Name: Richard STEVENSON
Nationality: Australian
On the front line: Since 1998.
Activities: Spectrum Magazine (1998-2001) – 5 print issues released; contributing writer to various publications (2001-2006); Noise Receptor Journal: print magazine & blog (2012 – present) – 3 print issues released to date.


My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.

1. HIJOKAIDAN  No Oslo No Harm

from “Polar Nights Live” (Pica Disk 2008) CD

This is a 26 minute live recording of a ‘noisecore’ type band, or a couple of ‘noise’ musicians (a duo for sure -perhaps a trio?).  The material seems to be based around abstract guitars and screamed high pitched (female?) vocals, but with no discernible riffs or song structure, the guitar distortion is pushed into overblown, chaotic, harsh noise territory.  As such the hectic strumming and/or hyper speed guitar noodlings are fed through distortion pedal treatment to in the most part create overblown, squalling noise (there may even be drums buried somewhere in there – but it is all too chaotic and overblown to tell!).  Both harsh and unrelenting, this is typically not a style I am well versed in (nor actively listen to), which means it is difficult to offer a view on its artistic merit.  Yet the extremely enthusiastic crowd noise at the end indicates it was well received at the time.  A Japanese project perhaps?

2. BRIGHTER DEATH NOW  Meat Improvement

from “Pain In Progress” (Cold Meat Industry 1988/1998) CD

Quite a ‘classic’ northern European industrial feel, where this track sounds like a precursor to what would later become the hallmarks of a death industrial style.  This would also seem to be of a late 80’s/ early 90’s era, rather than being modern and knowingly ‘regressive’ in approach.  The track is built around central pounding mid-paced programed beat, with treated sampled voices and low industrial hum creates a solidly dark atmosphere.  This would be my top pick of the 6 tracks and with early MEGAPTERA coming to mind as a comparison, I am rather intrigued to who this could be!

3. Daniel MENCHE  Furnace Fucker (Part 2)

from “Furnace Fucker” (G.R.O.S.S. 1994) cassette

A long track (in excess of 20 minutes) which presents a subdued industrial noise styled soundscape.  A clinical undercurrent to the tone is present, whilst in the most part the track is based on muffled bass and rumbling waves of sound, mixed with a general mechanical churn.  With a gradual shift in tone and sonic temperament over its length, the track pushes towards noisier realms as it progresses.  Certainly an enjoyable track and definitely of the type of material I actively listen to.  Likewise with a deliberate and controlled pacing of the material, it makes for solid and engaging listening over its length.  I also get a passing impression I may have heard this before – where the Swedish artist JARL definitely comes to mind – but also I am not certain of this (…nor am I going to cheat by digging out JARL’s albums to check).

4. HANDS TO Untitled 

from “Croatoan” (Alluvial Recordings 2001) CD-R

Another lengthy track at 27 minutes.  Very electro-acoustic and minimalist in structure, seemingly based exclusively on natural field recordings, including the rumble of a distant storm, night time sounds of crickets/ frogs and water based sounds etc.  Quite experimental yet also darkly toned in character, with the generated ‘mind’s eye’ picture revealing nature based night time vistas.  Micro-tonal textures and scratching metallic elements are also sporadically used; as are large sections of almost silence (although in these quieter moments late night ‘dead hours’ urban sounds can be detected when the volume is increased).  Given the field recording nature of this track this could perhaps be a track by Francisco LÓPEZ, although in selected ‘darker’ toned moments it brings to mind elements of NIELLERADE FALLIBILISTHORSTAR or OCHU.  Generally enjoyable but I found my mind wandering away focussed listening during various moments.


