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dimanche 12 juin 2016 à 09:59


Methlab Explosion is the Power Electronics/Noisecore project of Midwest noise-maker William Olter. The latest release from this titan of a project, "Noisecore Terrorist" is aptly titled. This release is 18 minutes of nonstop noisecore terrorism, filled with explosive and chaotic drumming, crackling and frantic electronics, crisp, subdued bass, and throbbing maniacal vocals. Everything you'd want or expect from a noisecore release is here, but it's so focused and expertly-crafted, it exceeds expectations of a standard release within the subgenre. 

After a sudden click of 1-2-3-4. listeners are pounded into submission with the walls of crushing noise and drumming that sounds like the bastard child of Anal Cunt and Last Days of Humanity. There's no bullshit, no frills, no gimmicks, and absolutely no letting up for 18 brutal minutes.

The vocals are definitely a highlight here. They're tortured without being dramatic, perfectly mixed, sustained, and have just enough bite and grit to pierce through the mix without being overbearing. The release pummels the listener with walls of vocals, drums, and electronics until taking a complete left-turn around the 12 minute mark, giving us an echoed cavern of ambient HNW with what sounds like very, very subdued vocals. It's a nice and unexpected ending - perfectly anti-climatic and cerebral. 

This is a must-listen for any and all noisecore, grind, and noise fans. A very highly recommended listen. 


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CRUSTGIRLS - Wishing You Nothing But The Worst REVIEW

mardi 24 mai 2016 à 00:49


Crustgirls is the noise project of Florida musician Matthew Jacob Randall. A project that I've always been drawn to - and have actually released a split with in the past - because of its atypical subject matter in the world of noise and prolific yet consistent discography (tape-graphy?). Here we see Crustgirls release his most focused and aggressive release yet. A perfect balance of digital mayhem and post-industrial extremity, this project has found its voice and is expressing it clearer than ever. 

Throbbing between high-pitched synth squelches and glitch-inspired noodles, no sound here overstays its welcome. It's an uninviting ride of lo-fi auditory stress and anxiety. Found sounds and unsettling vocal snippets clutter and interject themselves without warning. Distressing feedback and static glitches keep the listener on edge and alert - almost in the same way a well-crafted suspenseful horror film would do. The eventual payoffs are satisfying - when this release explodes and climaxes, it doesn't disappoint. 

The release, a brief 14 minutes, accomplishes exactly what it needs to. It throws the listener through as many intense soundscapes and atonal black holes as possible. What makes this album so enjoyable is truly the replayability. I haven't been able to stop listening to this album since it dropped, and I'll no doubt be including it in my year-end list. This is a highly-recommended listen. 

Wishing you nothing but the worst indeed, this uncompromising and anti-social collection of power electronics freak-outs will leave you wanting to dive deeper into this artist's material. Don't expect to be eased into the anxious sonic-palettes Crustgirls throws at you, but do expect a pay-off and a noise release I guarantee you'll be returning to. 


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THE BODY & FULL OF HELL - One Day You Will Ache Like I Ache REVIEW

mercredi 11 mai 2016 à 19:43


The inherent challenge and irony of playing extreme forms of music is that there will always be artists and musicians that will "out-do" or "surpass" you in terms of extremity. And because music is such a subjective form of art - if not the most subjective - this useless battle can become even more tiresome. However, this idea of "extremity = quality" has become outdated. Bands and artists are no longer held hostage to the depressions of postmodernism in the grandest sense. Instead, these individuals have evolved beyond this mindset and are aggressively taking their sonic and artistic visions back from cynicism, and into complete personal fulfillment and sincerity. I would emphasize the keyword here is "Sincerity". 

I focus on these abstract ideas for one very clear reason: This collaborative album between The Body and Full of Hell feels so sincere and inspired, that it completely overpowers and dismantles not only their contemporaries, but also each bands' respective back catalogs. What each band has done here is transform their identities without necessarily transforming their sound; they have merely evolved and progressed it to near-perfection. Full of Hell have shown how strong they are in a collaborative setting in their recent effort with Japanese noise legend Merzbow (The Body has done this as well, but focusing on Full of Hell's past history here is very important I feel), but here with The Body, both bands have exceeded expectations and cemented a pivotal release in the scope of modern extreme music. 

