2022 is slipping away so it’s time to rewind and discuss our favorite things of the year. This time around, we hear from multiple people including Jim Haras, Dominick Fernow, Richard Ramirez, Sean Ramirez Matzus, and many more. Neverending noise forever and ever. Happy Noise Year.
A collaboration that has come up on two recent Seven Inch Sundays, and one that was requested multiple times in our early podcast days, Merzbow & Christoph Heemann “Sleeper Awakes on the Edge of Abyss” is this week’s focus. An interesting and unexpected work, this album settles in quickly and brings up as many images as it does questions. It’s a great look at ’80s Merzbow through the lens of Christoph Heemann.
A pure 90s noise tape was called for, and Killer Bug “Brutal Rainbow” answered that call. On the Noise label from Taiwan, this one tears the ground asunder. Killer Bug is the first incarnation of Kazumoto Endo, and while the cut up technique is present, “Brutal Rainbow” goes heavy on the trash, the porn, and the total noise.
Greh had the opportunity to play the Lausanne Underground Film and Music Festival in Switzerland this October. In its 21st year, this festival features experimental music and a variety of films and workshops. Greh spoke with perpetual LUFF attendee and former performer Dave Phillips, curator Francisco Meirino (aka Phroq), co-founder Thibault Walter, and performer Mark Vernon about the festival itself and some performances.
The original Trashware guest is back in the hot seat. Crank Sturgeon proposed a discussion on contact microphones, so in this episode we go over what a contact mic is, general applications, how to record and affix the mics and amplifying slightly more traditional instruments, why the contact microphone is the perfect noise instrument, contact mics vs other microphones, in the studio and in the field, using with synthesizers and modular, troubleshooting contact mic issues, and plenty of Cranky anecdotes!
JG Thirlwell was cool enough to to sit down with us for a deep look into his world of sound. Thirlwell has worked with everyone form Steven Stapleton and Coil to scoring “The Venture Brothers” and “Archer” television shows, not to mention his own hefty discography as Foetus, Steroid Maximus, Xordox and so much more. It was incredible to hear stories from his entire history as well as what’s being planned for the future. Prepare to enter Pigdom Come.
Our yearly Marco Corbelli episode has arrived and this time we went for something a little different — Morder Machine “DeathShow.” A project that existed directly alongside Atrax Morgue, Morder Machine utilized a bit more structure and rhythm without losing any darkness and obsession. We pull quotes directly about Morder Machine and relay Marco’s thoughts on the project. Additionally, we continue our tradition of choosing three Italian horror movies to highlight before discussing the album. Welcome to DeathShow.
Zoe DeWitt is a bona fide legend of industrial culture and ritual underground. We were thrilled for Zoe to sit down with us to discuss the entire history of Nekrofile Records and her projects Korpses Katatonik and Zero Kama. We get into many aspects of her work, from musical output to fashioning instruments out of human bones to her work within the occult and much more.
Shane English returns and brings us a tape from his deep cassette culture collection perfect for autumn days — Randy Greif’s “Golden Joy Club.” We go to abstract realms of mid 80s industrial sound with this very cool artifact on Greif’s own Swinging Axe label. Revel in the doorway of sleep go towards heaven’s hole.
We took a Noisextra field trip to the Vintage Synthesizer Museum in Los Angeles and sat down with owner Lance Hill. He tells us how the museum got started, what his vision for it is, how the move to LA has gone and much more. It’s a very cool spot and resource and was a great podcast excursion.