from “eek!” (EE Tapes 1997) cassette

Well, it seems I have been given the blind date ‘endurance test’, as this is the 4th piece in excess of 20 minutes!!  Another long form minimalist composition (29 minutes), which with its distant rumble and glacial pace might be best described as ‘industrial noise/ isolationist ambient soundscapes’, not too dissimilar to the long form minimalist works of ARCHON SATANI (later solo period), INANNA and NO FESTIVAL OF LIGHT etc.  Actually this is not too dissimilar to the 3rd track reviewed above.  Overall the piece embodies a dank and muffled sound, coupled with distant thuds and general mechanised hum.  The bass addled churn increases towards the later third, including some elements of looped musical tunes being fed into the mix before abruptly cutting out again, although these elements tend to negatively jar the mood of the underlying elements.  An OK piece overall and along the lines of what I like, but also not one to make much of a lasting impression for repeated listening.

6. BRUIT TTV Dissemination (extrait)

from “Bruit TTV” (Bruit TTV 1989) cassette

Goofy improvised music is the central flavour of the final track. Loose strummed and/ or noodling guitars are coupled with junk instruments/ kids toys which are ‘played’ for general chaotic weirdness.  Basically I cannot stand this is the type of ‘experimental’ music, so I was exceedingly pleased that this track is around 2 minutes in length.  Some might question why I choose to listen to power electronics, death industrial etc., but equally I would question who would find enjoyment and merit in this?  Each to their own I guess; but as for artistic merit?  Negligible.

047 KNURL “Acetylphasia” cassette

Now available from Impulsy Stetoskopu!                                                      do internetu 1  do internetu 3 After a long hiatus Alan Bloor comes back with a new release. One of the most evocative and sonically diverse works in his catalogue, it is worth waiting for! Each cassette, wrapped in a sanitary napkin moistened with glacial acetic acid, comes enclosed in a transparent plastic bag. LImited edition of 100 numbered copies.

Attention:Anybody who bought / got this release, please, don’t keep it inside a sanitary napkin moistened with glacial acetic acid and in the folie bag longer than one month.


Name: Bartek CHACIŃSKI
Nationality: Polish
On the front line: Since 1993.
Activities: A valued modern music writer and popularizer, active in the Polish mainstream media (radio and press).

My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.

1. MACHINEFABRIEK / Stephen VITIELLO  Chocolate Sprinkles, Tape, Egg Cutter, Rice, Plastic Bag 

from “Box Music” (12k 2008) CD

Builds just as a nicely executed composition in three parts. Beginning with a simple sine waves (or prepared instrument harmonics) paired with some delicate bells or wind chimes – quite minimalist, even meditative – then some background noises appear slowly, conducting the piece into short musique concrète interlude. Finishing with a quite harmonious more bass-driven drone. Harmonics from the first part return and noises transform their nature into more organic one. Builds some tension and – after short yet elegant and very pleasant culmination – finally melts into a kind of burble. It actually tells a story and stays adventurous at the same time. Masterfully written and full of finesse, clean idea well executed, liked it a lot.

2. AURAL HOLOGRAMS  Before The Great Stone

from “Vol. 1” (Aural Hypnox 2007) CD

Cassette recording, judging from the sound characteristics and higher frequencies being cut off. Or is it prepared as a modern lo-fi form? I doubt it and would point the 80s experimental scene as the place and the moment. Solid drone base with some layered synth/organ motifs meanders here, altogether creating something rather chaotic in nature. This distorted piece shows some improvisational skills, but is a bit too static for me, even if quite rewarding in creating a mood of unease at the same time. Also seems familiar to me, I think Jim O’Rourke’s early tapes would sound a bit similar.

3. PSYCHOPHYSICIST  s17.2 helical formations

from “Psychophysicist” (Side Effects 1996) CD

I don’t feel like being an expert in this domain, but this track seems to exploit some classic noise music techniques in an elaborated way. Analogue sound editing, some looping, with rather short samples, probably non-16bit – or expertly emulated. This piece made me wonder a lot about its authorship, but I’m unable to guess. It’s quite complex as a whole, has a multi-layered sound facture constructed upon a flanging chord with a lot of dynamics and emotion, but some performer’s gestures and rapid changes still give me the idea of this being a one-man project. And makes me want listen to some more of this material.