I think something that makes this album stronger than the Full of Hell/Merzbow collaboration - which should be noted is still a great album - is cohesion. On that past album, many fans (primarily Merzbow fans) were disappointed at how little of input Masami Akita seemed to have in the overall projects. And since there was such a geographically roadblock between the two bands, most meshing of ideas and artistic communication had to be done digitally, which isn't a bad thing in it of itself. However, on that album, it really seemed to work against the overall project. 

Now we come to this record between Full of Hell and The Body. Both bands work in similar styles of sludge, grind, and harsh noise/power electronics, but arrive at almost polar opposites ends of the spectrum at times. That key concept is what makes this album so strong. With The Body's challenging, atonal, and nightmare-inducing albums such as Even The Saints Knew Their Hour of Failure and Loss and No One Deserves Happiness showcasing the group's unique take on experimental sludge metal coupled with electronic music and sampling, they insert these key qualities perfectly with Full of Hell's disgustingly ugly wall of dissonant grindcore and powerviolence. 

The opening title track here assaults the listener immediately. After a few seconds of an unsettling drum machine pattern, a wall of blast beats and screams explode without warning. This track crawls and crawls on, with scattered drumming always finding a way to match up with the metronome-like drum machine loop. Samples are introduced on the second track "Fleshworks" under a driving drum rhythm. Soon afterwards, the entire track takes a dark electronica vibe, sounding like it wouldn't sound out of place on a record by The Knife. 

"Fleshworks" dissolves into a distorted wall of sludge that becomes the third track, an unrecognizable cover of Leonard Cohen's "The Butcher". When I first Spencer Hazard's podcast with Anthony Fantano of TheNeedleDrop fame discussing this track, I was immediately interested and curious. And while the novelty of this track is definitely endearing, it's probably my least favorite track on this album. However, I do applaud the bands for pursuing whatever they wanted on this release. The fact that there's a Leonard Cohen "cover" on a collaboration album between two grindcore/sludge metal bands is fantastic in it of itself. 

"Gehorwilt", "World of Hope and No Pain", and "Himmel and Holle" continue on with the disgusting drum sounds and banshee vocals of The Body frontman Chip King, introducing more unsettling samples and intensely unnerving atmospheres. "Himmel and Holle" is definitely a highlight here of what fans were probably hoping the collaboration with Merzbow would've sounded like. 

"Bottled Urn" however is probably one of my favorite tracks here. It shows such a strong early-Swans influence that isn't surprising since guitarist Spencer Hazard has sighted Swans as an influence on Full of Hell. "The Little Death" is also a favorite here. The track plays as some sort of demented rock and roll tune, with verses consisting of isolated snare fills and - for lack of a better word - "catchy" vocals. The track eventually breaks down and fall apart into a slow death march of guitars and drums. 

The death industrial and electronica-inspired "Cain" shows Chip King's vocals really take over and shine over a throbbing beat. Electronics squelch and pierce through the mix, making the track probably the most-hypnotizing on the entire album. Some ominous synths and choirs are introduced towards the end of the track, adding some trademark melodics from The Body's sound. 

The closer "Abel" is flawless. A minimalist drum pattern repeats and repeats over gentle electronic scratches and squeaks, until the track explodes into a wall of depressive beauty. Static fills out the mix, while lo-fi drums and guitar drones fill up the space left over. The music slowly fades out as an ominous final sample dealing with the supernatural(?) plays out. 

This album is a masterpiece. Both bands have risen above genre expectations and limitations and have shown their contemporaries that they're in it for the long haul. One Day You Will Ache Like I Ache is easily the strongest work from each band, and will probably stand as one of the greatest albums of 2016. I can't recommend this album enough. 

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vendredi 6 mai 2016 à 09:14


Bullshit Market is a two-piece noise powerhouse of Detroit, MI. Unrelenting, uncompromising, and unforgiving, Bullshit Market are a force to be reckoned with, or as Sean Beard would put it, "a real fucking noise act." I recently had a chance to interview these guys, and here is that exchange uncensored and in full.

GRVD: Give me the full history of Bullshit Market in relation to both of your guys' past projects.

BM: Patrick: Bullshit Market was a project I started back in possibly late '04/early '05 with a friend I had at the time. We mostly were just sitting in his room recording microkorg sounds with Windows Sound Recorder and a computer mic and stealing samples of other songs from slsk. Two very terrible EPs of crude teenage humor joke noise came from this and the project officially disbanded by 2006. Afterwards I occasionally brought the project out of retirement either by myself or remixing older material for compilation appearances but never took it seriously. When Caleb and I decided to restart this project in early 2015 it just sort of took the place of any previous projects we had done together in the past, of which there were plenty, but this time with a little more pride in quality control, and a purpose behind what we were trying to do.

