. The B side is a continuation of the dour scrubbing your brain gets on side A.  By the conclusion; everything is lurching forward and backward in frustrated stops and starts; until the entire thing dies a quick and restless death at the end. Again, the beginning moments of this tape are off putting and this piece would have been served better had this portion simply been excised from the final product. A short listen but one that could provide you with some good listens while trying to figure out what to do with the corpse on your living room floor. 

Emotion of Loss / Zmajevdah. ‘split.’ Cassette. Zugzwang Productions.

Intriguing excursion into multiple genres all wrapped in sickening buzz and haze. Croatian artist Zmajevdah combines black metal elements with some droney shoegazer haunts to create a fantastic listen that cradles you gently and then drops you head first on the linoleum. There is plenty of desperation, urgency, and anguish to urge you on to slam dope and seek oblivion. With Emotion of Loss, you get dispatched to the other side and treated to a bleak and blackened dronescape that evolves with the speed of molasses into a doomy meditation. The beat is methodical and plodding, the bass is totally bowel rattling, and the vocals are hateful. This split is a killer reminder that heavy music does not have to follow the trends, but rather, it can serve as a way forward to future musical agonies. Essential listening for you as you pop pills and write suicide / love notes.

Pusdrainer. ‘Sperm Bank Horror.’ C32. Jungle Crunk.

This fucking tape is making the palms of my hands sweat in a not so good way. Porno sounds interlaced with a percolating rattle painting one of the ugliest pictures my ears have ever heard. My mouth is dry, my palms are soaked, and my ears keep picking up on a not so pleasant fuck scene. By the end of the A side I have the urge to piss and I am unsure about flipping this tape over. This may or may not be a good thing I must add. But of course I flip it over and get treated to more sweaty perversion. Heavy breathing ushers in a severely broken siren like call that buries the jack off / rape / fuck session in a hearty damaged grime. Someone is getting fucked up the ass and it sounds incredibly unpleasant. What you get here is one of the gnarliest releases that I have ever heard, absolutely fucking creepy and traumatizing.  

En Perro. ‘Cementerio de Ideas.’ 3inch. Buh Records.

Here we have some old school primitive noise from Peru that will most assuredly incinerate your hearing. Totally loud and delightfully obnoxious in approach and texture. While there are no new revelations, the old school approach will appeal to old timers such as myself. Again, this release is loud as fuck and delivers at a level appropriate for the style it dwells in. Rusty nails fired out of an assault rifle aimed at your head all while the gulag around you burns. You collection won’t suffer without this 3inch but the fact that it’s from Peru should be enough for you to dive in and get a taste of what sort of damage comes from our southern brethren. 

Overdose the Katatonic. ‘Self Titled.’ CDR. Ka Records.

Seattle noise maniac Overdose the Katatonic delivered a set at this year’s Eugene Noise Fest that knocked my dick in the dirt.  Not only did he dish out noise like a deranged tank but his recordings also beat your ass too.  Harshness all over the goddamned place accompanied by sporadic vocal venom is how he likes to get the job done.  This disc is a deliciously damaged mess that will have you reaching for the psych meds in no time. The destruction goes on and on all while incinerating your eardrums in the finest traditions of old. True hardcore hate from one of the Northwest’s finest noise heads.

Holy Filament. ‘Year One.’ CDR. Den of Dead Trees Recordings.

When it comes to noise, I always get this weird notion in my head that Seattle seems like a million miles away.  Holy Filament confirms this notion of mine with a long form ode to loneliness and desperation.  ‘Year One’ runs a familiar gamut not entirely unlike fellow Seattle noisers Blue Sabbath Black Cheer as the listener is treated to a radio that has no stations.  Holy Filament issues forth a long drawn out nightmarish search through the frequencies in order to find a friendly voice.  Deep fried highs and painfully dead lows abound on this one.  Out of the six tracks; all of which are superb in execution; this disc really starts scaling some big time heights on the third track ‘Cave Dweller.’ After that, the dark ambience strikes a killer counterpoint to the damaging frequency strangulations.  This one is a super long dose of listening fun for nights alone when depression needs to feel like a security blanket. 

