23.05.2014, Warszawa, Przesterowane Szczury III @ CSW

Przesterowane Szczury III
23.05.14 Centrum Sztuki Współczesnej Zamek Ujazdowski
Budynek Laboratorium, Jazdów 2, Warszawa

start 20:00, wstęp 10 zł

Bruzgynai (pl. “Chrust”) to projekt muzyczno-performerski za którym stoi Arma – artysta i kurator z Wilna (Litwa). Bruzgynai powstał na początku 2007 roku i od tego czasu zagrał ponad 80 koncertów na terenie Rosji, Ukrainy, Niemiec, Austrii, Polski, Finlandii, Czech i krajów bałtyckich. Jego nagrania, wydawane zwykle na kasetach utrzymane są w stylistyce lo-fi. Swobodna zabawa dźwiękiem, mistyczny drone, outsiderski noise, pustelniczy nastrój i rytualne siły Natury – te sformułowania w pełni oddają sedno unikalnego świata malującego się w jego nagraniach i podczas występów na żywo.

Efemeryczny projekt eksplorujący terytoria stylistyczne industrial/power-electronics, aktywny od ponad dekady. Podstawowym instrumentarium pozostaje syntezator modularny. Powiązania personalne z Xaoc Devices, Schmerz i New Nihilism.

PURGIST (Kielce)
Solowa inicjatywa audio skoncentrowana na eksploracji dynamicznych, niespójnych faktur brzmieniowych, miejskich nagrań terenowych i szczątkowej melodyki. W okresie 2005-2013 projekt funkcjonował pod nazwą Sleep Sessions.

MAAAA (Karelia)
Przeszywający noise z Karelii, krainy zagubionej gdzieś pomiędzy Finlandią a Rosją. Znany przede wszystkim z działalności koncertowej, w ciągu ostatnich lat zwiedził z koncertami wiele miast na terenie Rosji, Polski oraz Finlandii i Litwy. Ostry jak brzytwa dźwięk kruszonego żelaza, buczenia syntezatorów oraz gwiżdżące sprzężenia.


Jaakko Vanhala – interview

Hey Jaakko! First of all, would you like to share some background information on yourself? I imagine that there are people who are not really familiar with you and/or your previous and current artistic endeavors.

I come from Oulu, a city in Northern Finland a couple of hours’ travel below the Arctic Circle. Been doing electronic music since ’95. In the past I’ve been mostly known from projects usually classified as ambient but during the last few years my style has gravitated towards pure noise music – an old love of mine.

For some years in the beginning I worked under various names, played some local gigs, and “distributed” my stuff only via the most unofficial channels. On the new year’s eve ’98/’99 me and Antti Haapapuro decided to join forces and began working together as I.corax, what was to be dark experimental ambient music. We laid foundations for what would grow to be the Helixes collective some years later, and worked together until ’06. I also continued making solo material, for example a dark ambient project called Depther, which put out a couple of small-scale releases in ’01-’02. Eventually the project mutated to Zoät-Aon, a name under which I released two CDs in ’05 and ’06 on Aural Hypnox. After this there weren’t any proper releases until ’11, even if I was actively working on new music all the time. During this period I created and discarded enough material to fill up several albums, and slowly and steadily gravitated towards louder and rougher regions.

In 2010, right after finishing a gig in London, I decided to quit Zoät-Aon altogether, putting the last remnants of the past behind, and just went under my own name to do pure and direct full-force noise onslaughts. Under my own name I have released two full-length CDs on Freak Animal Records and a couple of tapes. There is also a recent tape under the moniker Secret Apex which is noisy but slightly more “musical” material. Generally put, I make rough, dynamic, detailed and vibrant noise which relies heavily on acoustic sources, transformed further with the help of electronics like amplifiers, analogue filters, tape echo, spring reverb and tape recorders. I aim for a ravishing sound that’s violent, ecstatic and beautiful, and reaches deep into the visceral, emotional substrata.


I’ve noticed that different noise artists come from different musical backgrounds – some discovered noise through classic industrial, others through punk or extreme metal and I also know people who got into noise through breakcore and other types of beat-oriented electronic music. I wonder what genres have inspired you in the past?

I came to noise and industrial through obscure techno, electro, ambient, and so on. From ’92 onwards I was playing and listening death and black metal as a very young man. Metal was a great thing to me, filled with many visionary things. But upon hearing certain electronic music records in ’95 my head exploded to pieces and everything was forever altered. It was a really heavy impact, quite incredible. I became voracious towards electronic music and so it didn’t take long until I found also noise and industrial. It took a while until I started to make music in those spheres myself though.

