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