Noise / HNW Playlist for the summer w/ links

01 - Merzbow - Collapse 12 Floors - [OHM] Records – 2000 - CD
02 - Lockweld - 8 Cuts - NCC – 2003 – LP
03 - Merzbow - 13 Japanese Birds -Vol 4 - Karasu - Important Records – 2009 - CD
04 - Illicit Relationship - Flauting - Axis Mundi – 2010 - Bandcamp
05 - An Innocent Young Throat-Cutter - Les Yeux Cernés - Deadline Recordings – 2014 – 8xCD
06 - Natural Nihilismo - Zé Ninguém - Plataforma Records – 2014 - Download
07 - Purging Light - Absconded / Slug Hands - Self-Released – 2014 – Bandcamp
08 - The Rita - Ballet Feet Positions - Old Europa Cafe - Elettronica Radicale Edizioni – 2014 - CD
09 - Threeonameathook - First Kill - Deadline Recordings – 2014 - Bandcamp
10 - Wet Dream Asphyxiation & Servant Girl Annihilator - Funeral - Self-Released – 2014 - Bandcamp

"Cruel Mutação" HNW 2xCDr set

Static Park - Cruel Mutação - Self-Released

Well here it is, 2 CDrs of brand new material, nearly 2 hours of straight HNW divided into 9 walls and built as the soundtrack to an imaginary zombie movie.

Double DVD box, includes one new Static Park sticker.

trade or sale

price is 4 E + postage (1.50 E France / 2 E Europe / 3 E World)

Paypal is: inkrunsrecordings-AT-gmail-DOT-com

The Static Park Questionnaire 14 - Carrion Black Pit

 Carrion Black Pit

01 What is your name / age / nationality ?

Elias Cheika Jr / 30 years old / I'm from Brazil, born in the south but now located in São Paulo Harsh Noise City.

02 How did you get into noise ?

I was always interested in various genres of music, with a rock oriented backbone, but my first music memories are from my father listening to Kraftwerk. I think I discovered Merzbow thru Mike Patton, searching for his side projects, but I really didn't "get it". Then, digging deep on Piero Scaruffi list of best rock albums, I ended up listening to stuff like Foetus, Captain Beefheart, Faust, Royal Trux, Butthole Surfers, Suicide... Parallel to that I was making eletronic music very influenced by Kraftwerk, Prodigy, Venetian Snares and perhaps even more by movie soundtracks from Goblin, Fabio Frizzi, Morricone, John Carpenter. It was funny to listen to something like Vampire Rodents or Foetus and see similarities to the stuff I was doing without prior knowledge of that.

Then I listened to The Residents intensively and SPK Information Overload Unit and everything started to make more sense. Pulse Demon was then the great revelation, followed by Incapacitants, Guilty Connector... For HNW I must name The Rita Bodies Bear Traces Of Carnal Violence as the gateway, along with various material by Werewolf Jerusalem. I also must say that I am a metalhead (for better or worse), so, my "metal taste" was getting extreme along the way and that surely contributed to this process (Napalm Death, Godflesh, black metal, etc). Making my own noise consolidated this journey.

03 How did you choose the name of your project / What does it mean to you ?

Carrion Black Pit is an expression I found while researching Lovecraft and John Carpenter (both masters), it is present in the (great) movie In The Mouth of Madness. Sleep of Ages is one name I came up with, without any background, formely a possible name for my thrash metal band. I also have the EXU project, more in the PE/Industrial vein. That name came from Macumba and it's "deities".

04 Which one of your releases would make the best entry point into your work ?

Well, that is like asking what is your favorite son... It is a problem to name a release because I usually like to have varied approaches to noisemaking. But, I will not stay on the fence. I'll narrow down to releases I made available for free on my Bandcamp pages: For Sleep of Ages, a very "schizo" project (harsh noise, industrial, drone, PE, collage, whatever), I would recommend Serenades For The Unbaptized Recently Deceased, that is short and covers a lot of ground.

Then perhaps one of the Pepla albums (Sword and Sandals or Peplum) that were my first, more raw, direct and still a little HNW infused albums. Man, I must update that page...

For Carrion Black Pit, even if the project ends up being more focused than SoA, there are still variations on it. Mythos is perhaps best for straight HNW obliteration. Anatomy Studies tackles with more progressive (?) HNW, ANW...

Then, for something closer to where I am now, The Fourth Wall incorporates both aspects and use it on some kind of "narration" form, as absurd as it may sound.