Cedric’s Lettuce / Eat Your Pets. ‘split.’ CDR. Medical Malfunctions Records

Alex of Cedric’s Lettuce sent me a sick package of some true down and dirty d.i.y. noise action a few months back and now I consider it a sacred duty to get down and dig in.  What should first be noted about Medical Malfunctions Records is that the product is as low budget as it gets. I’m talking covers photocopied at the local minit mart, sharpie labeling on the disc, along with raw as fuck noise piss takes.  This disc kicks off with Cedric’s Lettuce who subscribes to the theory of ‘throw it all against the wall and see what sticks.’ His seven tracks stand solidly in the harsh schizo territory with lots of pedal damaging attack and pummel.  However, there is also a minimal amount of dabbling with traditional instruments; albeit in an impure way.  Track five ‘The Minimalist Track’ is a bass solo of sorts that comes straight from the bowels of Cliff Burton’s rotting fucking corpse, which changes up the game plan all while staying crumbly and heinous. His final track entitled ‘The Same Old Shit’ is by far strongest track as it exhibits the most focus and care in construction.  Eat Your Pets is a one man project that blisters your sorry ass with some caustic noisy blast beats, searing feedback, and hateful vocals.  Not much to say here other than get ready for an aural beatdown as both projects make you poop your goddamned pants.  Eat Your Pets gets the nod here for having the most potent singular focus; no fucking around; no oddball out of place bits; just blasting insanity from one track to the next. However, do not discount Cedric’s Lettuce as his sound experiments will make for good time joint tokin’ pleasure while getting a handjob from some fucking pig. This here is quality junk straight from the dark side motherfucker.

Deep Fried Embryo / Cedric’s Lettuce. ‘Split.’ CDR. Medical Malfunctions Records.

Alright let’s get down to business here. Deep Fried Embryo serves up fifteen violent outbursts of grind disgrace. There is no finesse, no class, no deep thinking here as this three piece grind combo shits out clods and chunks of pure blasting action. With such heartwarming tracks as ‘Maggot Infested Asshole’ and ‘Eating Out the Prostitute After a Hard Days Work’ you get the immediate sense that Deep Fried Embryo is definitely not looking to make any friends.  Cedric’s Lettuce gets down to some crispy business with that sweet one man harsh noise defecation. His grating attacks are crushing as all get out and none of his ten tracks overstays its welcome as he keeps his assaults efficient and deadly. This is the definition of true underground music; brutal / reckless / with fucking around kept to a strict minimum. Take some knifers, break out the jo jos and pizza sticks, and get your face kicked in asshole.   

  

Cumshovel / Scatacratia. ‘Split.’ CDR. Medical Malfunctions Records.

Another lo budget split from the MMR team. Cumshovel buries you in a heaving and throbbing load of harsh noise gravy that exhibits a disturbing lack of variation in the entire nine minute duration of the track. Scatacratia pumps out five messy wads of harsh wall cums and shits. There is no need to explain this split to you; it is a mess of noisy shit. Those who dig that sort of thing will give this at least one spin in your car stereo to scare the sluts down on the strip. Fuck off and get shit on.

Anal Cake / Cedric’s Lettuce. ‘Mecomium Stain. CDR. Medical Malfunctions Records.

Let’s just get down to business here. First off, it’s a safe bet to assume that Medical Malfunctions Records is the home of ugly music; the haven of brain frying stupidity; the den of sonic iniquity. This CDR like all the other ones in the MMR canon are rife with scorching retardation that will fuck you up and may even deduct I.Q. points.  First, fresh off the turd with a justifiably unintelligible logo, Anal Cake pukes forth ten tracks of electronic jackhammer grind. Jarring, brutal, and bordering on stupid; if it weren’t for the brutality I’d be laughing my ass off.  Savage cyber grind with the requisite toilet flushing vokillz all framed within short blasts of hatred.  If you are a fan of stuff like Libido Airbag or Cock and Ball Torture then you will be in for a fine time here.  Cedric’s Lettuce gets it on with some harsh noise fun that never stays still for very long. Some harsh blasts of deadly heat along with some skit scat pedal abuse. Much like the glory days of the early 2000s when dudes just got down to business and stopped getting all hung up on trends, manifestos, and all that non-essential bullshit that noise never needed in the first fucking place. No deep thinking here, nothing to ponder, just something to crank up good and loud while you stare at a Hustler. 

Flabby Rabies Flap. ‘Session one + three. CDR. Medical Malfunctions Records.

