Waves Crashing Piano Chords- I Can't Get The Taste Off My Tongue

Common adjectives used to describe Waves Crashing Piano Chords include depraved, perverted, degenerate, corrupt, and prurient.

All of these adjectives are, for this release, outdated.

These adjectives belong to the Waves Crashing Piano Chords that crashed shows in Rochester and fucked up his knee. Those adjectives belonged to the Waves Crashing Piano Chords that made fantastic, but still relatively simple blasts of frentic, physical noise.

I Can't Get The Taste Off My Tongue maintains these characteristics, but the tone produced by the typical microphone/amp/voice feedback is so processed and dynamic that it sounds like something else entirely. Feedback chits and chatters into a beat-like musique concrete. 

The speed seems to change throughout the recording, with washes of Merzbow, table-top static brushing through the speakers. 

The quiet parts are creeping little dirges. Rumbling feedback and distorted heavy breathing add a familiar sense of sexual desperation. 

The song ends like an android drowning, a high scream crumbling into distortion.

This is perhaps his best work. I truly implore you to purchase this album. One of my favorite non-LP releases of the year.

Cop the one-sided 7" here.

Check out this ancient Current 93 Interview

Check out this rather ancient Current 93 interview. Tibet is in top form here. Check out that spooky vhs degradation!

April Favorites

I really enjoy using this blog to promote things that might not otherwise be promoted, to give artists a chance to flourish. I think that's one of the most important things about the blogging format.

I'm going to be doing monthly segments basically listing the things that I am currently enjoying, whether it be music, books, fashion, food, etc., in hopes that someone will go out and support these creators.

With that said, let's get started.

1. JML & Tanner Garza- Desired Constellation

A psychoactive, organic collaboration between two of experimental musics most vital artists. Dripping synths and subtle samples collide with metallic drone and found sounds. Surprisingly melodic. Cop it here.

2. Brian Green's Singing Bowl Meditation Music 

Brian Green is a renaissance man. A prolific sound artist, photographer, poet, and painter, I really enjoy knowing that Green is out there wondering, making beautiful things.

He has produced a significant amount of singing bowl music, perfect for meditation but still maintaining that dreamy, melancholy Brian Green sound.

I've recently decided to meditate daily. This music is very effective in setting the mood.

3. Handsome Boy Pilot: A Queer Space Zine

A collection of space themed writing and art by queers. All of it is fantastic, but I'd like to point out the contribution of Gregory William.

William is a rather disturbing cut up writer from New Orleans whose obsession with psychic process has manipulated his work into piece of tense, scatological beauty. 

Handsome Boy Pilot contains some of his visual collages. I strongly suggest you pick it up as I have the feeling that William will make quite the literary impact, or at least will turn some heads.

Cop it  here

4. Blackfist

A clothing label founded, owned, and operated by Bradley Soileau (the guy in those Lana Del Rey videos). His clothes embrace illness, punk, high fashion, and collage culture and, as a result, are all form-fitting, vaguely-magical objects. Perfect if summer makes you sad.

5. Ocean Grunge

Ocean grunge is a rather-baffling, internet-centric musical and aesthetic movement that combines the themes of adolescent angst present in nu-metal with grainy pictures of the ocean and vaporwave-tinged drone music.

It's hopelessly 2015 and I support the new. I also support anything that is meditative and trance inspiring, which is what oceangrunge is.

Check it out here.

The new Dicks From Mars Album Will Wreck Your Shit (And Maybe Raid Your Fridge)

I'm a big believer in greasy stoners with torn clothes crawling over cheap equipment making an ungodly racket. It's basically the backbone of what I write about. It's kind of our thing. So when I find a band that really takes that formula and knocks it out of the park, I get really, really hype. 

Dicks From Mars, two teenagers coming all the way from Perdido Florida, are a band that I am more than willing to get hype over. Their second album, appropriately titled Harder, captures the heyday of American hardcore in not only sound, but energy, harnessing whatever mad half-angst, half-rage je ne se quiois that made all of those bands while still giving the genre a good kick in the ass. 

Harder isn't what anybody would call a masterfully produced album, but I've always been a sucker for blown-out, fuzzy records. It adds charm. It's tinny, a little loud, but it does its job. The music slides between a Minor Threat/State of Alert/Bad Brains style of breakneck punk rock and Dead Milkmen melodic punk n' roll with wild abandon. 