For EXU, well, I got a free album on bandcamp that I am not 100% happy with  it is too long and diluted perhaps. But a lot of the ideas I wanna explore and further develop are there.

For a better presentation I must direct you to my recent split with Shiver, on Diazepam Records. Way more focused and closer to what I want from the project.

I will be uploading more material on the next weeks on both CBP and SoA pages.

05 How do you record ? (live, sequencing, multi-tracking etc..)

I used line to my PC Audio Interface, line in to my 4-Track Tape Recorder, and Amp to both. I usually edit and layer sounds on software, but sometimes I use a whole live session or part of it. I really enjoy experimenting with every part of the process, so, I don't follow a strict Modus Operandi.

06 What is your favorite piece of gear ?

I enjoy Boss distortion pedals a lot (Metal Zone, Heavy Metal, Hyper Metal, Mega Distortion), as I do my Capitol Punishment Utopia, and more recently my Miniak (thanks A LOT Xdugef). But, if I take in consideration what I most used, I should say cheap microfones, cheap Behringer mixer and my throat.

07 Do you play live ? How is it different from your releases ?

I played like just once, and I should do it more. I played as Sleep of Ages, tried to follow some "script" and it ended up being "dance noise" according to my good friend Jhones (from God Pussy).

You can watch it HERE 

08 Who would you like to collab / make a split with ?

I like to do collabs with non established people, newcomers, or just "working class" like myself (not in terms of quality, but "hype"/renown, there are plenty of unsung heroes of noise). I mean, that's the people I usually ask to do a split with, I just despise this "marketing strategy" of doing lots of splits with big names to gather attention quickly and cheaply. I strayed from this path once and I feel really bad for it. That being said, I have no problem at all if someone ask me to do a split with them, or if the label suggest me someone that myself would not contact for being "too big". Like, I was floored when Dustin (from Crown of Bone, Occult Supremacy Records) suggested a CBP split with Vomir  that was great, made me feel awesome to have my project along such an incredible artist and great person.

09 Do you listen to other types of sound/music ? Which ones ?

As I said above, yes. All kinds. Really.

10 What is your favorite record at the moment ?

My playlist changes every week. lately I've been listening to a lot of Kyuss, Pinkish Black, raw black metal (Bone Awl, Akitsa, old Mayhem...), Sleaford Mods, Wormed, Deathspell Omega, Portal and blackened hardcore (or something like that) like Black Anvil, Enabler. Moz from TEETH ENGRAVED WITH THE NAMES OF THE DEAD just showed me this Ninika 2012 EP of his that is awesome http://novisiblescars.bandcamp.com/album/ninika-ep-2012, lots of Khanate/Gnaw vibes in there.

LINKS:

Sleep Of Ages Bandcamp

Carrion Black Pit Bandcamp

EXU Bandcamp

Split with Shiver on Diazepam

Split with Vomir on Occult Supremacy

Planet Of The Red-Masked Wallers on B/C

So as I told you in a previous post I'm reading a kind of encyclopedia of exploitation movies. I must say I've already seen a good part of these movies but it's always nice to read about something you love. Anyway, the book inspired me for this release again, more specifically old-school SF/Horror  movies such as Mario Bava's Terrore Nello Spazio. 

 

However, the titles are also a reference to The Masque Of The Red Death by Roger Corman. I made my own little mix here...

 

Anyway, here's the gear I used:

Ghost Star Ship=

 

Bass-boosted, pitch-shifted white noise + 4 Eyes + Harmonise + Death Metal + Boss Reverb + EQ

Exploring Planet Z= 

 

White noise + Dream Crusher + Harmonise + Grunge + Octave + Memory Boy + EQ

 

Encounter With The Space Vampires= 

 

Pitch-shifted (very high) white noise + Fuzz Factory + Grunge + Memory Boy + Reverb (Hall setting, max resonnance) + EQ

 

Total Mutation= 

 

Piezo mic + Dream Crusher + 4 Eyes + Rat + Octave + Memory Boy + Reverb + EQ

 

Take-Off Before Explosion= White noise + 4 Eyes + Harmonise + Grunge + Octave + EQ

One more thing, for ''Exploring Planet Z'' and ''Total Mutation'' the bass is actually the sound of a malfunctioning cable I plugged in the line-in of the computer, recorded a minute and then time-streched.

 

Thanks to Jux for the inspiration for the cover !

