Top Ten Noise Rock Albums of 2013

Last year noise rock seemed to go by rather unnoticed in the musical community.  It was easy to make a good top ten chart, and my chart ended up being accurate and noncontroversial.  This year, though, noise rock seemed to garner quite a bit more attention, and sadly, the majority of acts to get the spotlight shined on them I found to be quite mediocre.  Iceage, Pissed Jeans, Chelsea moving light, Ken Mode, and Future of the Left were all big disappointments to me. 

After listening to around 45 noise rock albums from 2013, here is my list.  Some may technically fit into other genres better, but it is my list, so if I want to put a post hardcore album on my noise rock chart, too bad.  It was really hard to narrow it down to ten, but I did my best.  Feel free to tell me how wrong I am in the comments section below.

10)Bitches- Bitches

I had Cellular Chaos here, and wrote up all the reasons why they were in my top, then, looked at what I wrote and said to myself, “who am I kidding, Bitches was really fun.”

That pretty much sums up their sound. Male/ female duo make a noisey pop rock that is perfect for preparing to go out and get drunk, getting drunk, or waking up after being drunk.  If you have any friends who take Sleigh Bells serious (I’m sorry if you do), show them Bitches.

I’m not going to write more about this album, because knowing me I will just end up deleting it all and writing about a different album.  Here, let the music speak for itself.

 Listen to the album Here.

9) Melt Banana- Fetch

 I was not a huge Melt Banana fan until Fetch.  I had heard Cell Scape and really disliked the vocals.  I got why other people liked it, as I have plenty of artists I like with high pitched female yelling, but Melt Banana just wasn't for me.

When Fetch came out I figured I'd give it a go, and was pleasantly surprised.  The instrumentation was just as good as I remembered it being on Cell Scape, and I found the vocals much more manageable.  I haven't gone back to their other albums yet, so I don't know if I changed or they did, but I was happy nonetheless.

Fetch is for those who like frantic.  The guitar work is constantly going above and beyond the necessary, extra notes, squeals, and sounds become quite commonplace on the album.  I can only imagine how much energy there is at a Melt Banana show, as Fetch is a rather exhausting listen.

Even if you have tried Melt Banana before, give them another go like I did.  You may be pleasantly surprised.

8) Quttinirpaaq- Let's Hang Out

 The second 2013 album from Matt Turner's Quttinirpaaq, Let's Hang Out does everything better than it's predecessor.  This album is a great mix of noise rock riffs, industrial rhythms, and even some ambient moments.  

I recently reviewed the album and don't want to repeat myself too much, so I will just paste a quote from that review and call it done.

Let’s Hang out feels like a giant step forward for Quittinirpaaq. The industrial aspects have been toned down, but when presented (“Man without a Body”) they are tight and well mixed with the other sounds.

Just click the quote if you want to read more about this album, but I suggest rather than reading about it you just visit Here and listen to it yourself.

7) Roomrunner- Ideal Cities

This album went by unnoticed by most people which is a shame.  It feels like the perfect noise rock album for fans of Waaves, Foo Fighters, or Nirvana.  Honestly, with songs like “Weird” I expect everyone at their shows to be in ripped, stone washed jeans and neon t-shirts.

Still, the sound Roomrunner has is nothing other than ‘cool’.  No, they aren’t attempting anything original, but their throwback sound is easy to listen to and fun.  If I still skateboarded, this probably would have been on quite a bit this summer.

 

The album can be both streamed and purchased Here.

 6) The Rott Childs- Alleluia: A Brit Milah in G Melodic Minor

Yeah, Rott Childs compare themselves to Blood Brothers and Hella, but it is a great comparison, so I just steal it.  I know, that means this is going to be a combo of post-hardcore and math rock, and that really isn’t noise rock. 

Regardless of what genre you end up trying to pin The Rott Childs to, the album is great.  The electric organs are really funky sounding.  The drumming is top class, the songwriting is intricate, and the vocals are a real throwback for me.

Sure, even I will agree that noise rock is a bad tag for this album, but these guys cause a real ruckus, and in the end, that is what this list is all about.

 5) Haunted Horses- Watcher

I had forgotten about these guys after hearing Pyramids of Glass back in 2011.  I remember in 2012 googling them to see if I could find a proper album with no luck; then, one day out of the blue, someone suggested Watcher to me.  And Watcher is great.  It is exactly what I expected an LP from them to sound like.

Haunting, Liars-esque vocals, throbbing and primitive sounding drums, and a great continuation in sound from track to track.  Seriously, Haunted Horses, Dreamdecay, Liars, and YVETTE should all just go on tour together.  They all sound unique but have so many similarities within their sounds.

Watcher makes great use of electronic sounds to fill recordings.  Tracks like “the Void” use a very simple hum of electronics, but do it so effectively.  Additionally, the pacing of this album really is a strong point.  Slower tracks feel more intense, and tracks like “White Eyes” add a dance-punk element to the sound

Overall, this may be the softest album on this chart, but it holds enough intensity within its tracks to easily make up for this.  

Stream it and buy it Here.

4) Geurilla Toss- Gay Disco

Talk about a late entry.  Last week’s outline of my top 10 didn’t have Guerilla Toss mentioned, and now they’re clocking in at number 4.  To start off, their self-titled album from earlier this year was good.  Tracks like “Judy Wants Sex in the News” reminded me of the 2012 release by Normal Love.  But, in the end, I had it sitting at around #15 or so.  Over the week, I have been streaming Gay Disco over and over though. 