4. BRUME  Part 1

from “The Sun” (Old Europa Café 1990/2008) CD

Heavy tribal drumming welcomes us to a cold and distorted sound area with drums gradually building some melodic patterns. Think talking drums going industrial, which makes it somewhere in the realm of William Bennett’s music. Sounds like a devastated piece of percussion-driven minimal music which basically is a strong idea, but seems a little worked out and exhausted in the middle of  this piece. Or maybe it’s just not my cup of tea at the moment.

5. OMIT  Section Two, Part Two

from “Alienation” (Deepskin Conceptual Mindmusic 1990) cassette

Monstrous and hypnotic analogue synthesizer and tape work in the vein of classic experimental studios’ recordings, falling somewhere between bubbling of early krautrock in the vein of Conrad Schnitzler, Otto Luening’s pioneering pieces and more contemporary energy of Maurizio Bianchi. Lots of pitch changes and tape sound effects (fantastic tape echo) in the mood of late 60s. It could be even the early Jason Lescalleet or other synth/noise experimenting artists. Names are given here to classify this recording, as it’s a long, but very abstract form. Once again, I’ll only be surprised if that’s something brand new. Very interesting track anyway.

6. APHASIA  Wrhs6mx

from “Aphasia_Sr Dissections Mx” (Bake Records 1999) CD-R

All in all, it seems like a good collection for my taste in music, given that the last track is once again very nicely composed. It’s an eclectic collage of traditional/acoustic (piano in the central role of rhythm purveyor) and electronic/prepared sounds, which could be made presently by many artists from the field of experimental electronics, but the composer gesture, once again very clear and precise, seems to have more of an academic background. Returning motifs build culmination by condensing and then finally releasing into a nice ambience. This one is probably quite new, and to be honest there’s a good chance I’ve already heard it. Anyway, I feel intrigued once more and eager to know who this is.

043 The Archive Of Polish Industrial Music Presents: SOMA – STRUCTURE (WUNDER BAR & SCHISTOSOMA 1986-1996)

Now available from Impulsy Stetoskopu:

The next part of “The Archive Of Polish Industrial Music Presents: “ series.
Limited edition of 100 hand-numbered copies 4 x CD-R in a 16×16 cm solid box with a 16 paged booklet.

naklejka na wieczko     IMG_7379

In the mid 1980s Polish independent music was at its peak. Apart from Tri-city, Wroclaw and Cracow, the southeast of Poland, including the city of Rzeszów, was the place of exceptional activity from young artists associated with new wave, post-punk, and avant-garde rock music. Located somewhere on the fringes of the country’s music underground, the flurry of creative atmosphere which emerged there gave rise to bands like 1984, ONE MILLION BULGARIANS or WAŃKA WSTAŃKA.

It must have acted as a catalyst for creative, artistic thinking in many young people who had first-hand experience of those times and events. One of them was Wojciech ŻMUDA (b. 1964), a versatile artist, devoting his explorations to the refined avant-garde dating back to the interwar period rather than rock aesthetics dominated by punk rock revolt. In 1983 he started experimenting with sound, much in a spirit of musique concrète using a simple cassette recorder. He mixed field recordings with sounds of everyday random objects: lids, suitcases, safety razor blades, sheets of paper, etc.

A short extract from a biography by Rafał Kochan (translated by Przemek Chojnacki)


Name: Andrew SEAL
Nationality: American/German
On the front line: Since 1997.
Activities: PRAYING FOR OBLIVION (1997-present); TOTE STADT (2002-2004)

My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.

1. DE FABRIEK Ruckehr
from “Trabbi – Music” (De Fabriek 1991) cassette

Distorted pop music. Blurred and obscured by a pitchshifter pedal or effects rack, I think. Looping, glitchy trip-hop feel. I have no idea who this project could be. Its pleasant in a disposable dreamlike kind of way, but not something I would listen to normally, or pursue interest in.