Listen / Download HERE

The Static Park Questionnaire 13 – Clive Henry

 Clive Henry

01 What is your name / age / nationality ?

Clive Henry, 39, born in Southampton, England.

02 How did you get into noise ?

I was into thrash and death as a teen, before getting into indie and "industrial" stuff. when i say industrial, I mean the whole Wax Trax/Jourgensen projects thing; but this led me to "real" industrial: TG's Heathen Earth, SPK's Leichenschrei and I got Einsturzende Neubauten's Tabula Rasa when it came out. However, I got nothing at all from any of these albums at the time...

In my earliest twenties, I was lucky enough to be in a short-lived band with Andrew Clare of I'm Being Good and after the band dissipated, we kept in touch. I'd order tapes off his amazing Infinite Chug label, and he'd stuff the packages full of flyers for zines and other labels. I thus started exploring the UK tape/zine scene and discovered labels like Matching Head, Kylie Productions, Fiend Recordings, etc.

In the year before I'd met andrew, I'd borrowed a 4-track for the first time and proceeded to make very noisy recordings, but none that were "noise"; however, really excited by the things I was discovering via the flyers, I started a zine with friends and saved up for a 4-track. Since then, to the present day, I've done zines and recordings that fit into my antiquated notion of what "noise" comprises. However, ironically, its only really been in the last couple of years that I've really got into "traditional" Noise (capital "n"), but all things come to those who wait. (As a footnote, I have a recording SOMEWHERE of feedback, drum machine and hoover from maybe '92/'93 that I'd kill to find….)

03 How did you choose the name of your project / What does it mean to you ?

I started off many years back with a multitude of different projects, each with a different name; before combining them all under the Littlecreature moniker. As documented elsewhere (Musique [Machine] interview), I went through a charming period of introspection and dissection a couple of years ago and came out deciding to use the name that my parents gave me at birth. Thus the name of my project is an existential headfuck.

04 Which one of your releases would make the best entry point into your work ?

No idea. ha. My recorded work tends to occupy two areas at the moment: "hnw" and more "electro-acoustic"/sound-y/collage-y stuff. To that extent, maybe my Altar Of Waste release, XVIII - Der Siebente Kontinent, is a fair point: It has tracks from both areas/approaches.

  

05 How do you record ? (live, sequencing, multi-tracking etc..)

Generally I record material and then construct tracks on computer, with further processing if necessary. So, it might be a simple one-take recording, finished; but more often it'll be a more complicated piece constructed out of multiple recordings, layers and events.

06 What is your favorite piece of gear ?

Truth be told, I don't really have a favourite and thats not a bad thing. I used to have a modulating delay pedal, which ended up on practically all of of my early recordings. It broke, then disappeared and after a while I realised that it was all for the good - I depended on it too heavily and it became a lazy short-cut to creating sounds I liked/enjoyed. So my set-up now changes from recording to recording; there are a few pedals which nearly always find their way into the chain (Meatbox, Thrashmaster), but no one piece of gear dominates my set-up.

I do have a beautiful parlour-sized resonator guitar tho, which I plan to play effortlessly when I'm an old man.

07 Do you play live ? How is it different from your releases ?

I play live now and then. there's very few opportunities to play locally, so it tends to be further afield. Live, theres increasingly been a "performance" angle to what I do. I'm obsessed with the idea of sound as a physical act, an extension of the body and given that hnw is/can be the antithesis of that, it sets up an interesting divide for me to bridge.

08 Who would you like to collab / make a split with ?

I've been lucky enough to do splits/collabs with some of my favourite noise folk (including the wonderful Skrobeks !), but since this question encourages me to dream: Kevin Rowland, Hevi, Dave Phillips, Mark E Smith, Shirley Collins, John Butcher, Witcyst, Omit, Diamanda Galas, Caroliner Rainbow, mr Aphex Twin, Ian Mackaye, Nicola Roberts…

09 Do you listen to other types of sound/music ? Which ones ?

I'll listen to anything - theres only two types: "good" and "bad" - but my interests have always gravitated to the more obscure corners and side-roads of genres (for whatever reason). Historically, my obsessions have included:  early '90s death / thrash, early '90s electronica (early Warp stuff) and trance (BEFORE it became a dirty word), '90s us lo-fi, turn of the century hardcore / emo (again, before it became shoot-me-in-the-face PISS) / powerviolence / doom / etc… since that time i've really listened to anything that resonates, which results in the dilemma of not being able to keep abreast of "everything". so, whilst I listen to a pretty wide range of stuff, I only really keep a close eye on HNW, to be honest. increasingly I've been getting more and more re-issues actually - mainly compilations of 78's from around the world, and more academic, electroacoustic stuff.