Stupid band name….let me just get that out of the way right now. However, the 57 tracks that they kick down on this disc more than make up for their silly name. Absolute mind dissolving PE / grind hatred that never slows down.  Short blasts of static laden grind with some seriously pissed off vocals; irritated to the fucking core.  No pussyfooting around here gang; just an unheralded classic awaiting your brittle eardrums.

Noise Nazi / Cedric’s Lettuce. ‘The Rohm Party. CDR. Medical Malfunctions Records.

Another fine piece of audio sewage courtesy of Medical Malfunctions Records sure to ruin your hi-fi set up. First off, Wisconsin’s Noise Nazi gets down to some pretty guttural harsh noise that is rife with a real sense of dread. The six N.N. tracks are carefully constructed in order to present the top shelf crispy evil that you require; from searing highs to crumbly lows; it’s all in there. Noise Nazi really gets cooking on tracks 4-6 which really gets into some gloomy territory; and are by far the best tracks of his respective portion of the split.  Then there’s Cedric’s Lettuce who proceeds to fire off 26 blasts of smelly sonic diarrhea. If you are looking for care, caution, or skill forget it because Cedric’s Lettuce doesn’t roll like that. C.L. likes to dance on his pedals and make a real nasty mess of things; that much is certain. If you are an artsy fartsy piece of shit looking for some sort of revelation you can go fuck yourself. No art whatsoever. 

Various Artists. ‘Strength Through Joy To The Noisy Party For Christmas. CDR. Medical Malfunctions Records.

Okay…..first off, let’s just start with the lineup on this here 32 track comp / car wreck; which should more than easily give you a hint as to what lies within: FxPxNxWxFxOxSx, Anal Sadness, Dededesprintere, Deep Fried Embryo, LEMP, Parapalegic Punchbag, Sarin Diarrohea, Fuck Your Life, Video Nasty, VRV, Zeron Unit, Krokodil, Eat Pussy, RedSK, Menso Noise, Barulho Ensurdecedor, Vomiting Shit, Arseterror, Leptospirosis, Cio-Cio Sangre, and Bucket of Piss. Personally speaking I think that pretty much sums up this review and I haven’t even listened yet. But being the daring risk taker that I am I will spin this fucker and tell you what’s what….so here goes. This comp runs the gamut of extreme sounds with hatred coming in from all precincts, and since this is a Christmas themed compilation good ol’ Santa Claus gets a searing hot branding iron of noisy violence straight up his shit chimney. If you like harsh noise, grind, PE, and other way out sounds then this would be a great way to sample the wares so to speak.  A filthy smorgasbord of hot noise and cheese crackers that you can eat, chew, vomit and shit back out. This is a goddamned race for your life here. Medical Malfunctions Records serves up the essential and non-essential all at the same time if you can believe that. Go for it pussy.

Various Artists. ‘Four Way Split.’ CDR. Medical Malfunctions Records.

Noise Nazi, Fascist Razorback, Septic Incubation, and Vomiting Shit team up to kick your stereo in the balls.  Noise Nazi starts things off here will some quality harsh PE action that is tightly layered and constructed. Fascist Razorback throws down 3 tracks of some non-descript noise that goes nowhere and fails in doing so. Septic Incubation which is an alter ego of noise monger Cedric’s Lettuce really takes shit to the next level with 14 machine gun blasts of retardo gore grind with such delightful track titles as ‘Infant Jerky’ and ‘Mongloid Weightlifter.’ This 4 way fuck session concludes with Iowa grinder Vomiting Shit who pummels and pulverizes his merry way through 12 tracks of ghastly blasts and sizzling noise. Who survives this one? For me, Vomiting Shit and Septic Incubation get the edge since it seems I’m in the mood to grind tonight.  If you want a taste of some underground hatred then this could be a winner for you if you aren’t an uptight music snob. 

Cedric’s Lettuce. ‘In the Name of Failure. CDR. Shit Noise Records.

What you get here is more of that good timin’ free wheelin’ schizo pedal abuse from Cedric’s Lettuce; that runs the standard gauntlet of mind scorching noise and guttural electronic scrape. 19 tracks of Neanderthal driven racket that will make your next knife hit session a real gas. Nothing completely mind blowing but still of the old school if that sort of thing jacks you off.  The kind of noise that Merzbow would make if he liked to fuck meth’d out bitches in a station wagon parked in the far corner of the parking lot at the shopping mall. 