Caleb: Yeah, I had moved back from a four year exile in Tennessee after being kicked from one house to the next. We had always worked together on projects, but none of them really well thought out or anything. We just dicked around, not trying very hard to be anything or say anything. Ashtray was the last project that we did before working on Bullshit Market. It was a satirical country project that we started when I was still living in Tennessee. We donned low-life redneck personas and said bullshit over nonsensical bass and guitar sounds. We played a few shows, mostly around the Detroit area, but also in New York and Wisconsin. There was only so much that we could do with it, though, so Patrick suggested that we bring back Bullshit Market. I loved the name and agreed. 


GRVD: How did you guys meet, and when did you both get the idea to make noise together? 

BM: C: I've known Patrick my whole life. I distinctly remember seeing him when he was in his early teens and I was in my early youth when he was banging my step sister (and allegedly my step mom). He was tall, lanky, and wearing a Star of David shirt. I didn't say anything, as I was too young to have anything worthwhile to say. A year or so later, when I was about 12, I found a few of his projects on Myspace, namely Tha Pantz (a nerdcore rap project) and DJ Redskeye (industrial beats mixed with trash noise). Of course, having never been exposed to noise before, I enjoyed his terrible rap project much more. But when I had messaged him about it, he was far more interested in talking about his noise than his hip hop. After he had explained everything and showed me more, I decided that this was something that I had to get involved in. So I downloaded Audacity, generated some white noise and tones, added way too much phaser and tremolo, then sent him the finished project. He thought that it was cool and wanted to get me on as much stuff as possible, as quickly as possible. So we started hanging out and jamming, making very lo-fi, cringe-worthy noise/"punk." We worked under the name SK028 for a while (a combination of my project's name, Insideout028, and his RedSK -- aren't we clever?). Played a few shows, got shut off by plenty of sound guys, and pissed off Naomi Elizabeth. A lot of people don't get what it was like to get a show back then. People did not like noise AT ALL. It's a very different environment now-a-days; everyone knows noise, or at least knows somebody who does it. The people that we played for didn't know a fucking thing beyond free jazz. 

P: I used to see Caleb walking up and down the road past my parents' house when he was like 10 (he lived on the corner house half a block down from me) and I thought he looked like a faggot (although I was a scene kid at the time and looked like a faggot as well). I grew up actually friends with his older brother (whom I'm bitter towards these days) and never really thought Caleb and I would become friends, let alone best friends. I showed him some noise stuff I was into and stuff I was doing and he just clinged right onto it and became obsessed the same way I did when I got into this shit. We jammed a lot and had a lot of projects. Aside from SK028 there was also NB,PD! (Noise bagels punx donuts) that was like techno/hip-hop, with rapping and glitches, we had two projects with Don Johnson from teh soup rebellion; Blackgirlfriend (all of us freaking out in basement banging on stuff and yelling and generating feedback and preset drum machine beats) and HEROIN... ([Helpless Ethnic Refugees Out In Nigeria] a project where the three of us would just smoke a lot of weed in my bedroom at my parents' house and pretend we were a militant (guerrilla) group of gorillas hell-bent on destroying the human population and reclaiming the rainforests). We played shows as Caleb said and got kicked out of a lot of places, sometimes we'd play a show where him and I and also Scott would just change the project per song, and yeah we were really stupid, obnoxious, usually drunk under-age, and it was utterly shameful looking back on it all. Eventually all aforementioned projects were retired and never talked about again. We ended Ashtray as a standalone project and used it as an alias of Bullshit Market whenever we decided to get back into those characters (Rusty Acres and Yeah, Boy! aka Billy Bob, Bobby Ray, Ray John, Raybanns, Ray Joe Bob, Billy Boy Bob Ray). Caleb became the other always-member of Redsk after that became a group project, and then we sort of retired that too after kicking Zach Hill out for being a douchey fuckwad, as well as complications that came from just gathering a regular line-up to practice or record, let alone play shows.

GRVD: You put on a very intense and uninhibited live show. Is the live aspect of Bullshit Market just as important to you both as physical releases, or is that not a fair comparison? 