10 What is your favorite record at the moment ?

current joy:

Sleaford Mods - Austerity Dogs

K.S. Chithra with Ilaiyaraaja (Finders Keepers) - incredible songs from soundtracks to 80's Tamil

films. The kind of album that suggests novelty / exotica, but actually its just plain fucking amazing.

Henri Chopin - Audiopoems

The Drones - I See Seaweed

Nurse Unit - Town Life

...and I've finally had a PE epiphany. knocked flat by:

Grunt - Seer Of Decay

V/A - United Forces Of Industrial 2014 - Hatred Is Nothing Without Action

Clive Henry's website is HERE

THIS is Bang The Bore's website

...and HERE is House Of Violence, Clive's Distro (with amazing US titles made available to people in Europe despite the crazy postage rates)

Static Park / Wram - Color Balance split on T.R.U.P. Rec

Static Park & Wram - Color Balance - T.R.U.P. Rec - 2014

New split with Wram (check out his questionnaire here). There will be a ltd CDr release eventually but for the moment you can hear it / DL it for pay-what-you-want on B/C.

 

We both provide textural, minimal tracks that let the noise move of itself within the setting.

I used a high-pitched sinewave as source, then put it through=

Dream Crusher + Harmonise + Super Crunch Box + Octave + Memory Boy + Boss EQ

Listen / Download HERE and check out some of the other releases while you're there...

The Static Park Questionnaire 12 - Willowbrook

Willowbrook

01 What is your name / age / nationality ?

My name's Kenneth Parker, I'm twenty six years old, and I'm American, whatever that means.

02 How did you get into noise ?

I became accepting of harshness during my early adolescence with raw black metal and various kinds of punk, then some krautrock and random bands integrating non-music, though I didn't realize that it was its own field at the time.

03 How did you choose the name of your project / What does it mean to you ?

The Willowbrook State School was a state operated institution for the developmentally disabled children of New York and the greater United States. Located on Staten Island, and it too being something like the offspring of a toxic and malformed society, decay soon came upon the school. It became overcrowded and was grossly understaffed by men and women who were seriously underpaid. Abuse and inhuman treatment, really not at all different from the kind you see in archival footage of concentration camps. Geraldo Rivera, famed journalist, spearheaded an investigation of Willowbrook that became a documentary short called The Last Disgrace.

04 Which one of your releases would make the best entry point into your work ?

As the majority of my back catalog is comprised of HNW, I'd say the Vicious Perversion and Disregard CD-R.

 

05 How do you record ? (live, sequencing, multi-tracking etc..)

I run from my mixer to USB port, and record one live track for some songs, whereas others require multiple tracks. It really depends on what I have in mind for the song, which is usually nothing, to begin with.

06 What is your favorite piece of gear ?

Undoubtedly, and this may seem odd, but my Behringer mixer. I require it every single time I use a chain; it's the final lock, the last keyhole. Unity or not, I'm always looking for ways to maximize what I can pump through the thing.

07 Do you play live ? How is it different from your releases ?

Yes, I play live regularly, something like once a month. I have a more complex setup live, believe it or not, because everything is being actualized (or channeled) in real time, with no chance for fine tuning. I'm not typically the kind of performer that improvises a set, even if it's wall-centric. I've really come to see it as a kind of sound design. The live environment is also where I try out new ideas, which then find their way onto splits and demos and what not. This order is rarely reversed.

08 Who would you like to collab / make a split with ?

All of my friends' projects, really. And Lou Reed.

09 Do you listen to other types of sound/music ? Which ones ?

I'm a long time black metal enthusiast, and take part in the genre via many other projects, most recently Grst.

10 What is your favorite record at the moment ?

The forthcoming Gorked 8 track tape I Cannot Control Myself from H8-Track Stereo. It's truly fucked.

The Willowbrook Bandcamp is HERE 

and HERE is Glossolalia record's Bandcamp

Recording

Well I guess I was 7'19'' into recording the wall... HNW must be the only music that allows you to take pics of your set-up yourself while recording (although I turned a few knobs and it ended up being quite the active wall). As you can (barely) see I'm using the Death Metal again. Really rediscovering this one after years of disuse.

