A collaborative effort from Boredoms leader Eye
Yamantaka’s noise project Hanatarash, and UK noise
artist Evil Moisture, aka Andy Bolus. 35 tracks,
almost all under one minute each. Random sound clips,
sound clashing distorted microphone abuse, cartoon
claps, electronic noises, drills, silly spoken words.
Easy to toss in a few between tracks as a distraction.
Includes a twisted take of Survivor’s “Eye of the
Tiger”! Limited to 500 copies.
A collaborative effort from Boredoms leader Eye
Collaboration between Sunburned Hand Of The Man (US) &
Circle (Finland). Recorded in 2006 the two bands met
together and created experimantal “folk, psych,
improv, spaced-out hippie jam & noisy-rock
bizareness”. You can hear each distinct band, and
together they blend perfectly. The first three tracks
blend together, so play as one or fade out! Track 4
gets a little jazzy near the mid-end, but confuses you
by throwing in some solo guitar wanking. At times it
gets a little Krauty. A little space alienish on
track 6. Of course the weird “ooooOOOooOhH AAHHhhhH
EEEeeEEooOO” vocals tossed around here and there.
Couple of guys out of Columbus Ohio that apparently
live in a barn. Two super short bursts on the first
side. The start of the second track sounding like the
ending of the first track, so incase you miss the cut
off, it sounds like you meant to do it. Fast guitars,
drums, bass = CHAOS. Side B still full of the same
hardcore basement blow out, but a little sludgier in
the middle of the track. No vocals.
Recorded in 1972, John was inspired by a beer coaster
from a bar called The Bird Cage in Philadelphia. This
project was constructed from a number of source tapes
from three catagories: bird sounds Cage had collected
from the few previous weeks, John singing his work
Mureau (which is based on the writings of Henry David
Thoreau), and random found sounds including teeth
brushing, running water, nose blowing, etc. Of course
the birds are what stand out. Everything from
sparrows, to owls, to geese to little chirpers.
Listening through headphones is key to hearing the
multiple layers of birds. Some slowed down and
tweaked effects on the vocals make this feel like
you’re talking to the birds in your own language on
slow motion in your head. The last 2 tracks are
interviews, no music. Excellent!
Jorge Boehringer from Oakland (now Prague) is Core of
the Coal Man. Self decribed as feedback driven yodel
triggers/carnastic arrays. Super migrane music.
Don’t play this if you’re prone to flu breakouts, your
body will collapse. He’s been a main fixture in a lot
of the bay area experimental & noise scenes,
collaborating with the likes of D Yellow Swans,
Grouper, XBXRX, 16 Bitch Pile Up, Liz Albee…the list
goes on! LOTS of “not quite on the dial” feedbacking
noise, angry violins, bleeping tones, blipping toys,
and wavering frequencies! Track 3 to annoy your
LSD March is a Japanese psychedelic-experimental
outfit led by singer and guitarist Shinsuke Michishita
and is named after a track by Kraut rock act Guru
CD 1 is a 40 minute pysch trip out! Slow building
droning guitars and improvised drums. Singing comes in
around 20 minutes and eventually fuzzes out. Nice!
CD 2 is more experimental in sound. Ranging from
rusty saw-like violins & toy pianos, clarinets,
harmonicas, gentle whispering words to steady bongo
drums and twinkling wind chimes. Sounds like a day in
the Japan countryside. Only 500 copies produced!
Six different and challenging tracks, from 7LAG out of
Columbus Ohio. Ranging from muffled fire gun and
rifle shots, straight along drone outs, psycho dying
hip hop organs, beeping bent electronic heartbeats,
and pling plonging metal bars. It???s like the flea circus gone
evil and kitty likes it. Handmade felt covers for each
Bassist from Tarantula Hawk gets static-y on this solo
release, Six Recursions. Six different radio
frequencies, along with clips, loops and computers,
this was performed live in San Diego. Twisting it all
together, improvized style, he, along with the
audience, didn’t know what was to come next. Short
channels of metal, soul?, jazz?, leak through the
floating classical ambient tones, crunching fax
crashes, looped narrational voices, laptop smashes,
and mid-frequency buzzes. It’s like having 6
different KFJC shows on all that same time! All
tracks 6 minutes long, of course.
Lab tests gone bad. Pulverizing face smashing bloody
hardcore anal blast metal from these Rhode Island
rodents. Noise and riffage to the max, throat scraping
vocals, sludged into a very tasty cheesepuff. It???s so
brutal you can???t tell what the hell they???re saying, so
the marked tracks are MAYBE? bad. Track 14 has a
false ending (and swearing). Excellent artwork.