Cedric’s Lettuce / To-Bo. ‘Split.’ CDR. Shit Noise Records.

I must say that out of all the C.L. material I have reviewed, none of them have reached the bowel rattling heights that this split has achieved. His 27 tracks on this split are simply over the top with serious speaker frying electronic blast beats and furious throat ripping screams. The whole thing is tied together with a cruddy mess of busted frequencies which gives his material the singular focus that his other releases seem to lack. To-Bo unloads a severely damaged 10 minute buzzing mess of pointless noise; and I say that in the nicest way possible.  To-Bo manages to straddle the line between harsh and wall noise as the layers shift and change over time; rarely staying in one place for too long.  This is a solid outing from both artists and would definitely make for a perfect soundtrack for shoplifting cheap booze while high on even cheaper speed.

Cedric’s Lettuce. ‘Tumor With Teeth.’ CDR. Shit Noise Records.

I’ll keep this short and sweet. Based on the other reviews of Cedric’s Lettuce that I have written here, you should be well aware of what is taking place.  C.L. delivers competent harsh, scathing, sometimes erratic, power electronics that will torture your speakers for a nice long while.  No high art to be had here, just some good old fashioned circuit driven asshole stomping. 

Don Haugen. ‘Angels With Black Wings.’ CD. Obfuscated Records.

Eugene Oregon’s king of noise has always possessed the ability to continuously change without coming off as indecisive about the sounds he makes. This release consisting of 4 tracks recorded live is proof of Haugen’s skill in crafting some of the northwest’s most expansive and stunning work. The first track ‘Steel Eagles of the Black Dawn’ starts off the disc with a strange jaunty intro which degenerates into a barely audible buzz.  However, by the ten minute mark the listener is submerged in a deep drone which swirls, whirlpools, and eddies around; going from molasses to gravel at the drop of a hat. By the track’s conclusion you have been taken to 4 or 5 different gloomy zones.  The second track ‘Gripper’ is a tone heavy, patience trying, piece that makes its pilled out way into a grumpy drone before returning to its syrupy origins.  By the time track three stumbles out of the speakers it becomes clear that while Haugen loves to weave in and out of the tone / drone dynamic, he has introduced broken radio sounds into the mix. The matter of fact weather man makes for a non-distracting compliment to the proceedings before once again surrendering to a doomy buzz. Haugen’s transistor frying magic moves in its own way under his careful guidance; making for an amazing 32 minute sonic experience. The final piece ‘Test Pilot’ slowly wakes up, staggers around and then settles into a drawn out drizzling groan; only getting interrupted by heaping helpings of dirt being thrown in your face. While this CD is quite good, it pales in comparison to catching Don performing live.  Whether as Don Haugen or Warning Broken Machine, his skill and care are always on display which makes for a beautiful live ritual. Seek this disc out to get just a small taste of one of the Northwest’s greatest.

Various Artists. ‘Small Doses.’ CD. Mortville, No Fucking Labels, Saors, Death Agony and Screams, and Discos Al Pacino.

Holy fucking shit. This here is a momentous labor of love which apparently marks the end of Mortville Records is a monstrous way to close up shop.  Assembled here are 100 bands covering the entire spectrum of noise / grind / H.C./ and other grimy sub-genres. To accurately describe the experience of listening through this compilation cannot be done with any degree of justice. Total audio violence that will take you old school motherfuckers back to the glory days of Slap-A-Ham records and other 90s extreme music labels.  You know the deal, tons of short blasts in rapid succession which will have you struggling to keep up with the track listing. With 100 acts on this bitch you are guaranteed a sweet mix of familiar names along with a whole gang of new surprises to shove in your ears.  A few of the more notable names on this thing include: Facialmess, Violent Headache, Sete Star Sept, Godstomper, 7 Minutes of Nausea, and Vomir.  Like I mentioned before, the sheer variety featured on this comp will please anyone who likes their music crude, brutal, messy, and underground.  The liner notes are top shelf and serve as a great companion piece to the disc itself; the icing on the goddamned cake if you will. There’s much to love about this one gangstas so seek it out and make it a part of your collection immediately.