Tropical Skeleton on Bandcamp

Almost straight-forward HNW, until the last track that is. The tracks were built from long stretches of improvisation between the 1st and the 5th of July 2014. For the most part I didn't do any fancy editing, just cut off parts I didn't like or hazardous transitions between textures (one has to manage moving the piezo mic around and pushing pedals at the same time ha!) I did a little more sequencing on "La Mano De Un Hombre Muerto", layering some feedback with the wall parts. Obviously "Osirus Fi" is a montage, the beat is sampled from some Black Flag drums if I remember correctly, on top of which I added a sample of Ol' Dirty Bastard and two layers of noise: one wallish part made with the Rat pedal and some feedback I obtained via piezo + super crunch box with the gain up.

So, the basic set-up remains the same for the 4 tracks:

Piezo mic => Fuzz Factory + 4 Eyes + Harmonize + Distortion + Octave + Memory Boy + Boss Reverb & Delay

Distortions are:

"Thug" = Metal Zone

"Frankenstein's Hacienda" = Super Crunch Box

"La Mano De Un Hombre Muerto" = Metal Muff nano

"Osirus Fi" = Rat

Most of the titles and the atmosphere of the release are inspired by this book I'm reading:

 Les Classiques Du Cinéma Bis - Laurent Aknin - Nouveau Monde Editions - 2014

The title could be translated as "The classic exploitation movies". I'm really enjoying this, especially the numerous parts about Mario Bava and Jess Franco, two of my favorite directors. It's in chronological order, so so far I've had to read many descriptions of Italian westerns or stories about Heracles but I'm getting to the part where the Giallo is being born and Franco is really starting to make crazy stuff so the best is yet to come.

Listen / Download Tropical Skeleton H

The Static Park Questionnaire 11 – Black Matter Phantasm

Black Matter Phantasm

01 What is your name / age / nationality ?

Szymkowiak Joseph / 32 / French

02 How did you get into noise ?

I must have been 16 when I found the Venerology album by Merzbow in a small shop that essentially sold Black Metal. I had bonded with the salesman so he knew my taste for extreme sounds and managed to bring back grind cd's from small labels worldwide. It was natural that he presented me with this Japanoise album. I was intrigued / fascinated by this formless mass of sound, but at the time I didn't have the necessary references to understand it so I left it in a corner of my room before selling it back. It took me a good 10 years and lots of grind albums to meet up with noise again, notably through Tumour but also the incredible Mutilated Infant by Anal Birth - Anal Cunt - Urine Festival. I discovered Incapacitants by chance and it wa a revelation: this was the music I had been looking for without ever finding it, this was exactly what I needed. The doors opened for me, through a vast stretch of land where I immediately felt at home.

03 How did you choose the name of your project / What does it mean to you ?

I am an obsessional, psychotic, artist. Images appear to me all the time, narrations, cut-ups fed by my anguish - the black matter is this formless mass which nests in the Chthonian abyss of my being, it is a dark god, something both inert and moving, a frozen horror of which I can only see the gelatinous surface. Maybe all this stems from a phantasm from a psychoanalytical point of view. The name of my project is therefore extremely personal. It illustrates my subconscious, just like my walls do. I sometimes delve very deep to find the substance for them, and to translate them into sound puts me in a state of trance. There is something of the ritualistic to it and it is very important to me.

04 Which one of your releases would make the best entry point into your work ?

None - each release is a cornerstone with its specificities, it's weaknesses and strong points. Each holds a unique importance to me and I could not elevate one to the detriment of the others.

05 How do you record ? (live, sequencing, multi-tracking etc..) 

My set-up is in constant change. At the most minimal I only use one pedal plugged directly into the soundcard, but I also already had 15 pedals in a chain. I record on one or more channels of the mixing table, with white noise, contact-mics, guitar, cassette deck or cd-player as source.

06 What is your favorite piece of gear ?

It is difficult for me to answer this question. As I said previously, I am an obsessional artist, therefore I have phases when this pedal will be indispensable to me until I can't stand it anymore. After a while I'll rediscover it. On the other hand I could not do without fuzz. I love fuzz, any kind of fuzz. If I could I think I'd buy every fuzz pedal there is. 

07 Do you play live ? How is it different from your releases ?

I play live once or twice a year, without it being a necessity for me. I love the intimate and personal aspect of HNW. I can't stand playing at very high volumes, which is the main difference with recording.

08 Who would you like to collab / make a split with ? 

A collaboration with The Rita or Werewolf Jerusalem would be perfect. 