BM: P: As with most worthwhile noise performers/groups/projects, your live action will not be all too similar to your recordings and releases. A lot goes into our final cuts as far as mixing, recording, planning and writing. There's an energy that can't be matched on recordings that we deliver in a live setting. BsM is aggressive and contrarian queer power electronics influenced by everything we've learned, experimented with, and heard over our decade-plus long history of being noise-heads.

C: I think it's important to remember that a live performance is, at the end of the day, a performance. If somebody is bored during your set, then you simply aren't performing. Get off the stage, make way for the people who want to entertain the audience -- they should sleep after the show, not during it. With Bullshit Market, we try to impose on the audience quite a bit. A performance doesn't need to be fun, after all. We're interested in making people feel something, and that's it. That's something people have come to expect from our performance, especially when we used to get naked and hyper-aggressive on people. That became too much of a crutch, and it was expected of us. There's no fun in that for us. We want to entertain ourselves, also. As far as recording is concerned, I believe noise is the ultimate medium to convey the limits of audio expression. When we mix a track, we take a lot of care to ensure that it is of the utmost quality. People who press play on their laptop, record some shit guitar playing, and call it noise are the bane to noise as a genre. There is such thing as bad noise, and nobody can convince us otherwise. Why do we say this? Because we've heard good noise. If you can't tell the good from the bad, GTFO. 

P: #tru

GRVD: Tell us about the history of Trashfuck. 

BM: P: Where to fucking start... Before TRASHFUCK existed (in many forms) I found a label called Far From Showbiz to release my first DJ Redskeye net-albums. When I decided to start Non Quality Audio in 2004/5(?) they agreed to use their webspace to host my label. NQA lasted a few years before burning out in early 2007 after a little over a hundred releases, mostly digital but with a few cd-r releases as well. A year before the demise of NQA I had two labels, Piss Free Tapes (really shitty no-budget tapes and cd-r's) and Nerdcore Michigan (my attempt at running a rap label). TRASHFUCK NET started in 2007 after I decided I wanted to run a label still, so blam, netlabel, all releases hosted on and, additionally shared to other sites but mostly distributed through the Soulseek P2P client. Less than a year later I decided it was a good idea to start doing physical releases under the TF branding, so TRASHFUCK Records and Trash Tapes was born. Trash Tapes died after 5 releases, TRASHFUCK NET fizzled into non-existence as TRASHFUCK Records became a serious commitment, and that's where we're at now. Caleb agreed to be co-manager of TFR while he was still in TN and helped assemble and organize the never-ending backlog of releases that was set to come out. I had a nervous breakdown/existential crisis in early 2014 and quit music, noise, the label, sold most of my material possessions, got really spiritual and introspective and stupid, and had to be shaken out of that. Caleb moving back to Michigan is the best thing to have ever happened to my motivation and the label's future, not to mention my continued involvement in noise.

C: TRASHFUCK is such a staple in the DIY community that it's easy to forget where it came from. Patrick pretty much said it all. He's my brother. 

GRVD: Noise is a genre of strong opinions, sounds, and expressions. Is this something that has always drawn you to the genre, or is the interest and passion purely on a sonic level? 

BM: C: Initially, I think I was attracted to the strongly opinionated stuff -- Boyd Rice, Whitehouse, etc. That's what I was drawn to with them. They had strong values that I recognized with at the time (excluding any affiliations to Nazis). Now, while I still love those projects, I'm more interested in hearing finely crafted noise. That's personally what I like listening to on the daily. In a live setting, however, I want the more abrasive, opinionated stuff because that gets me going. It's intense.  

P: I will fight everyone, ever, anywhere, for the most trivial reasons. Fuck the idea of "music" and the music industry as a whole. I view everything through very judgmentally tinted lenses. If there's anything I can praise, in the slightest bit, it's integrity, and honesty. The same issues I have with conventional unchallenging music, I have with noise and noise-culture as well. I can honestly say there's almost twice as many noise acts I'm aware of that I refuse to support or get behind, opposed to the amount I'd back-up no matter what. There's very little middle ground as far as I'm concerned. Anyone who really truly relates to and loves what noise does to fulfill their lives, they should be able to sit through a bad performance or hear a shitty tape and recognize it as bullshit, even if it's their friend doing it. We all have room to grow. For fuck's sake, I spent about 8 years making noise and loving noise and being obsessed with it, and just churning out utter garbage that I'm embarrassed by now. If you can't challenge yourself, you're not going to challenge the listener. Fuck the sentiment that "noise is noise, anyone can do it, there's good noise?" Fuck that and fuck you. (Caleb wanted me to throw in a #tru) All I'm saying is noise is a life choice. There's no room for your fragile sensibilities. You're going to be challenged by this if your taste is worth half a fuck. 

