Darkness descends on the podcast as we discuss MZ.412 “Malfeitor.” We are thrilled as Nordvargr himself lent his voice to this episode and gave us insight not only into this album, but the project as it was in the late 80s. Crowbar your way into the engine room and stare into the abyss.
Before there was Brighter Death Now there was Lille Roger, and we head back to 1985 to discuss his “For Life” cassette. It is a wonderful soundtrack to counteract the monotonous hopelessness of the mundane, as Tara attests to in this episode. Listen and raise the undead.
June is calling so we thought it would be a great time to cover “Endless Summer” by Fennesz. It’s our first time highlighting a Mego album and this seminal disc is a fantastic marker of a particular branch of noise sounds. Melodic guitar swims under broken computer sounds and we are washed away in its waves. Note: apologies for some mic crackle and distortion on this episode.
A morbid industrial classic haunts new buildings in the bleak form of “Ephemeral Dawn” by Anenzephalia. We take a look at this slow and tense mid-90s document that gives the same necrotic chills today as it did then. Here the dream dies!
We travel back to a fateful night in 1912 with Seed Mouth’s astounding “Titanic” CD from 1996. An incredibly unique and special Japanese project, Seed Mouth brings something ineffable to the noise landscape. In addition, we discuss the Titanic disaster and how we see it relating to the expanse of this album.
The story of Oedipus is reimagined by IRM on the “Oedipus Dethroned” CD on Cold Meat Industry from the turn of the century. This is a power electronics concept album that utilizes classical symbols and icons to create something beyond its parts. The stage is set and the mannequin is on the table ready for the surgeon.
Did Howard Stelzer break the Noisextra crew with “The Acrid Acme (of)” P16.D4? Stelzer brought us this unclassifiable CD from 1989 to explore. This album has been with him since it’s release, and Howard’s knowledge and relationship with this seminal German project is infectious. We also get into Stelzer’s discovery of noise while living in Florida in the late 80s/early 90s.
We are back in Merzland with the fantastically bright “Red 2 Eyes” 10″ on V2. These thick, heavy, and cosmic sounds were recorded in February and August of 1995 and we get to hear Merzbow experimenting with his then-recently acquired EMS synth. As well as the history of this record and title, there is a fun-filled debate on what to call the colors of the cover and vinyl. This 10″ showcases how and why Merzbow hits in a way no one else quite can.
Joel St. Germain, the elusive owner of Spite and the man behind Humectant Interruption, gives us a glimpse into his fascinating personal experience of running a 90s noise label. We talk about assembling tapes with pancakes and pig snouts, getting into noise at the age of 15, and if Greh’s driving lessons stuck. Another noise history class is in session; no hall passes will be issued.
Enter a world of artificial time and nature with “Now Wait for Last Year” by Caroline K. As a member of Nocturnal Emissions, Caroline helped craft a strain of early industrial, but by the time her only solo album was released, a new landscape of sound emerged. This is a very special and singular album from 1987, and we all get swept away by its scope.