Site original : GRAEVDØD
⇐ retour index

Mise à jour

Mise à jour de la base de données, veuillez patienter...


samedi 11 avril 2015 à 14:36


Atmosphere, brutality, ambition, and a lack of mercy. All of these characteristics describe the latest piece of material from New York harsh noise/power electronics/harsh noise wall act Swallowing Bile. A project I've reviewed and covered prior on this blog, this is the work of an individual whose frustration, isolation, rage, and malcontent with his surroundings seeps into the unforgiving and crushing sounds he records. This is record touches new territory for the project, abandoning simple textures and fragmented glimpses into a frustrated and homicidal mind, and instead showing listeners full circle something they may not want to see or hear. 

Clocking in at just under 30 minutes and composed of 6 tracks, Swallowing Bile never lets us get to comfortable with one sound or abusive electronic wall. Instead, the project focuses more on lyrical concept. An explicit and blunt lyrical commentary on the inner-workings of a nihilistic and malicious serial killer, Swallowing Bile paints themselves as a character - similar to how Deathpile did over a decade ago - but only allows this to show as an influence and not some copy-cat experiment gone wrong. The tracks are dark and moody, harsh, loud, and above all unsettling. 

Closing with the track "By Her Tongue" we see this project toying with sounds they've incorporated throughout releases - a kind of dark ambient meets found sound hybrid - but here it is executed with perfection. The album just builds and builds and builds as it drags the listener into an auditory hell. The track explodes and refrains, only to explode again with the man behind this intense project Ethan Ebeling screaming passionately about the harm he promises to inflict on his next victim. It's a perfect ending to an unsettling and dark noise record. 

This project never disappoints, and Swallowing Bile proves once again how you can expand upon the microgenre of Harsh Noise Wall and take it into newer - dare I say - artistic directions. Call this what you want, this is a violent record, bent on causing harm to those it disdains. 


Source :


lundi 26 janvier 2015 à 20:56


GRVD: Explain the importance of emotionality behind your work. Do you try to incorporate a human-emotion element or do you intend to have the music and sounds be an entity deprived of humanity all together? 

AG: Both I feel are extremely important to the project. A lot of stems from my personal experiences performing live. I have very vivid hallucinations when performing and recording. I visualize the atmosphere, Like a heavy fog above the audience. I used to try dive into it in order to become it, taking away the human element, but at the same time remaining very attached to it (but now it feels so natural to me to play this way). It's strange and difficult to explain. Becoming the atmosphere allows me to control completely what's going on and sort of posses people in this spiritual way. It's very detached from reality but at the same time very personal and natural. I try become the entity. I see AG as a living breathing sound, for me it's very a very spiritual moment. I try and recreate that visual into a sound when recording, so it has a very real and personal sound that's not only created live. It's almost pure solitude.

GRVD: Where would you like to take AG in the future? Do you intend to expand the project on a grander scale? 

AG: Currently I'm working on a lot of collaborations with really different styles. I really enjoy working this way. It challenges me me to adapt and experiment with new things. I think I will continue this approach for a while. I'd like to take the project into a more professional and mainstream style. Hopefully breaking out of the lo-fi diyness of it and spend more time and money into recordings and writing. I'd like to push myself to play live more and work with more people live. I'm thinking of playing along side drummers, shaping the project more into an orchestra. 

GRVD: From an aesthetic standpoint, AG has a very grounded and firm stylistic standpoint. Could you possible explain the influence behind the artistic and visual aspect of AG? 

AG: The Visual side of AG is just as important as its sound. I often work with very barren, futuristic imagery, and nature. Flowers being the main image of the AG. I feel this captures the main themes of fragility, destructiveness and emptiness that surrounds the names sound. I'm constantly searching for something new, always expanding and growing. At times more beautiful and delicate but also very sharp and desolate. I like the image to be just as strong and bold as the sound. I'm really interested in Architecture and nature, so it's very important to Alocasia Garden. It's similar to the way I record. The project always starts with a vision of a barren, dystopian scene. I try build on that as much as I can and eventually get lost in it. I wanted to stir away from the iconic negative imagery often used in noise. I used that in previous, harsher projects. I wanted to build something new.

GRVD: Care to list off some musical/noise influences for the project?

AG: I like to keep my musical outcome as isolated to other works as much as possible. I can take to much influence from other sounds. After recording I find it impossible to connect to the finished outcome. I normally hibernate when it comes to recording. Surprisingly I don't listen to much noise, Although there;s a few names that really stand out to me. I mostly watch videos of shows to find other ways of how artists can control and involve the audience. Puce Mary and Pharmakon play a big part in that I think. I pushes me to experiment more with aspects outside sound, It's almost performance art, which I'm really interested in. But at the very start of the project, Cremation Lily and Damien Dubrovnik played a huge role in my life since I was 16. They showed me that there was different ways I could explore myself and music rather than playing 30 second powerviolence songs I felt no real personal connection too. Before it was just all anger and hate, but that really clouded what I could really do and what I wanted to do.