Around since the late 70s/early 80s (Fistfuck), this
is Diana Rogerson???s follow up to her last album, which
was 20 years ago! It features spooky chillling slow
instrumentals, semi dead-pan style spoken word vocals,
bone-chilling drones & experimental sometimes tribal
beats. Helping out on the release are Steven
Stapleton, Colin Potter (NWW), and Matt Waldron
(irr.app.ext). Sounds like what the dead bride in the
Haunted House would be if she were a music artist. I
Fourth full release from this Brooklyn trio. Often
labeled as a noise act, it’s more of an electronic
smiling toy army crusade than an evil godzilla blast.
Repetative crunches, sizzling fuzzes, bobbling
frequencies, all going round and round. Check out
Terrestrial Tones/Eric Copeland for some side shooting
A great chronolocigal collection of some of Mono’s
rarer and out-of-print non-album tracks from
2000-2007. Shorter quieter tracks, longer anthemic
tracks. Moody, instrumental, beautiful, emotional,
maturity. It’s like listening to violent waves
crashing against each other in the darkest storm,
before calming down to glassy ripples in the glowing
sun. Strings and additional instruments start to kick
in halfway through the release. Track 2 has a
left-right craziness the last half of the piece,
something a little different from the band. Vocals in
Italian on ‘Black Rain’ by Giovanna Cacciola. Track 9
has quite the classical sound. All pieces were
remastered from original tapes. This band always melts
Sludge seems to be the word people like to use for
this band. It???s 2 guys out of New York making fuzzzed
out looping guitar effected, faded wordless vocaled
fevers. Minimal and droned the hell out. Thumping,
wavering, falling. Low grumbles. Repeating riffs.
Squarbly blockage. Sometimes sounding like when your
Nintendo freezes on one screen, leaving you with neon
blocks and warped skidding icicle sounds.
WEG is the project of Japanese composer Katsuhiko
Maeda. Electronica and post-rock feels. Lots of
classical instruments (harps, cello, violins,
horns…), as well as some quirky samples here and
there. It’s almost like a mash of Mono, Bjorks
‘verspertine-era’ beats, and laptop glitch wizardry.
Not quite danceable, more thinking on a fast moving
train through sunflower fields. Each track seems to
paint a memory-trigger painting. Nice!
“Emil Beaulieau: America???s Greatest Living Noise Artist??? is the stage name of Ron Lessard. Noise artist out of Massachusetts, known for his “anti-record” technique of “treating” vinyl (drilling, painting, melting…) to make them into noise pieces.
Each cover for this release was handmade by him. It sounds a lot like a silent lab testing facility. Lots of long high and low pitched frequencies that buzz and drone together, making you feel like you forgot to wear earplugs last nite at that loud ass
performance. And of course there’s the gut churning electronic noise, oh how it burns. The last track has some rhythm to it if you want something that’s not just straight noise.
Project of Roger Karmanik, the founder of Cold Meat
Industries. From Sweden! Past releases tend to dwell
on child molestation, damnation and sadism. This
follows in step with destruction, death and pure hate.
Intense crunchy pounding power electronics! Definitely
something to punch those cold bloody cow carcasses (or
those tall blonde models) to. Frozen chills in the
dark metal warehouse.
Three long amazing tracks, each focusing on one
instrument. The first being the organ. Long
sustained tones that float around each other in waves.
Static-y grumbles, dark clouds, locusts in flight,
burning fires in the hills. Builds up and ends with
the same creepiness. The second track favors the gong.
Ping pong echoed delays of athletic percussion. It
feels as though you’re “tripping” on the tennis court.
Halfway through the big bad monster gongs stomp in
and calm things down. The last track deals with
trumpets, like you’ve never heard before. You’ll want
your fly swatter for this one! The nagging bugger
won’t give up. Low heavy swarms of droneage counter
the solo high flying buzzes. This release is
From Italy, part of bands: Larsen and Blind Cave
Salamander. 22 minute solo EP.
Track 1 – recorded on his mobile phone. Tiny toy
Track 2 – Leonard Cohen cover. Simplistic guitar and
excellent dead pan singing.
Track 3 – Heavy breathing. Awesome buzzing melodic
drones. Live recording from WFMU.
Track 4 – guitar playing and random room noises fill
the background. Very beautiful. Good for that summer
sunset beach drive.
Recorded in a long 5 hour beer fueled session, Turnstone is the highlights from those experimental minutes. Shannon drove down with a car packed full of instruments from Seattle to the SF area, and met up with Carter and Horton. Sometimes sounds like a mini
orchestra warm up, and sometimes like distant plucking strings and fog fueled horns of the eve. A little droney, a tad feedbacky, a bit stringy, very pretty.
The title pretty much says it all, ha! One long hour track that never gives up. Battling electronic robots are crying as they listen. Bubbling, screaming, scorching intense analogue synth death. It’s an enjoyable noisy listen, always changing and keeping
you wrapped in. Recorded live in Tokyo!
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File