"That Kid" is a highlight, a classic sounding punk track that conjures the best of The Damned. It has a motherfucking guitar solo. What happened to guitar solos in punk? They seem to have disappeared along with what was left of Rick ta Life's sanity. 

"DFM PSA" is hilarious, a mid-album Public Service Announcement decrying sell-outs and people who don't want to sell-out in equal measure. 

It's not all jaunty punk though. "Minor Dicks" is exactly what you'd think it is, a dope Minor Threat cover. "Childhood" is nearly heavy enough to be crossover thrash. 

The album is short, punchy, and it left me wanting more. I live near these thrashers and that makes pretty nervous. Anyone that makes this music must be a bit of a scumbag. The last thing I need is to come home and find two teenagers stealing my synthesizers or something. 

 you can stream it here: dicksfrommars.bandcamp.com/releases

Kvlt of Personality Interviews: Justin Marc Lloyd

Justin Marc Lloyd is an iconclast. From his home base in Chicago, he heads Rainbow Bridge records, a label that pumps out always-fantastic noise/experimental music at an alarming rate. He's involved in a lot of these projects himself, working under his own name or as Pregnant Spore or Copkiller. He's colorful with aesthetics, both personal and with his label. Tapes, CD's, lathe cuts, splashed with color, glitter, stickers, and the occasional drawing. What's most notable about Justin is just how little he gives a shit. He creates for himself, and he wouldn't have it any other way. I talked to him about his creative process, his music, and his great clothes.

First off, why noise?

Noise is music just like punk and pop and rap is music. Noise is just a more experimental and/or "avant-garde" approach to making it. It's outsider music. And while there are multiple definitions for that term, I mean it in the context of the music (art) that has no place in society, really. I exists on the fringes, in the depths, underneath and above. And really, anything can be combined with it. Although I like many times of music, noise is...well, there are not really words that I can put this in. I just love it. I'm obsessed with it, fascinated by it, inspired and moved by it. I love experimenting and making this kind of music. I love to improvise and I love to write performable compositions, all while having the freedom to improvise within my sets of boundaries, if any. I feel as if I'm an outsider of sorts. I don't fit anywhere within any sort of mainstream culture or subculture. I am not against them by any means, but I've been an outcast my entire life. Even in elementary school, I was too different to have really good friends. Noise seems as if it's a reflection of that, or a manifestation of what it was like growing up like that.

You are and have been involved in a ton of different projects, some avant-garde and experimental and some traditionally musical. Do you make any distinction between these kinds of expression, or does it all come from the same place?

I answered that a bit in the last paragraph, but I'd like to add that it basically all comes from the same place for me. In fact, some more traditional music is often a huge inspiration for me to create much weirder, more "new age" music. I can also say that it is usually some sort of, internal voice that nudges me in the direction of a project. Sometimes I have a particular itching to dive into a certain process or mood and that can sometimes mean putting away the electronics and getting out the acoustic guitar. Or perhaps making electronic dance music with computer software. It all sounds like me, to my ears. They are all different ways of expressing similar views, with the exception of some of the concept projects that are fueled by mindsets that I do not necessarily have.

You play shows quite often. What projects do you exhibit publicly the most and how do you feel that your noise stands out from the others?  

 I don't play as many shows as I used to, and it has been my doing.I was over-playing, and getting too emotionally involved with possible unplanned failures. As I've been learning to be more internal and self-centered (and self-aware) when playing (and recording), I've become more open to playing again. When I play, it's almost ALWAYS as myself  (Justin Marc Lloyd, or JML) or the pseudonym Pregnant Spore. That is primarily an electronics/electro/acoustic/tape music endeavor. Sometimes with vocals or guitar.

Your imagery, both in the way you dress and the artwork on the music you release is very colorful. How much of this is a conscious attempt to stand out against to stand out against the very dour, black/white noise scene. Do you ever get flack from noisebros?

Standing out is not a goal nor something I'm concerned with. Naturally, in a lot of facets, I happen to stand out quite a bit. But it is only the result of me doing what feels good, what represents me on the inside, and how I feel organic and natural. To be honest, standing out a lot tends to make me feel a little uncomfortable and anxious. But I don't want to let that determine how open and real I am with the world and myself. I do get a lot of crap from people in this community and beyond. There are definitely a lot of artists and listeners with that harsh noise aesthetic around me that talk shit to their friends or on message boards and Facebook or whatever. I happen upon a forum or Facebook threads once in a while where someone has decided to mention my name and associate me with something silly, or they make fun of things I am actually associated with. The thing is, that is totally separate from me. Those behaviors are decisions that other people have made and they have no bearing on me or what I do.