C: Tru

GRVD: Any projects in the works we can look forward to soon? 

BM: Bullshit Market x Kearne 
Cock E.S.P. / Bullshit Market 
Waves Crashing Piano Chords / Bullshit Market 
Torturing Nurse / Bullshit Market
Bullshit Market / Critic 
Bullshit Market / Hypnic Jerk 
Andrew Coltrane / Bullshit Market 
Macronympha / Armenia / Bullshit Market (split/collab)
Sete Star Sept / Bullshit Market


This is the most important noise event in the midwest. Be there or you're a fucking wuss. 

GRVD: Any last shout-outs? 

BM: Natty from Cult Love Sound Tapes
Farting Corpse 
Hypnic Jerk
Methlab Explosion 
Kearne (Bring it back, Cody. Fuck.)
Maxx and The Sanctuary
The Precinct 
Alex from Boar (FUCKING BOAR!)
Eric (Take a fucking shower)
Jason Covelli 
Gorgonized Dorks
Boyd Rice
John Wiese and Sissy Spacek
Leah Peah
Wu-Tang Clan
Farting Corpse
Fuck a Job
Brian Weisserman
Farting Corpse
Aaron Midcalf
Fuck Jay Watson, Dental Work, Placenta Recordings
Fuck a job
Looking at another man's balls won't make Jesus hate you
Spunky Smith
Casper @ Spider House
Polite Dominick aka Izfernor
Don Johnson good job on getting married
RIP Chris Marker and Jaime Carrera and everyone else that keeps dying
Fuck the new Red Wings arena
Fuck New Detroit
Ted Cruz is the Zodiac Killer
Ben from See Through Buildings
Cock E.S.P.
Sete Star Sept
Captain Three Leg
Pory Nog
endometrium cuntplow
Farting Corpse
Brent Gunn (stay with us this time homie)
Papa Chinn
Ryan Opperman is a fucking asshole, Justin Lakes is a fucking pussy
Fred, Worlockk, Xavier from Lunicy
Qon Vince
Levi from h.a.sp
Remi Gawin
Rosemary Malign 
Kylie Damnyou
if we didn't mention you we either forgot because we drink our pain away or you're an asshole, the list is long enough, get over it, wuss.


Source :


mardi 3 mai 2016 à 19:02


I recently had the opportunity and privilege to interview the politically-charged noise juggernaut Contraktor. Bent on political radicalism and confrontational sonic breakdowns, Contraktor is a truly prolific and passionate figure in American noise.

GRVD: When did Contraktor start, and what prompted you to start making noise? Was it a natural progression from playing other extreme styles of music, or was it more of an outlet for frustrations in those genres?

C: Contraktor first came into being around the summer of 2013, I was 19 going on 20 and there were a lot of factors that led to it's creation. I was extremely frustrated with my situation in life (had lost my first apartment with an ex-girlfriend, was starving myself and over-working out because of my perceived obesity and I had just taken legal action over a molestation that occurred when I was very young) and my old noise project (that will remain nameless, it's awful, trust me) had been dead for almost two years at that point. I started making noise / noise rock type stuff in my early teens (14-18) after I had discovered Lou Reed's 'Metal Machine Music' and the genre of Japanoise. Something about noise spoke to me on an extremely deep level, it was pure sonic freedom. Although my first project was terrible it was essential to my evolution as a noise musician in that I feel I made my mistakes early. The main mistake was humor. That's not to say Contraktor isn't humorous at points or that I don't like noise that isn't serious, but there's more of a dark sarcasm now instead of blatant teenage humor, I guess I just learned how to refine it to a level I was comfortable with that didn't make it impossible to take me seriously. 

GRVD: What was the first Contraktor performance like? Was it a positive or negative experience or neither? 

C: The first Contraktor show was both a positive and negative thing for me. It was kind of hilarious, just on face value, of me playing with a folk-punk singer, thrash metal group and a pop-punk group. Needless to say not many people were thrilled with my performance. That's about the extent of the negativity. The positive I took away from this was my overcoming of stage fright (although I've been musically active since 14 this was my first legitimate show, noise or otherwise) and that I still to this day feel like I played a great set. It was all about finding a balance between appearance, live electronic improvisation and delivery of my lyrics. This show paved the way for all of my other sets, I'm actually pretty glad I played to such an unreceptive audience.