For some years In the beginning I was involved primarily with making complex and shattered techno/electro/”idm”/what-have-you with ambientish backgrounds. This was a formative period for me, during which I uncovered many of the fundamentals still guiding my way of making music. The way I make music has always been influenced by this history, even if the “genre” has been different for quite a while. I can hear it in all of the material I’ve released.

I also wonder about the particular qualities you value in noise records. Being a very subjective genre, noise can be approached in many different ways. Some people enjoy the plain energy, others seem to pay attention to atmosphere and themes. What about you?

I don’t see a distinction there. I think pure explosive harsh noise blast can certainly be loaded with atmospheres and so on. Plain explosive energy and more articulated themes or concepts are not mutually exclusive. It’s not an either-or situation to me. There is a time and place for different approaches.

Would you like to care to mention some of your favorite noise acts? Any artists that you’re particularly into?

Well there are so many it’d be hard to name them all. I really enjoy music, a lot. If you want I can make a playlist of sorts of some stuff I’ve been enjoying lately…

Sure man, please do!

Last days: Advokat Ihrer Hoheit ‘Opferbereit’, Gum ‘Vinyl’ & ’20 Years in Blue Movies and Yet to Fake an Orgasm’, Puce Mary ‘Ultimate Hypocrisy’, Dave Phillips ‘Abgrund’, Schipfluch-Gruppe ‘Nigredo’, Borbetomagus ‘Vole Lotta Love’, Giancarlo Toniutti ‘Epigénesi’ and ‘Tahta Tarla’ (with Andrew Chalk), Sudden Infant ‘My Life’s a Gunshot’, Kassel Jaeger ‘Deltas’, Ø – ‘Konstellaatio’ & ‘Syväys’, and loads of other, non-noisy stuff… 1264692_248616285289854_335925092_o

The thing which struck me when I was listening to “Feral Earth” was the really impressive, clean production quality. Care to shed some light on your recording techniques? Do you use analog or digital equipment?

Technically there’s nothing new under the sun on that record. I recorded the sounds on tapes, recycled them through amps, recorded on tape again, edited, and so on. I just paid special attention to the actual sound sources, the placement of mics and EQing. I recorded a rather substantial amount of raw material at these burned down ruins, and out of this I culled the good parts for further use. I was after things that were clear, bright and good so the duller parts were cut out. I wanted the result to be a complex yet “breathing” whole with many sharp edges and corners.

On both Freak Animal albums I worked with acoustic sources and analogue equipment. I like to have hands-on contact with the sound crafting, and I like it to translate to the music as well. The final master mixes are done with the help of computer, but I try to create noise as good and finished as possible right from the beginning so that I won’t have to overwork it later on.

I feel more at home in the analogue or more physical realm but I have nothing against digital recording per se. The methods depend on the general idea. I love tape saturation, hiss and muffled and mangled tape fuckery, but I find greatness also in recording interesting sound sources with crystal clear and dynamic sound, using ultra sensitive microphones on the most HiFi digital gear. To be able to capture every single vibration and nuance in the total character of acoustic sounds… So, what to use, depends of the purpose or idea. Some things are better captured on tape and some in digital format. Sometimes they can mix-up very well too.

Do you think that harsh noise as a genre is particularly materialistic, in the sense that there’s a lot of gear fetishism going on? I’m wondering what’s your attitude towards the equipment you use – is it more pragmatic (ie. gear as a tool necessary for producing desired result) or rather obsessive (ie. obtaining “cult” pieces of equipment etc.)?

I don’t know, it’s hard to generalise. I guess some people probably use the gear they do, like old tape decks or modular synths for example, because they’ve always used them. Some because they’ve realised the creative potential therein, and some just because they want to belong. Gear obsession is present in all forms of arts and crafts. People think that certain gear will make their stuff good or generate prestige. Of course it’s never enough.

I’ll use whatever which fits my purposes. This pretty much rules certain things out at the moment… My collection of gear is rather small, and I’m more interested of finding good sound sources and mastering the little gear that I have, than endlessly chasing new pieces. In my opinion, besides imagination and enthusiasm one doesn’t really need much besides a mic and a recorder to make some great music. Everything else is a bonus.

You’ve been a member of Grunt for over a year now, right? How did your cooperation with Mikko begin and how’s it working out for both of you?