GRVD: Has AG ever toured? If so, what was that experience like. If not, do you intend on touring in the future? 

AG: Sadly, I have never toured (and not played many shows in general for that matter) but it's been my dream to tour since playing in my first DIY band when I was 14. I am planning a collaborative tour with a new artist 'uselt', a noisy industrial project by my friend Sara. We will be playing in August around Malmo and Denmark. Money and being so young makes it extremely difficult for me. I'd like to do some small UK tours this year. I wan't to travel as AG as much as possible.

GRVD: Do you have any thoughts on the American noise scene? Do you prefer the UK's contributions more? If so, please explain why?

AG: I'm a little out of touch with the US scene the past year. But there's a lot of really great stuff out there. I think it's very different from the UK. It's much more aggressive, fast paced and harsh. Like a powerviolence band or being strapped to the front of a roller coaster. It has a really strong message and has a very violent sound, I like that. I think the UK noise scene is more gritty, raw and disconnected from a a community (but it's on the rise!) It's not such a big thing here(In smaller towns like my own at least) It's more something that's hidden away among smaller groups. It's there, but no one really wants to talk about it. But it's really exciting to be part of a growing scene and helping forge it. I've met some amazing people here since making horrible music. US by the looks of it is a large community, in the same fringe of the punk scene. But I've not been 'involved' in noise that long to really know it well.

GRVD: Anything you'd like to leave us with?

AG: I have a few tapes and shows on the way. Including a C60 out next month on Vanity Pill. Thank you for taking the time to interview me and the continuing support. I look forward to what comes next. X 


Source :

ALOCASIA GARDEN - Skin Of Ash And Veins Like Wire REVIEW

dimanche 9 novembre 2014 à 20:57


The personal and emotional aspect of noise is one that should never be overlooked. Already a prolific and aesthetically-conscious genre, noise - and most of if not all of the subgenres it encompasses - also possesses such an allowance of invasion from its performers. More often than not, artists allow, want - or perhaps force - their own independent worlds of personal turmoil onto the listeners. Many projects adhere to this philosophy of self-release, but few do it with as much conviction as ALOCASIA GARDEN.

UK synth noise outfit ALOCASIA GARDEN has graced listeners once again with a short, yet soaring release. Borrowing sounds from Ramleh, Puce Mary, and even some of Prurient's more melodic work (think "Pleasure Ground"), this project releases some of the most tortured and depressingly beautiful synth-noise this reviewer has heard in years. 

Composed of 2 tracks, this release starts strong with "Skin Of Ash". Starting off with what almost sounds like black metal influence, the track's melodic soundscapes soon soar and swoon and incorporate a static, piercing assault of electronics. The next track "Veins Like Wire" picks up where the last track left off, with a more brittle, thin sounding synth chord before the tracks grows and grows, incorporating low, dissonant hums and claustrophobic atmospheres complemented by harsh electronics in the vein of Japan's Hijokaidan. 

Exhibiting restrain and proper execution, this is a personal and mature piece of noise music. ALOCASIA GARDEN prove once again that the UK has some of the most promising and engaging acts in the modern scope of noise. Do not sleep on this project. 


Source :

GRIEF WORSHIP - Mirrored Interference REVIEW

mardi 4 novembre 2014 à 17:54


Australian harsh noise / power electronics outfit GRIEF WORSHIP has presented us with a truly entrancing and crushing release. Borrowing moods, aesthetics, and textures ranging from everything to Knifedoutofexistence, Masonna, and Puce Mary, GRIEF WORSHIP release a brooding and transcendentally abrasive yet artistic release. 

From the artwork to the aesthetic and power of the release itself, GRIEF WORSHIP creates dread and excessive aural abuse in a near-flawless fashion. Definitely challenging contemporaries, this international noise dynamo is a force to be reckoned with. 

This tape starts off with the powerful "Ice Pick" and from there the listener knows what to expect. A complete aural assault and crushing expression of noise within the likes of Swallowing Bile and Methlab Explosion. Every track on here is concise and conceptually complimentary and truly makes this release organic. 

Released through Palinopsia Recordings, this release shows promise from this noise artist. Mirrored Interference is a truly crushing yet serenely confident release. 



Source :


mercredi 8 octobre 2014 à 20:09


Pory Nog is the head of DIY label NOG RECORDS and the man behind the harsh noise project Tape Monster. He agreed to let us interview him and this is what unfolded: 

GRVD: When did you start NOG? Is this the first label you've operated? 

NOG: I started in May of 2012. It is the first label I operated but I attempted to help be a part of the Piranha Party netlabel but by that time the label had already died. For like a year and a half NOG was a digital only label. Then I started doing releases like crazy in about August of last year, but there was a CDr release released prior to that which I still count as the first physical NOG release.  