2. MISSING FOUNDATION Kill The Hypnotic Bastards
from “Missing Foundation” (Restless 1987) CD

Starts of with some annoying repetitive voice sample and moves quickly into some quasi doom-y sounding guitar and drums and screaming vocals……My initial impressions of this track are somewhere between old Norwegian project THE END, and Neurosis. Now a phase of the track with panning in/out vocal sample bits, and ends abruptly. Not a bad piece, if you like experimental/doom/scream-o type stuff…..

3. ATRAX MORGUE No-End Torture
from “Lesion 22” (Less Than Zero/Slaughter Productions 1996/2004) CD-R

This is more my taste in stuff. Harsh, simple rhythmic noise. Minimal and straight to the point. Basically just a drum machine some distortion and feedback. At some point this reminds me of some of the work from my good friend Daniel’s project Flutwacht, but I don’t think this is exactly his area of sound, because the production on this track is very minimal and stripped down; a simple interchange and mix between the rhythm and feedback. Nothing groundbreaking here, but not bad.

4. SIGILLUM S Incstant Of The Obsession
from “Sigillum S” (Sigillum S 1986) cassette

Track starts very minimally, a pulsating and ominous ambient atmosphere with some electronic sound like crickets outside…..About a minute in the sound is punctuated my some echoing shouts and “singing”……then vocal samples from some speech(?). I can sort of imagine this entire track being the actual audio from a movie; not the just the soundtrack itself, but the sounds of the action on screen as well. For some reason I envisioned a desert landscape in my mind,at dusk……..I wouldnt consider this dark ambient; the vocals lend some “shamanistic”, ritual tones. A bit on the long side, but a nevertheless interesting piece to imagine a visual accompaniment to……cool track.

5. JGRZINICH / Seth NEHIL The Distant Edge
from “Confluence” (Intransitive Recordings 2002) CD

Horror vacuui. Like a philharmonic tuning up in hell, or being trapped in a traffic jam on LSD; in fact I think the sound source is in fact, car horns honking through some delays etc. and I can clearly hear people talking in the mix of things, pedestrians on this particular street in hell……perhaps the local football club has just won the championship ? Car alarm sound, police whistle, more car alarm sounds, more whistles……My honest and best comparison to this type of overwhelming vortex of sound would be certain pieces from Boyd Rice/NON but I know isn’t that. Honestly no clue who the composer of this strange tape cut-up / loop track could be ?

6. 1348 Untitled
from “Crystal Night” (Korm Plastics 1988) cassette

This piece starts off very minimally, with a looping and quiet clock-like mechanical sound, giving rise to another layer of mechanical vibrations similar to listening to the motor of large machine or vehicle from the inside. Another loop, this one more rhythmic. Very hypnotic and precise mechanical sound, almost oddly danceable (?) The only comparison to other material I can give is that this piece reminds me of a quieter, denser version of the project Désaccord Majeur on the album “L’Immobile Point Vibrant”. However this has more of a vaccous and hypnotic quality to me. The loops that have build for the first 9 minutes begin to shift toward the 10th minute, and we are left with a minimal scraping beat that abruptly ends……part 2 ? Well, this track kept my attention and interest for the first half, but now is back with a very minimal percussive loop sounding like a wood block and scraping metal. Primitive rhythm. “Part 3” begins around the 15th minute. Elements from the previous two segments are present, but now with a new accompaniment of mechanical/factory ambiences. A bit on the long side to be one continuous track, dividing your listening of this piece into 3 distinct segments is necessary. While not bad in total, It tends to drag a bit, with the 1st and 3rd segments being the most interesting.

Blind Date #13


Name: Stephen CAMMACK
Nationality: English
On the front line:  Since 1979.
Activities: Industrial projects: IDEAS BEYOND FILTH, DIETER MÜH Contact:

My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.