It is disappointing to see people  getting into noise and immediately latching onto the elements they think they are supposed to latch on to in order to be really involved. I see people starting labels and  I see people starting labels and immediately focusing all of their artwork and messages on the cliche stuff. I’ve had labels send me artwork they wanted to present for a release as mine, riddled in collaged BDSM porn, mangled bodies, etc. So it’s kind of a formula that is common, and a lot of people just sort of assume all of us noise-heads are into representing our work with that subject matter or art style. It doesn’t matter though. As time goes on, people find their niche.

You’re very, very prolific. What motivates you to keep making art? Does inspiration every stop flowing?

It is rare that inspiration stops flowing. Whatever is motivating me has got to be biological and/or spiritual. It’s like a thirst. If I don’t quench it every day, I sometimes feel clouded and frustrated. I certainly don’t record every day, but I likely play or create music in some form every day. Even if it is just making some field recordings while I’m on the go.

You run a label, Rainbow Bridge Recordings, with a discography a mile long. How does quality control come into play when picking noise to release?

Well, there is high quality control. Like a lot of people first starting a label, you’re  to even be contacted by anyone who wants their music on your label. I know a lot of those people are just looking for hand-outs, but gaining interest is a hard thing in this scene so it’s usually an honor to be sought out. However, in the past few years, I haven’t really taken or considered many submissions. I have a few friends I usually say yes to if they ask me to put something out because we are close. Other than that, I am usually seeking out the artist myself.

Do you see yourself as a sound artist or as a musician? Is there a difference?

No difference.

What music, noise or otherwise, are you currently enjoying?

I’m always enjoying trance, forms and offshoots of traditional emo (Suis La Lune, Mineral, Boys Life, Angel Hair, etc.), black metal, death metal, new wave, no wave, kraut-rock, ambient, rap, grind, power violence… I don’t really discriminate. I think bands suck, not genres. Except for male-fronted pop-country.

What bands are you involved in right now? What releases can we expect?

I am actually not involved in any bands besides some improvisational collaborations between friends and I. I am going nuts not having a band, though. I am likely going to start playing drums for this crust band once I get my drum set together. I recently picked it up from MD and I’m missing about half of what I’d need to play. I am also looking around for people to play music with so I can play my guitar and handle some vocal duties. My old band Age Sixteen is finally coming out with an LP re-issue of our first full-length and our songs from a split. The band has been broken up for a few years but there is a label in Italy who really enjoyed our music and they want to put it out. It’s really cool. I can’t wait.


Any final words?

Thank you so much for your interest in what I have to say, and your support of my work and thecommunity in general. Let me know if I can help support this publication in any other way! Peace.



http://www.ifitmoveskissit.net/

http://rainbowbridge.bandcamp.com/

A Kvlt of Personality Interviews: Josh Doughty

Josh Doughty, based somewhere in the sticky, heatblown city of Houston Texas, is a big believer in noise for its own sake.

Besides heading experimental audio entities Funeral Parlor and Female Pedophile, Josh  co-runs  Dumpster Noise Records, a tape label that puts out a handful of limited releases each year. 

When he's not making noise, he's writing about it, running Axisflowers, a blog dedicated to reviewing the best of the underground.

Because of these excursions, he's gained some clout in the noise underground, a position that makes his regular use of controversial themes, overtly sexual and violent album art, the name "Female Pedophile,"etc., all the more unnerving. Not that it matters to him. Noise for its own sake, remember?

The following text is a transcription of an interview I conducted with Mr. Doughty.

Much like my Kim Carlsson interview, this interview was conducted many months ago, but a certain publisher dipped out on actually putting it out.

Hello, Josh. How are you?

Good. The Christmas season is over along with the travelling. 

Why noise?

I have tampered/listened to a lot of genres and noise seems like a genre that yields a lot of innovation and creativity. I am constantly challenging myself. It's easy to get started and you don't have to necessarily be musically inclined to make noise. Seems like a smart choice. 

I previously reviewed "The Brocks," a Female Pedophile album. I wrote about its compositional strength, how it sounded unified and dynamic. What kind of role does structure play in your noise?

Thank you for the review, by the way! I believe structure can make or break a project. Why? It separates one from the endless sprawl of projects day in and day out. With that being said, it can be good and bad. Good if you have your own structure for writing purposes. Bad if you end up sounding like everything else. 

What's the future for Female Pedophile? Any new releases?         