A live member, yes. Our first gig together was at Broken Flag festival in London in May ’12. I was planning to go to the festival anyway, and Mikko asked me if I’d like to bring my gear and play with him as Grunt. After some rehearsals and a successful gig it was obvious that it was working very well, and it just went very naturally from there. We’ve performed together eleven times now and more is to come. We’ve known since the late ’90s and finding a common ground for communication has been easy. Me and my friend Jasse (of STROM.ec and Cloama) were supposed to release the ‘Belyi Smertz’ CD already back in the late ’90s, but I fucked it up and it wasn’t out until 2002 when Freak Animal finally hijacked the project. Obviously Grunt is Mikko’s vision, and my role is to be a helping hand. I bring my opinions to the table and give some flavour of my own to the live sound and performance. The general structure, sound and vision is of course his. I find working with Grunt very interesting.

Is there a possibility that you’ll be featured on the next Grunt record?

Who knows, maybe in the role of sound contributor. Grunt is its own entity, and it wouldn’t be the first time some extraneous helping hands would be involved with contributing sounds for further use. Maybe I will, or maybe I won’t, I really have no idea at the moment. And it’s not like there would be a list of people comprising the line-up on the record cover anyway, so I guess we’ll never know, hehe…

Getting back to your solo act – any upcoming records we should know about?

If there’s one thing I’ve learned during the years, it’s not to babble about unfinished projects. So I won’t go too deep into details on this. There’s a 7″ in the works but besides that I’d rather not talk too much. New stuff is coming up. My main priority is making another full-length at some point.

…and what about live shows? Any tours coming up?

Most of my upcoming gigs are one-off shows in Finland. I’ll also play in Tartu, Estonia, in late May. Further than that there are no plans. I really enjoy playing live, and I’d like to play much more. Interested organisers – get in touch.

Okay Jaakko, I think that’s all I wanted to know for now. Thank you so much for taking the time to do this interview. If you’d like to share some last thoughts, please do.

Thanks a lot for the interview. The Secret Apex cassette is still available, so those interested should head right away to salamanauhat.bandcamp.com.

Noise w Wolnych Torach – show review

 I absolutely love tiny, DIY/Punk venues, mostly due to the fact that they possess the element of true passion which is often lacking in other, more professional places. Needless to say, I was more than thrilled at the opportunity to perform at Wolne Tory TSA (Bytom, Poland). Additionally, my personal sentiment to Silesia (an industrial/mining region of Poland) added to the already strong excitement.


Wolne Tory TSA is located in a tiny, deserted building located near railroad tracks. I’m not entirely sure what the building’s original purpose was but it’s quite amazing that the current owners managed to rent it in October of 2013 from the Polish State Railways and turn it into this weird punk venue/bar/shelter. It’s also important to add that by ‘small’ I mean really small. Or even tiny. But it only adds to the private and esoteric atmosphere of the place.

It’s also worth mentioning that the amazing people who run the place are really into noise music. They’ve organized 7-hour long, free-for-all noise rituals during which the participants would use electronic equipment, mics and industrial tools to make an awful racket just for the hell of it.

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When Sebastian (of the cult Polish harsh noise act Vilgoc) and I arrived at Wolne Tory, we were greeted with plates full of nice vegan pasta. We brought wine and beer with us so good times ensued long before the actual show started. After the usual meet & greet, we proceeded to set up our gear and test the PA. I’m not sure about the exact power of the speakers but given that the size of the ‘concert room’ was 20 sq. m. (about 215 sq. ft.) at best, the PA (with a separate sub speaker) was definitely capable of tearing the walls down.

The show started at around 9:45 pm.

First up was Micromelancolié.

Robert played a drone/ambient set based entirely on layered samples, loops, field recordings and some nice feedback generated on a no-input mixer. It’s quite difficult to describe the sound because Micromelancolié’s music defies easy classification. I think it was the first time I saw/head that act live and I must say, I was really amazed with how dense and rich his sound was.


The second set was Vilgoc.

Now, his HNW shows are always a visceral experience and I’m always amazed by the ways in which the audience reacts to his dense, crunchy and static sound and on-stage appearance. Sebastian lies down in fetal position in a corner of the stage, the room is completely dark, the harsh noise textures cancel out all external noises coming from the people staying in other rooms and/or outside of the venue. Some people stare at the performer puzzled, as if they were trying to make sense of what’s going on. Some people lie down next to him. Others stand with their eyes closed. To my surprise, at one point I began to feel claustrophobic and had to leave the room for a few minutes. A fantastic and thoroughly engaging show.


After a short break, it was time for Mchy i Porosty.

I really like Bartosz’s current outfit which is definitely a a departure from his previous, more dynamic and cut-up works under the ANNNA moniker. He opened the set with a deep pulse generated by some sort of a DIY synth. The tension kept growing and the room felt like it was getting smaller. Then, all of the sudden, Bartosz went on a full-on dynamic harsh noise frenzy. It was varied, dynamic, with some cut-up elements thrown in the mix. I liked it.

