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vendredi 1 août 2014 à 17:11


GRVD: First things first, how did you get into the idea of making noise, what were your first introductions to noise, and how did you come up with the name Swallowing Bile? 

SB:  I was initially introduced to noise through the more extreme forms of metal when I was much younger. However, it was in the form of Dark Ambient/"Dungeon Ambient" projects and from there I explored briefly but didn't begin to create my own material until much later. Initially the recordings were ambient in nature as well...synthesizer based soundscapes that grew to be darker in nature as I began to feel more comfortable with my gear. Swallowing Bile began when I started to incorporate Harsh Noise Wall elements into my sound (my first true noise sub-genre "love"), and I decided to start a fresh project. I cannot remember how the name came about to be honest.

GRVD: How would you describe the noise of Swallowing Bile? Would you say there is a common theme or idea proposed with the project? 

SB: The sound itself is primarily based in HNW structurally. All of the sources are field recordings I have taken myself and I believe that it brings an organic element to the table. I incorporate other styles of sound as well, whether that be in the form of scrap metal, my voice, etc, but I prefer to keep some sonic approaches constant to ensure I don't have "fickle" material. I like everything to sound linear in some way or another with Swallowing Bile. The only theme behind Swallowing Bile is my own experience...I try to work solely with things that have some underlying relation to myself. 

GRVD: What would you say is the strongest influence on Swallowing Bile? Musical or not. 

SB:  Personal experience is the biggest influence thematically. Aurally the influence is within the HNW/HN/PE realm...I listen to HNW most and HN/PE come in at a close second, however I try not to allow any elements from other artists sound affect the way I compose. 

GRVD: We've talked some about the noise scene and some of our qualms with it. How important do you think "scenes" really are, especially when it comes to a genre like noise? 

SB: There are a bunch of different "scenes" operating at any given time across the globe. In terms of the United States I feel that the notion of having lots of miniature scenes is very apparent. Personally, my cities local scene is uninterested in what I am doing (their taste is in art, not sound...) and I can understand why my material wouldn't be something they want to endorse. However, I would make the jump to say that my cities noise scene is nearly non-existent on the national/international scope anyways. I feel much more affiliated with the fantastic friendships I have formed with fellow artists across the states and the globe...that unit in itself ties together so many scenes that it becomes one of it's own. What it all boils down to is the ties you make with one-another!

GRVD: I've heard you describe what you do as "anti-art" before. Care to embellish on that concept further? 

SB: Swallowing Bile is an aural endeavor meant to be heard for what it is and not interpreted as anything more. However, I can't control how someone wants to view my output! Art is subjective, but in my mind I don't view Power Electronics/Harsh Noise/Harsh Noise Wall as art. If others want to that is their business.

GRVD: What can we expect from Swallowing Bile in the near future? 

SB:  Die Song will be releasing the "Secluded" LP towards the end of August/beginning of September, a split with Aqua-Eroticum on Depravity, a split with Reinforcement Punishment on Obscure Vanity, a track on a massive 8-way split with a bundle of stellar Power Electronics artists, as well as a few other things that I am not ready to reveal at this time. I plan to begin writing for another LP in 2015, but at this moment I have my plate pretty full! 

GRVD: Any words you'd like to leave us with?  

SB: Thank you very much for taking the time to interview me. I appreciate the support and keep up the great work.


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OUTSIDE - h.o.m.e.s. REVIEW

vendredi 1 août 2014 à 04:22

OUTSIDE - h.o.m.e.s.

One can't help but notice the strong new wave of bands experimenting and channeling the sounds of shoegaze, grunge, and emo. (I refuse to use the term "emo revival" because frankly it is a false term.) Within this new wave, bands have been going in a number of different directions, some a more straight-forward grunge, some an atmospheric, swirling shoegaze, and some an energetic expression of emo. I give you Michigan's own Outside, who aim to give you all 3 in a very cohesive and promising debut. 

Opener "Huron" immediately pulls the listener in and gives you a taste of what's to come: reverb-laden, ambient shoegaze with just a hint of modern emo and pop punk which gives this release a strong edge of crossover appeal. 

"Ontario", "Michigan", and "Erie" exhibit the more energetic side of this debut. Dripping with nostalgic charm and a strong lyrical delivery (highlighted especially in the track "Erie"), these 3 songs broadcast the band's ability of combining many ideas and genres into one cohesive, interesting, and emotional musical experience. 