1. Bruce GILBERT Music For Fruit (Edited)

from “Music For Fruit” (Mute 1991) CD

This is a bizarre track; it is around ten minutes long and has six short sections contained … random non-cognitive sections, rather like playing the first minute or two of each track on a new LP. The sounds contained aren’t very listenable either. Starting off with random noise/guitar and tippety-tappity metal cutting in to polychords and progressive dramatic organ sounds. Not a style or sound I would chose to listen to.

2. MERZBOW Nil Vagina Tape Loop No. 0

from “Nil Vagina Tape Loops” / “Merzbox” (Extreme 1982/2000) 50 x CD

Another track that has too many changes in it. This one kicks off likean early piece by NON or something from the Rice/Tovey album “Easy Listening For The Hard Of Hearing”. Loop sounds. Organic loop sounds. Loop sounds and feedback with the feel of old vinyl. Back in 2009 I saw Aaron Dilloway making a noise very similar to this at the ICA in London. Tape being manipulated across magnetic heads – pulled, paused and looped. I’m dancing to this one, and then about a third of the way in it all changes. Instead of constructing and layering it goes frantic on the play/pause button, tries to find another loop with a distorted voice pattern and has someone rattling loose change in an old bean can. A couple of more minutes and the sounds have collapsed and I’ve lost interest. This track is far too long and never recaptures the brilliance of the first three to four minutes. A shame.

3. IRR. APP. (EXT) The Voice Of Reason In The Mouth Of Insensibility

from “An Uncertain Animal, Ruptured; Tissue Expanding In Conversation”            (Fire Inc. 1998) CD

This is the first “complete” piece. Complete in construction and direction. Dadaist / Musique Concret? Breath sounds. Human & Feline, frequency drone, running water, searching through the cutlery drawer. A day in the life. Inventive. Imaginary and I like it.

4. SOL INVICTUS It’s A Beautiful Day (Instrumental Remix)

from “The Angel” (Tursa 2003) CD

This track comes straight in like it should have “Part 2” or “Part 3” after its title. It is straight in with jazz piccolo, melancholic bass line and acoustic guitar. The music travels along with interruptions from a voice sample saying, “it’s a beautiful day”. I think it is from the film “Fargo”. (Could be wrong). It all ends with discordant strings and wild Theremin. I do a fortnightly radio show here in Devon and the programme before mine plays progressive rock / jazz-rock, and this track would not sound out of place on his show.

5. Roland KAYN Tarego I 

from “Tektra” (Barooni 1984 / 1997) 4 x CD

Orchestral sounds. Repetitive strings in a Bernard Hermann style, horns and mass drums. Loud and immediately gripping. Electronically sequenced pulses weave in and out of the piece. Brilliant. Three names spring to mind: Steve Reich, Gilbert Artman and Glenn Branca. At 15 minutes this piece is just abbout the right length. (Probably part of some symphony / opus)? I have a feeling I have heard this before and probably have somewhere in my collection.


from “Voodoo Killers” (Old Europa Café 1996) cassette

Again, a familiar sound. In some ways it sounds quite dated with WASP Synthesizer sounds and angry shouty-shouty vocals (Whitehouse have a lot to answer for), but then sounds quite fresh in crystal clear sound quality. It has a feel like it was recorded live in a wind tunnel. Vortex Electronics. There’s a lot of reverb and even has Classic FM tuning inand out. Whether it is called power electronics or harsh noise wall, as a rule this style of noise always has more impact live.I used to listen to a lot of this “style” in the mid 1980’s but not so much now. At six minutes it is just about long enough to be listenable. (Again, I probably have this somewhere in my collection).