Mchy i Porosty
Mchy i Porosty
Mchy i Porosty
Mchy i Porosty

The last one up was PURGIST. As usual, I won’t try to assess my own performance but I was really into it and hopefully, so was the audience.


The night ended with a spontaneous collaborative set by myself and Mchy i Porosty at around midnight.

It was definitely one of the most memorable noise shows I ever attended, mostly due to the fantastic atmosphere and great people. I can’t wait to get back there. If you’re ever in Bytom, definitely pay these guys a visit.

21.03.2014, Ostrow Wlkp. (Poland) – Defibrylator 3 @ OCK

Mała Scena
ul. Wolności 2
Wstęp wolny
Ostrów Wielkopolski

Więcej o projektach:

Egzaracja dźwiękiem +HNW+

Re-Drum istnieje od 2002 roku. Jego twórcą jest Pavel Aleshin. Muzyka projektu to wypadkowa drone/ambient. Swoje albumy publikował m.in. dla Black Orchids, Zoharum, Attenuation Circuit.
Tegoroczny koncert w ramach festiwalu związany jest z premierą „Hush!” – części splitu CD RE-DRUM / B°TONG (ZOHAR 065-2).

Muchomoress powstało w 2001 i istniało jako projekt wyłącznie studyjny, który miał łączyć ambient, elementy muzyki współczesnej i eksperymenty brzmieniowe.
Po kilku latach projekt zaczął się mutować przez udział kolejnych ludzi, rozpoczęły się próby i jam-sessions. Obecnie muzykę można opisać jako mieszankę kraut rocka,
industrialu i ambientu.
Obecny skład grupy to:
Thomm Ash (elektronika, głos, gitara)
Henryk Hanusiak – (przetworzone harmonijki, king korg, głos)
Darek Nakon (bass)
oraz Basia Gotkiewicz (perkusja)

Efemeryczny projekt eksplorujący terotoria stylistyczne industrial/power-electronics, aktywny od ponad dekady. Podstawowym instrumentarium pozostaje syntezator modularny. Powiązania personalne z Xaoc Devices, Schmerz i New Nihilism.

Leiche Rustikal to jednoosobowy projekt audiowizualny prowadzony przez Rutra Baz, Polaka mieszkajacego w Monachium, w Niemczech.
Projekt łączy elementy post industrial z drone i dark ambient.

to jednoosobowy projekt dźwiękowy, którego zamysłem jest sonifikacja i wirtualizacja równań, algorytmów, zjawisk fizycznych i naukowej abstrakcji. GAMMA FUNCTION to most pomiędzy nauką a sztuką. W swoich kompozycjach wykorzystuje jedynie dźwięki uzyskane w procesie sonifikacji lub autentycznych nagrań zjawisk fizycznych. Dzięki odpowiednim narzędziom kompozycje posiadają unikalną formę, budują niepowtarzalny klimat i prowadzą słuchacza przez świat matematyki i fizyki, a naukowa abstrakcja staje się zwirtualizowanym obrazem dostępnym dla wszystkich.

Solowa inicjatywa audio skoncentrowana na eksploracji dynamicznych, niespójnych faktur brzmieniowych, miejskich nagrań terenowych i szczątkowej melodyki. W okresie 2005-2013 projekt funkcjonował pod nazwą Sleep Sessions.

Trauma Unit – łódzki duet łączący elementy harsh noise z power electronics – pulsujące trzeszczące loopy, sprzężenia oraz siarczyste wokale. W składzie znani gdzieniegdzie twórcy takich delikatnych projektów muzycznych jak Ironlung, Spaceship to Hell czy I Am A Slut i Self-Inflicted Violence.

Duet improwizujący między ciszą a hałasem,niekiedy dodający elementy performance.
wyzwolenie energii poprzez dźwięk i inne elementy występu i skupienie jej na odbiorcach,a jeśli się uda – wciągnięcie ich w interakcję. Reset!


Partnerzy wydarzenia:

Hard Art
Beast of Prey
Osterdam Records

Seal Team 666 – Harshnoise.org EP

Seal Team 666 - harshnoise.org EP

Seal Team 666  has recorded an exclusive EP for harshnoise.org. Blast it loud!
In order to download a track, click on its title.

 Seal Team 666 – Weapons System Test

Seal Team 666 – Unlisted

Massive thanks to Jay Randall (Agoraphobic Nosebleed/Japanese Torture Comedy Hour/Ultracide/Grindcore Karaoke) for doing this!

PS. Having download issues? Try this link: https://www.dropbox.com/sh/osqy9b93cjgcqfh/NMHTh9mVl4