Definitely worth checking out for any lovers of shoegaze, '90's emo, and modern grunge rock, Outside's debut reveals something that not many debuts are capable of doing: that this band is confident and self-aware without being pretentious or overly relevant. Shimmering, beautiful ambi-punk. This reviewer recommends that you go outside. 


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vendredi 1 août 2014 à 04:00

Unsettling. That is the word that comes to mind when listening to this piece of harsh noise. A vicious and bleak 27 minutes of hollow, cold, piercing harsh noise wall, Female Pedophile creates something that not many of his HNW contemporaries are capable of doing. What he has created is an entire characteristic; a truly deep and troubling atmosphere. Unsettling indeed. 

Bleak and unforgiving, Female Pedophile lets every aspect of his identity speak for itself. From the music, the lo-fi production value, to the name itself, there is a deeply personal, almost "violating" feeling that overtakes the listener when listening to "The Brocks". 

Unsettling Harsh Noise Wall from Texas. You have been warned. 


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WET NURSE - Victim Of Apology Letter REVIEW

jeudi 31 juillet 2014 à 22:40


Noise should never be devoid of emotion. If anything, noise should be accepted as one of the most emotive and expressive forms of music. Through expressing the most human of emotions and currents, noise retains it's deeply personal identity. In the vein of artists like Deathpile, Swallowing Bile and Waves Crashing Piano Chords, the following act brings forward a deeply emotive atmosphere that will leave the listener with not only a cloud of melancholy, but a wave or euphoric grief as well. 

The Canadian Power Electronics act and head of Male Activity Records  brings us 2 powerful and dense tracks full of ominous rage and despair. One can't help but decipher a possible no wave influence (DNA, early Swans)when listening to opener "A Rose Amongst Thorns". An atmospheric and gothic ode to the likes of IRM, Wet Nurse presents a sound that is familiar, but fresh. The repetition and brutal minimalism of the track swallows the listener and refuses to let go, while the distorted and throbbing vocal delivery creates an even greater sense of unsettling misery for the listener. 

The second and final track on this tape is "Deflowered". This track once again brings its minimalism to the forefront, incorporating samples to bring a dark variation and romantic aesthetic to this release. 

I use the word romantic in the best way possible. This release seems deeply personal, and you can hear that in every single word spoken, and you can sense it in the aesthetic and delivery of this release. Complete with dead flowers, this release oozes of strong melodramatic tension, and I mean that in the absolute best way possible. 

A deeply emotional experience, Wet Nurse is one of the most consistent and intelligent current noise acts. "Ten minutes of scornful basement industrial" does not do this release justice. Listening to this, you will feel like a true victim. A victim of misery and dread. 


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samedi 12 avril 2014 à 02:03


The noise genre has often been cited as the last true punk art form. The entire ethic and moral system of punk and the numerous genres that evolved and spawned from it have all become commercialized, over-saturated, and ultimately watered-down to the point of exhaustion. Noise truly is the last realm of music that is still untainted by the perils of over-exposure and the self-destructive nature that is trend adherence. Noise is still innocent and, for lack of a better term, pure. 

New York power electronics/harsh noise dynamo Swallowing Bile now presents us with 3 truly crushing and powerful tracks that, while not my favorite content from the artist, still packs enough of a punch to resonate and bring you back for multiple listens. 

Opener "No One Is Safe" begins with what a female escort describing a gig gone horribly wrong. The sheer chilling ambiance of this introduction is enough to send shivers down your spine. The tracks explodes with sudden random bursts of harsh crashes as the girl's testimony continues and the track continues on, with the lyrics scorning us with the complete hatred and pessimism that comes with most Swallowing Bile material. 

The next track "A Declaration..." continues the bleak noise presented with the previous track, not leaving the listener even a moment to process what is happening. The track is engaging and intense, and transitions smoothly into the final track, the doom and gloom wall that is "Power Of The Will." 

This release is pure rage and pure passion, which has always been my favorite aspect of Swallowing Bile. Short, strong, to the point, and completely unforgiving, these 3 songs (and a majority of SB's material) are some of the most crushing examples of noise out at the moment, and I stand by that statement. The purity of noise will always be the genre's biggest appeal, and favorite trait among its fan base. Swallowing Bile are an act not to be under-estimated. 



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