GRVD: What were the primary influences on Contraktor from a sonic standpoint? Were there/are there any specific noise artists that "clicked" and are a go-to for influence, or do you find yourself more influenced by non-musical things?

C: I'm glad you phrased the question this way, I feel like when people ask about influences they are always looking for musical influences. Contraktor has as many non-musical influences as musical ones and I'm glad to finally get into that. Musically I was very influenced by Japanoise, I was always a fan of 30-minute jams with layers and layers of  noise. Stuff like Hijokaidan and Incapacitants were very important to my musical development. Punk Rock and Grindcore are also a big influence on what I do, I like to think of my music as very "punk" in delivery and attitude. Waves Crashing Piano Chords is probably the number one influence on my music and still a go-to for inspiration to this day. His whole style, everything about the project just resonated with me like nothing else. I owe everything to WCPC, the style of my first 10 or so releases, my labeling myself as "Emo" Power Electronics (in reference to his Juggalo Power Electronics) even the way I recorded and made noise (playing my setup through a Marshall half-stack) was modeled after him! On the non-musical side there are just as many if not more influences. Betrayal, love and lack thereof, tension with my family, my own eating disorder, depression, anxiety, anger - as awful as they felt they were and still are important to my noise. What was especially influential, and probably the most important factor in the birth of Contraktor was the industrial setting and way of life around here. I grew up in northeast Kansas, and unlike the rest of Kansas where you have images of rolling wheatfields and small close-knit towns, northeast Kansas is very industrial and urban. There is an industrial park in my hometown, and at least one in every town in 4 counties I can think of. That's where the name Contraktor comes from actually, contractor jobs are a HUGE source of employment around here The industrial way of life, the alienation of the proletariat, was what mattered to me. I think I can sum it up pretty well with my own lyrics "All you need to raise a family of four is a cock and high school degree / What can you do for paycheck around here? / What does this work get you? / Nothing but bad health and industrial sadness"

GRVD: Contraktor seems to be very politically charged, and you yourself seem to be a pretty passionate person when it comes to your political views. Where do you lie on the political spectrum, how does it influence Contraktor, and how important do you think those views are to the project?

C: I do not like to refer to myself as a leftist or anarchist because of the connotations both of those words have. Most people don't take "anarchists" seriously, especially other anarchists, and most people have a big problem with generalized "leftism". I would call myself "post-left" but the actual post-left movement and ideologies are much more conservative than I am. At the very core of my being I am a Marxist, a political nihilist, and an anti-fascist. I am a radical egalitarian and vehement anti-statist. Contraktor is a 200% political project. I may not always have the time or money to support local anarchist groups and their actions, so I have always felt this project is my way of remaining active as an activist. Without this I feel I have no voice in the movement. On the same token I don't see myself as leading the charge or being a head honcho by any means, but I feel that every bit helps. Without politics I honestly feel Contraktor would be lost in the plethora of generic noise content; pedophilia, violence, etc. etc. Sometimes I'm afraid the more sensitive leftists will hear my music and fall prey to my tongue-in-cheek conservatism, there are times I use extreme homophobia and conservative language as a sarcastic attack on right-wingers, so it's always nice to get a chance to clarify.

GRVD: Have you been following the U.S. presidential election at all? If so, what's your reaction to what's happening right now?

C: Yes I have, there's really no way to stay ignorant about this year's presidential race. It's everywhere. I don't know where to begin. There's the fact that people still feel the need to support the system and by into this shit. It's 2016, there's more information and more ways to access it than ever before. That being said, how the hell can we still say we need this government, this system, this way of life? The politicians and public employees literally do nothing for us, bleed us dry and send our children to die. And that's putting it as simply and unintellectually as I can. The constitution and declaration are out-of-date invalid documents that don't mean shit as far as I'm concerned, and I find it idiotic there are still people worshipping them. I also hate the "if you don't vote, you can't complain" argument. YOU people (not even a majority I might point out) consistently vote sociopathic criminals into positions of high power and then proceed to act surprised when this country falls further down the shitter. I would like to support Bernie, I would, my inner 16-year-old is jumping for joy that he's running. But the 22-year-old cynic and nihilist I have become can't bring myself to do it. At the end of the day he's an elected official who's held office forever, he's another career politician and "socialist" or not he's part of the problem. In fact his self-labeling as "democratic socialist" and still seeking the democratic party, the referring to him and his supporters in mainstream media as "socialists" and "communists" is distressing, it's pure recuperation. Don't even get me started on Trump. He's pure fascism, plain and simple.