GRVD: With underground music and labels seeming to be gaining more and more momentum today, what would you say is the importance of underground DIY culture, labels, zines, and ethic?

NOG: It's important to support one another and not to take it too seriously. Mutual support is what will help the DIY underground survive, and lack of it is discouraging to say the least. A lot of people who run labels or make diy music just seem to only care about whoring out their own brand which is entirely okay, but then you'll ask them to check out your stuff and they'll just blow you off. I think it's great that so many labels are emerging, many of them by friends of mine. Physical music is great and the DIY labels are helping fight against the monster that I call digital download prices. There's literally nothing wrong with paying for music, but I refuse to do it in digital form because that's just silly. But I digress. It's important to mutually support one another, respect one another, and to have a great time. Throw cool DIY shows and create cool cassette releases. Keep the culture alive.

GRVD: NOG covers quite a variety of artists. Do you think having that sense of variety is important for a label - both artistically and economically? 

NOG: It really depends on the label. I personally won't release anything by someone I'm not friends with at this point because there have been a few releases in my library that once I released them, the person behind it hasn't talked to me since. I won't name anyone because it's bad to slander people, but it has happened more than once. That's why the people I'm close friends with have more releases on the label than anything. Because they've supported moreso. Genre hardly has anything to do with it, but I do only release stuff I like, which is pretty much any cool genre. I haven't really found a genre that's lucrative, maybe a release here or there sells fairly well, but I don't mind that because I'm not doing it for the money. Some genres generally don't sell well period like anti-music, most noise, noisecore, and weird stuff like that. All in all, it's all for the artistic purpose, a vast library of lots of cool genres and music by my close friends is all I really wanted.  

GRVD: As an individual who has always wanted to set up a small label myself, what would you say is the most enjoyable part of the job? 

NOG: The satisfaction of getting releases done, the idea of just having a distro in general, and when people actually want your product. Not to mention when a person you release something for gets really stoked on it. It's maddening and stressful at times, I won't lie. But I would rather do it than not do it overall. 

GRVD: Any advice for someone just starting out with their DIY label? 

NOG: Acquire cool releases by cool people and offer to give it a physical run. is a beautiful website that you can get all your CDr and cassette needs from for great prices, and the service is wonderful too. You'll have to keep an eye out for other formats (mini CDr, business card CDr, floppy, or perhaps if you have a desire to explore more obscure formats), vinyl I couldn't give advice on because the first NOG vinyl isn't out yet and that shit is pricey. Maybe when the label makes more sales in the future I'll do vinyl runs here and there. But my advice is, just do it. keep the DIY spirit alive!

GRVD: Now, you also make noise under the pseudonym Tape Monster. How did that project come into being? 

NOG: It started in mid 2012 under the moniker Seagulls Fucking Seagulls (which has over 60 releases or so, and there's still 1 or 2 that haven't come out yet that still might one day). I just wanted to make noise, and not anti-music garbage as unfortunately memorable as it may have been to spectators. I played a bunch of shows in 2013 as SFS, namely a warehouse space that friends and I had for about 7 or 8 months opening for some cool acts that we organized shows for such as Crank Sturgeon, PCRV, c@, Nequam Sonitus, etc. Eventually that died down, the space died sadly (but it had its issues for sure), and I started getting less shows. After a few more shows, I kind of developed a permanent style for my live setup, so I appropriately changed the name of the project to Tape Monster since that's exactly what it is. As far as the audio, just making weird noise which I've actually kind of lost a feel for because I don't know what new things to do.

GRVD: Describe a Tape Monster set. Would you say it lives up to the chaotic and spastic nature of your music? 

NOG: It does, TM has only officially had five sets in the new era and it's not looking like I'm going to be getting more, which is why TM is probably going to be ending soon unfortunately as it's a primarily live project. blahblahblah negativity etc but my live sets used to be me just like breaking things or harassing people or just doing weird things. I harass people who go to shows with the intent of sitting outside during people's sets and not support as well which is cool.

GRVD: I have to ask, how did you come up with the name Tape Monster? 


GRVD: With 2014 coming to a close here pretty soon, do you have an idea of your album of the year? 

NOG: I couldn't just choose one! So many awesome releases. Some that stuck out (as a rule, I'm only naming non-NOG releases):
Bubblegum Octopus - Critters
Watabou - Plasticity
Rent Strike - RENT STRIKE!!!
Ghost Dads - Next To The Water Heater
Styrofoam Sanchez - Coastal Run 2014 tour tape
Crank Sturgeon / PCRV - Future Steps For An Ancient Fever
Sordo / Chainsaw Squid - Split
Corvid Canine - Eviscerated, Exsanguinated, I Am Hollow
There's probably more but I'm forgetful and whenever I think of a sick release I realize it's something older that I just happened to get recently.

GRVD: Anything you'd like to leave us with? 

NOG: m...miss u


Source :

Unknown feed type?!