09 Do you listen to other types of sound/music ? Which ones ? 

Of course. Black metal and grind still represent an important part of my buying and listening habits. All types of music with a ritualistic inspiration interest me, as well as contemporary music, classical, blues, neo-folk.. The list goes on...

10 What is your favorite record at the moment ?

Limbonic Art - Moon In The Scorpio 

The Rita - The Voyage Of The Decima MAS 

Solmania - DLO 

Arkhon Infaustus - Orthodoxyn

The Nahàsh Atrym Productions Bandcamp is HERE

The Static Park Questionnaire 10 - Tomb Of Trinkets

01 What is your name / age / nationality ?

Ryne Barber / 25 / USA

02 How did you get into noise ?

 

It began as a bit of an obsession around the time I was downloading from Soulseek and the RAWRshare forums. I was really interested in the aesthetics of Merzbow, Wolf Eyes, Sunn 0))), yet I couldn’t see myself listening to it on a regular basis. But I began to force myself to listen to the more accessible stuff from Wolf Eyes and Black Dice; Burned Mind and Merzbow’s Timehunter were my first forays because they fit my interests in regular music. Then I branched out into harsher Merzbow, Dead Machines, and other things I could collect on Soulseek. Eventually I found Werewolf Jerusalem’s In Horror because of its aesthetic, and was admittedly quite annoyed with its relative lack of change. Then harsh noise wall became an obsession.

 

03 How did you chose the name of your project / What does it mean to you ?

Tomb of Trinkets was my third project after Hearse Fetish became somewhat hard to continue - not only because of the confines and restrictions I placed on myself when recording, but also because live recording became impossible once I moved. Tomb of Trinkets was originally devised as a way to digitally manipulate and alter some of my favorite tracks, making them into very raw harsh noise wall, and the first release was simply grindcore tracks re-imagined and processed into walls. This is where the trinkets came into play - the sounds were plundered from other artists, often mere snippets of track, and then reused. That’s still the case as the project has morphed, but now I’m using mostly found sounds or physically manufactured sounds that have been heavily manipulated.

04 Which one of your releases would make the best entry point into your work ?

While Sweet Sound’s Chasm was the first release of the project, the sound has differed significantly in my next two releases.

I would suggest Drugged Lunch for the rawer, HNW/power electronics stylings that I have been exploring of late for this project - this is where the overpowering vocals and rhythmic destructive bent come into play.

 

05 How do you record ? (live, sequencing, multi-tracking etc..)

Most of the time I sample lots of sounds, remix and alter them, and layer them into the recording. A lot of these are created and recorded first, either with synth or drums or found sounds. I will usually record vocals last, depending on where I want them in the mix.

06 What is your favorite piece of gear ?

They are not actually a piece of gear but I love my digital synths which I use a lot, either the free AudioSauna studio or the Alchemy Synth app on the iPad.

07 Do you play live ? How is it different from your releases ?

I don’t play live; where I live, we have very few venues devoted to regular music, let alone noise. With that said, while I would consider doing my other HNW projects live, I doubt I would ever do a Tomb of Trinkets set.

08 Who would you like to collab / make a split with ?

Anyone who would be interested !

09 Do you listen to other types of sound/music ? Which ones ?

I’m all over the place. I love grindcore, death metal, powerviolence, but also 90s emo and the new revival bands. I’m always a sucker for Cursive.

10 What is your favorite record at the moment ?

That’s a tough once since I’m so eclectic, but I’d have to say that I have been thoroughly enjoying You Blew It!’s newest album Keep Doing What You’re Doing.

Links:

The Memory Wave Transmission review blog

Soundcloud page

Bigcartel for buying releases

Projects' Facebook page

Harsh Head Burial

Lately I've been digging into my 90's NYC boom-bap collection A LOT, but I'm also craving for raw unchanging walls. I guess the connection bewteen the two is that they can both be referred to as "old-school" today.

I wanted to do something that would keep the HNW form, but aiming at the grit of 90's NY rap in spirit.

Fo the intros I sampled the interludes of an album that came to be considered as a crowning achievement of this gritty hip-hop sound: Enter The Wu by the Wu-Tang Clan. I put them through the same set-up I used to make the walls:

White noise => 4 Eyes + Harmonise + Bass Big Muff + Octave + Memory Boy + Boss Reverb and EQ.

The main difference, apart from the EQ, is that the Big Muff is set on low tone / min sustain for "Burial" and high tone / max sustain for "Battle".

Listen / Download HERE