There are quite a few things in the works for the project in the upcoming year. I won't spoil anything, but lately I have been looking for projects of different genres to collaborate with. My idea of something different perhaps. Hopefully slow down on releases and play a few shows throughout the year. 

You also head Funeral Parlor, which sounds, at least to me, a little bit less depraved than Female Pedophile. What does Funeral Parlor offer you that Female Pedophile does not?  

Funeral Parlor does not offer much social awareness like Female Pedophile does. Funeral Parlor is much more intimate. Some songs are warm. Some are very depressing, or perhaps depraved. Funeral Parlor incorporates synths and a lot of experimentation. 

What is Dumpster Noise? Whose music do you release? What is your goal in disseminating these works?   

Dumpster Noise is a tape label originally made to release our (Garbage Mask, Funeral Parlor, The Hague, and Female Pedophile) tapes and it seems to have lifted off of the dirty floor we lived in afterwards. 

We release what we like, not what we should like. We just want our home for these tapes and for people to give these projects a listen. Best-case scenario: you have something new to jam. Worst case scenario:you have a new tape to dub over. 

What are your non-musical influences for your work?   

Me personally? Nature, sex, finality. 

The aesthetic for Dumpster Noise releases is very uniform. Lots of monochrome and disturbing imagery. Do you think noise has room for more positivity?  

I never saw it as uniform. I guess it just worked out that way. It may be that everyone chose their own artwork (minus one release). I think the monochrome stuff is because it was cheaper to print ink without color. 

I think noise has the potential to do anything. Noise is definitely bigger than us. Noise breeds off awareness and I think that is a very positive thing.   

If you could pick two upcoming Dumpster Noise releases that you're most excited about, what are they and why did you pick them?

There is only one release coming out that I am aware of and that is the Dumpster City Vol. 2 Compilation. This will be two hours worth of new and established experimental projects. This sold out in the first hour so we are making a large-scale run for this particular release.

Any final words? 

Just thank you for the interview and be on the lookout for new releases from all projects stated above and that I wish everyone a bright and safe new year. 

Kvlt of Personality Interviews: Kim Carlsson

Kim Carlsson probably wants you to die.

Through his various musical projects: Lifelover, Hypothermia, Kall, Horns Emerging, and RitualMord, Carlsson has wanted you to know the depths of your own suffering, the pointlessness of your existence.

I interviewed him several months ago, an interview that was never published. 

Here is the interview. I removed any questions pertaining to outdated information, tours, etc.

First of all, let’s talk about the new Hypothermia album. What can you tell us about it? 

t's a conceptual album as usual, this time spread out across two albums, where the first one naturally leads one to the second, as an initiate in a ceremony. It's in its entirety not only some of the most beautiful music composed in years but also some of the most raw and primal.

The band has had a slew of releases since 2005, what do you want this new album to offer listeners that the others did not?

In the beginning I felt it was important to create a foundation with its roots in the old to clearly and honestly portrait the evolution of something spiritually distant from the physical realm. Every album is a tool for a purpose which will depend on the user. Just like you won't build your walls with a brush you won't paint them with a hammer. Each ritual and its task has their time and place.

Does Hypothermia have a message that it wants to impart to its listeners?

There is so much more than that, which is something that we expand upon in upcoming video-interviews and manifestos that will follow the videos that will be recorded for some new and old songs. We come to share the truth that is unquestionable and without shape, but very clear to those who may see or sense it.

As far as live shows go, you’re very intense. I saw Lifelover in Berlin in 2009. You appeared to cut your arms, gyrated around, basically went crazy. Yet, so far, you’ve been nothing but normal, nice and polite. How far away do you place your stage life from your normal, day-to-day existence? 

I didn't have any sharp objects on me during that trip due to airports discarding them, while we had some other sources of blood that week. I consider self-mutilation as a meditative cleansing-ritual, thus it's not something I do on stage anymore. Concerning the rest I'd say that something like standing near a microphone stand or leaning towards monitors gets boring rather quickly, so it would only be crazy to keep doing something that would be that uninteresting to do and look at, so of course I move around a bit in whichever direction the sound takes me. Makes sense, right? Usually I behave just the same way when we rehearse or record with any of the bands as it is what feels appropriate while doing another honest expression, the rest simply comes along. I'm nice and polite towards those who deserve it as long as they do, and simply whatever else deemed necessary towards others. As you know with any individual scenario calling for its individual method of action. The biggest difference with my day-to-day existence is that when I don't work with art, be it audial or visual, I can count on one hand how many people I see, meet or talk to in a week or sometimes a month. Or rather, on my travel to meet the rest of either Hypothermia or Kall I will see more people in a day than I do during a month where I live. I require silence and a calm surrounding to be able to exist and create, which I consider far more important than anything required of me to not create, so the majority of things this world is and has that relates to that aspect of life is something that I avoid and distance myself from. To summarize, my life as an artist is not far removed from the stage regardless of where it takes place, while my life as a person is something completely removed from the majority of what you may consider humanity.

