Ten inches of rusted metal junks eclipse all light with K2 “Anybody Can’t Catch Up With This” on Ant Zen. The material on this record is based on the classic album “The Rust,” so we compare both releases and discuss why 10″s are such a great format for noise. Additionally, Tara teaches us about the actual mountain K2.
Shane English (L.I.E.S. recording artist/Corporate Park) joins us to talk about Esplendor Geometrico “Mekano Turbo,” one of his all time favorite bands and albums. Esplendor Geometrico’s brand of rhythmic industrial noise sends us to many different settings, from jungles to trains. Shane brings the full force momentum for this important slice of 1980s industrial.
The ancient world is alive as we discuss “Missing Volume” by the seminal and mysterious Japanese project S·Core. Fire, fog,… Read more S·Core – Missing Volume
Drift back to the 16th century with us as we dig into the fantastic and obscure “Utrecht” album by Nightmarish. This episode is part noise and part history podcast with Tara going deep into the historical subject and themes of this record. Explore the darkness of the Spanish occupation of the Netherlands and be consumed by the veil of Nightmarish.
Juan Mendez (Silent Servant) joins us to discuss a major root in industrial sound — Cabaret Voltaire’s “The Voice of America.” Juan talks about the importance of this record in relation to his work as well as the entire landscape of industrial and experimental music. We also get into his history as Silent Servant, his work with Sandwell District and more. The damage is done and the messages have been received.
As nearly every classic Japanese noise artist has sited Tangerine Dream as a huge influence, we thought it was time to cover them and their “Zeit” double album from 1972. One of the very first full on experimental ambient records, “Zeit” sends us all on an abstract sonic path while we dig up the roots of what makes up everyone from Aube to Merzbow to Nord and countless other noise legends. Touch the haunting heavens with this masterpiece of experimental art.
Aaron Dilloway takes us on a time traveling journey, as far back as the 1920s, to get into some of the earliest roots of experimental music with “Sounds of New Music” on the legendary Folkways Records. This compilation features works from avant garde composers like John Cage and Edgar Varese, as well as some strange instructional tracks and other primitive sonic experiments. Hear the sounds of the distant past and understand the sounds of the future.
Pete Swanson joins us to melt icebergs and flood alleyways with “Cities in Fog” by Jeff Greinke. Swanson recommended this strange ’80s muted atmospheric haze for us to cover and we couldn’t have been happier to swim in this watery abyss. Pete brings his deep knowledge of obscure experimental scenes and sounds as we discuss where this album comes from and where it takes us. Let the dark tides roll in.
Through the advent of teleportation technology, Chris Sienko returns to Noisextra and we all go the farthest back in time yet with Robert Ashley’s “The Wolfman.” Sienko lays down some serious information. “The Wolfman” is an absolute precursor to noise as we know it, and we dig our claws into this destructive piece of sound as well as Ashley’s work in the 1980s. Noise history lesson is in session.
Jonathan Canady of Deathpile, Dead World, Blunt Force Trauma and so much more joins us to discuss a milestone in the world of noise and industrial—“Information Overload Unit” by SPK. Jonathan came prepared to go deep on all aspects of this album. In addition, we talk about Jonathan’s time working for Relapse as well as his early days of sound making. The overload has begun.