Blind Date #12


Name: Andrew McINTOSH
Nationality: Australian
On the front line:  First started recording and trading tapes of home-made music around 1990, started dealing with Noise around 1996, created SCREWTAPE in 2000, putting out tapes and cdrs and online formats since. Right now he is off the front line – caught the clap in a military brothel and was sent back to recuperate.
Activities: The SCROUNGERS, 1990-1997, punk. Started anarchist, ended nihilist.  N.FIOS (NOISE FOR IT’S OWN SAKE), 1997-2000, desperate Noise into four-track with anything at hand.  SCREWTAPE, 2000-2013, more varied use of sound, still based on Noise. Nothing, 2013-???? Re-assessment. Zine “The Taped Crusaders”, approx. 1997 in print form ’till 2001, online for a few years after that – focused on reviews of home-recordings of any genre, began interviews when online. Tape label Solar Anus 2009-2013, mostly releases of self plus other artists (Ethic Cleansing, M.A.N.K, Undecisive God, The Haters, Von Einem). Various sound collaborations with other anartist, most notably with  Clinton Green in The Unnameable and the album “Kasoundi”, and with Ebola Disco as Ethic Cleansing.

My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.


1.LOCKWELD In Absentia
from “Eutetic” (Ground Fault 2000) CD

Very much Power Electronics – heavily effected sample-loop (a toilet flushing?), heavily effected voice (sample) repeating phrase, synth/electronics line rising up and down. Can be fairly described as “squishy” in sound, not sure if this is old-school tape PE, trying to sound like old-school tape PE or even something happening during the digitisation phase. As for its impact, it’s got a grubby appeal and I like the sound of the electronics, and it’s not too long to get dull.

2. CURRENT 93 Christ’s First Howling

from “Live At Bar Maldoror MCMLXXXIII” (Durtro 1985) CD

Well, Alternating between sound and quiet, I very much like this. Good use of samples and I suspect computer generated tones, very well paced and layered. The use of voice/choir samples gives it a somewhat “ritualistic” feel without actually becoming something too cliché, although I didn’t care for the repeated voice sample right at the end. 

3. D.D.A.A. Bruit-Son

from “Lernen 5” (Illusion Production 1985) cassette

Good to hear some acoustic sounds. A repetitive clunking and rattling of somethings with electronic tones in the background and someone chanting and vocal ululating in the front. Can’t say I was rapt in this piece – it got to some points where the vocals especially just sound silly (especially the falsetto – I hate falsetto). It’s a simple little piece with a few elements, nicely recorded, but the vocals just strike me as too unnecessarily over-the-top. 


from “e stœ” (Dachstuhl 2002) CD-R

Very nice drones, heavy on the bass but not so that they weigh everything down. Slow and gradual, which is how I like it. Different layers of tones, some slowly pulsing, some slowly oscillating, the whole piece having a dull sheen that hints at things like the recording or the mixing. It changes over its course but doesn’t mutate into anything different, apart from going from warm to cool. Best spiral I’ve heard in this collection so far, but I have to wonder if this is typical of whomever this is – if it is, I’ll need to find out more. 

5. SUDDEN INFANT meets LINAKO Time Has Come

from “Live In Vienna” (Klanggalerie 2003) 7” EP

I never developed a taste for quickly jumping sounds, but it is interesting to hear these develop, though. A saxophone, perhaps? Underneath these scuffling and blurting sounds is a more gradual layer of what I think are computer effected versions of the original sound source, which build and layer and actually create quite an interesting spiral. I’m wondering if this is a duo, someone creating the original sounds and someone else manipulating them? This is quite good, I like this.

6. SKULL:AXIS Sorm 2

from “The Transparent Society” (Peripheral Records 2013) CD

Dark, groaning and slowly coursing drone sounds. Some rushing undertones. A short piece but fortunately doesn’t do too much over it’s course. Sounds like something one would hear on a Cold Spring release. It’s quite well done, I do like, there’s nothing exceptional about it but it does have a feeling and resonance that makes me hope other material by this project/artist would be just as pleasant.

Blind Date #11