To segway from Hypothermia, you’ve been involved in several other projects, Horns Emerging, Ritualmord, etc., over the years. Which ones are still active?

I participate in various projects or other bands when there is something different that is necessary to be expressed through me. At the moment I can't say much about which are or will be active in the coming years as that depends a lot not only on the time I got to deal with those things but also the amount of time and effort that the guest-musicians have for these visions, which I rather let take the time they need to create something useful and pleasing rather than something rushed. Also as time passes some of the

visions that started out as something very specific grows over the years into something else while the other bands keep evolving and to some extent receive some ideas that eventually fits with one concept or another, while some projects just lie in wait, to find their way out in the world when the time is right.

Besides your music, you’re also a very prolific painter. Have you always expressed yourself in this way?

It's always been in and around me, but it took many years until I started to find my own way to express myself visually. After all there are so many things that not only can, but needs to be expressed without words. And learning a new language and to express yourself through it is one thing, while mastering it is quite another.

These paintings often use organic materials like blood and milk. Why is this? 

I cannot think of anything more suitable than something that lives and dies. Every organic material got its different natural properties intact which is something that also gives different results and purposes depending on the state of the liquid. It doesn't only affect the color-spectrum of each liquid but also how it blends and interacts with other liquids, as well as the order those different liquids are used makes vast differences.

To wind things down, what music are you currently listening to? Anything new you would recommend?


As we're getting closer to our next recordings it's what is in my head most of the time when I don't open the window to listen to the fields and woods outside. Besides the debut album by "Kall", I'd recommend this years offering by Ill Omen.

Any final words?

Respect the silence and submit to it.

Action Pollock- "Songs of Hope" Review

I've always been attracted to avant-garde music made by people that can actually play. 

There's something about someone with obvious musical talent deciding to abandon any and all preconceived notions about music and just make whatever holy-hell racket they want that makes experimental music better. For example, Duchamp's Fountain wouldn't be nearly as interesting if he hadn't already done Father. 

Action Pollock, a sound-art group from New York, clearly have the ability to play. Their abilities, hinted at on the first track of the album and then fully explored on the second, are well above par. This makes the subversive qualities of the album, the drone, the noise elements, all the more interesting.

Songs of Hope is two tracks long, clocking in at just over half an hour. These are long songs, ladies and gentlemen.

The first track, "Songs of Hope," is a 22 minute ambient drone. Unlike a lot of music in the genre, it continuously kept my attention. It accomplished this by having absolutely brilliant textures. The track begins with a grinding, Swans-esque tone with buried guitar feedback. It has a certain musicality, a certain softness. Eventually notes start to take shape as a repetitive, cloudy pattern. This pattern degrades into a noise-break very similar to Metal Machine Music. Not a bad choice. I've always found that album to be immensely uplifting.

Make no mistake, this is a very happy, ecstatic record, one that spits in the face of the melancholy, self-seriousness of the experimental music scene. It's also very much informed by the city of New York. It seems to capture its vibe, its nooks and crannies, waking up at 5 in the morning and smoking a cigarette by the Hudson. It's nice, comforting.

The second track, "Blacked and Blue,"  is much more overtly musical, a post-rock, ambient guitar jam reminiscent of something like Explosions in The Sky or Angels and Airwaves. It has some subtle middle eastern rhythms that give the track a sense of uniqueness. It sounds triumphant, victorious.
This record is a beautifully-textured piece of happy-ambient. Highly recommended.

Darkwave/Noise mix

Made a mixtape of stuff I've been listening to.

Tracks are, in order:

Var- No One Dances Quite Like My Brothers

Puce Mary- Ultimate Hypocrisy

Prurient- Life Magazine (remix)

Poete Maudit- It is Difficult To Free People From The Chains They Revere

Pharmakon- Autoimmune

Justin Marc Lloyd- Thousands of Protons

Lust for Youth- Behind Curtains

Genocide Organ- God Sent Us!