GRVD: Noise, like black metal, has always seemed to be a very committed, self-serious, and self-important genre of music, and I don't mean that in an insult in any way - if anything I mean it as a compliment. In the same way black metal artists will be one-man projects, cover themselves in corpsepaint, and completely devote themselves to their music, noise artists seem to have that same level of commitment, if not more. Why do you think this is? 

C: I think maybe it's because we play such an unknown and unaccessible music. I think, like black metal, it takes a higher state of patience and artistic and self-awareness. If you are easily offended by the imagery and lyricism of black metal you're probably the same person who can't stomach noise. There's something about it people just can't wrap their heads around. Those of us who make it, and make it well, understand it completely. We get what each other are doing artistically, we understand what we are trying to say and the way we are going about it. There's also the technical standpoint, unlike other genres there's no definite set of instruments to play it and there's no right/wrong way to have a noise setup. Most of us noise musicians are also audio nerds, we know the equipment we're using and we know HOW to use it. Some people (like me) have tabletops full of gear, some of us can use as little as one microphone, some people build their own instruments and some of us rely on laptops. It's a beautiful thing. I think it's this reliance on gear that truly makes this genre a one-man-band type of genre. When you don't have to rely on any other humans (which can get hairy and frustrating) it just feels kind of natural to do it yourself. DIY or die!

GRVD: You recently started a label. Tell us about that. 

C: Big Pharma Records! I'm not the smartest cookie, but I feel like this area, the Kansas/Missouri/Nebraska/etc. area is particularly lacking in representation for experimental music (again, I could be wrong). Noise and music overall is my one true passion in this life. I also love the compact disc, I know a lot of us are audiophiles, and I love tapes as much as the next guy, but I'm an early nineties child and the CD means everything to me. The CDr is our main focus as far as physical releases go. I started this label for anyone and everyone. My goal is to be THE guy to go to. The nice guy. I can't tell you how many times I've been dicked around and given false promises by labels. There's also a culture of "you're not good enough for me or my label" (I feel) in underground community, and especially in noise there's shittalking and beefing and overall not a whole lot of friendliness. Fuck all that. If you make experimental music Big Pharma is for you. I don't care if you're a 76-year-old black transwoman making dark ambient from a shed in Kentucky, I want to hear it, I want to support you, I want to give you a platform for your voice and a physical outlet for your music. 

GRVD: What are some projects - noise and not noise - that you're particularly into right now? 

C: Lately I've been jamming a lot of Death In June, El-P and Piebald. I've also been on a kick of Xiu Xiu, Soft Shoulder and old-school death metal. Starting the label has been one of the best decisions I've ever made based purely on all the great music I've heard, stuff like How I Met Lauren and Existence Cemetery especially. Also a lot of Bonemagic and Shadowpiercer in the mix.

GRVD: Any last shout outs or final thoughts? 

C: Be yourself and live completely free and uninhibited - whatever that means to you. No one defines your sense of humanity and freedom. We are born to die on this helpless rock and one day all of existence will fold in on itself; your life and everything in it is completely meaningless - so make it fucking important, make it count, give it that meaning. Let no one stand in your way, you are born a human - you are free, you are equal.
I'd like to give a shoutout to Lou Reed, may he rest in peace. Without him my life would have taken an extremely different turn. I'd also like to thank Crowhurst for making music that continually intrigues and inspires me. A shoutout to Patrick Harsh for his undying friendship and loyalty. He's been like a mentor and a brother to me and without him I'd be truly lost at this point. Lastly and most importantly I'd like to thank Sean Beard of WCPC from the very bottom of my heart. Without him and his music Contraktor would never have been. 
This whole time I've been typing and formulating my responses all I can think about is September 2013, sitting by my computer, creating the Contraktor bandcamp and facebook and uploading the first EP. It's been a wild three years and I never would have imagined to have had the success I've had. To anyone I've forgot to mention - If I've met you, played a show with you, done a split with you, talked with you on facebook, released you on my label - I truly love each and every last one of you, thank you for making my life worth living and giving me purpose.


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