It is a funky, high-voltage ride that reminds me of Black Dice meets Aids Wolf.  I didn’t even know they had a second album planned for the year, but, like Qutinirpaaq, Guerilla Toss showed us that their second album for the year built on their previous release in all the right ways.

Gay Disco just got reviewed from me today, so I’m not going to beat a dead horse.  I’ll just end it saying that you owe it to yourself to check this album out if you like Coughs, Aids Wolf, Divorce, WaMu, or Pre; even if you were less than impressed with Guerilla Toss in the past

 3) Oozing Wound- Retrash

I started a Twitter account this year to help promote my blog.  Every twitter feed that mentioned Oozing Wound used the word ‘Brutal’.  I kept putting this album aside until last week when I finally decided to give it a spin.  Brutal.

I’ve gone back to the thrashy noise rock Retrash a few times now, and every time I find myself headbanging until my headphones almost fall off.  I suggest you give this album to every metalhead you know, as I feel like it probably hasn’t been getting the love it really deserves by them.  

I almost didn't put this on this list, because, in all honesty, it really is thrash metal, not noise rock.  But the genres to overlap, and this album is just too good to ignore.

2) Dreamdecay- N V N V N V

Dreamdecay came out of nowhere this year with N V N V N V (I pronounce in ‘envy envy envy’, though I’m probably wrong), creating a bastard sound someplace between Liars and Shearing Pinx.  Dreamdecay’s sound is powerful.  The vocals remind me of Liars’ Angus at times, and the whole piece feels like a concept album the Liars would do, just much darker than any album they have done.  

If there is a 2012 album I would compare it to it would be White Suns-Sinews; the sound has an air of anticipation and angst throughout both of these albums, and both vocalists are so explosive in their delivery.

N V N V N V keeps a uniform sound throughout, and this is a huge strength.  Never is the album dull, and no tracks feel out of place.  I expect the next album by this group to be getting a lot of publicity, so expect to hear them talked about only more in the future.

Stream it Here.

1) Sightings- Terribly Well

It’s easy to see why this is my top noise rock album of the year, because it is one of my top albums of the year.  I have listened to Sightings since early high school, and Mark Morgan’s strange guitar style has always been mesmerizing to me.  Terribly Well is a nice combination of new and familiar.  “The Loafer” sounds like it was taken right off of Arrived in Gold,  but tracks like “Mute’s Retreat” really sound like a progression in sound for the band.

Another strength of Sightings is how intensely they can push into the realm of noise while still being fairly accessible.  Sure, your grandparents would probably scoff at this music and be appalled, and nobody is probably planning on having Sightings play at their wedding; but when you think about just how abstract the overall sound is, the overall music produced is surprisingly catchy.

I have been listening to Sightings for almost 10 years now and they have yet to disappoint.  This album was easily my favorite noise rock album of 2013.

Guerilla Toss-Gay Disco (2013)

They found it!  After hearing Jeffrey Johnson last year and being disappointed, I was pleasantly pleased when I heard their self-titled release from this year.  But from the moment I tuned into Gay Disco, I realized that they have fully found their sound.  this album places Guerilla Toss as a household name to the shrill, female-fronted noise rock genre.

Gay Disco starts out funky, but even after a couple time changes, Guerilla Toss manage to keep the opening track uniform and engaging.  When I got to the second track, "Pink Elephant", I knew it wasn't a fluke.  These songs manage to find a nice balance between grooving bass, no wave guitars, and ridiculous vocals.  The loops in "Pink Elephant" are fantastic and quite complex.

"Sugar Better" may have started to go a little far out there for me, but I imagine once this is on my ipod it will really feel at home.  Man I just need to listen to this more.

It is good to see that Guerilla toss didn't give up the longer track length style they showcased in their self-titled (though I am happy that the tracks are split now, unlike on Jeffrey Johnson). Again, just like with both other releases, their are only six tracks (this one clocks in at just under 30 minutes).

I was very happily surprised to see how much love Gay Disco has already gotten from the world too.  The album hasn't even released yet, but the blogosphere seems to be bustling with talk about this new album.  I am not one to yell sellout.  If anything, I love when a band like Guerilla Toss is succeeding.  Afterall, this is music I really enjoy, why wouldn't I want other people to give them money?

Give them your money Here.

Please comment below if you know who produced this album.  I know Zorn produced their last one, and am really curious who did this one.

Quttinirpaaq- Let's Hang Out (2013)

From the minute I set the needle down I could tell that Let’s Hang Out was going to be sludgier, noisier, and all around better than No Visitors.  This album is more focused and takes a much better direction.  It is a great album and will be ending up in my top 10 noise rock albums for the year.

After the slow, heavy intro, “Chinese Hercules” comes in with a great opening riff.  Soon, delayed vocals and feedback fill up the sound and leave the listener with 6:00 more minutes of thick rock.  “Stork” continues with this style: throw a quick guitar loop, slam some drums, add something with delay, and top it off with feedback.  I personally think it is a great approach, and “Stork” really shows this.

If this album has one major flaw, it is that the songs never flow together.  Tracks like “Stork” stop so abruptly, only to have a completely different sound come in afterwards.  An improvement in continuity would have turned this record from a collection of songs into a more unified piece; what I always hope to hear from an album.

I may think that the transmissions between tracks may be rough at times, but that doesn’t mean the tracks are bad.  When the reviewer is picking apart the one second in-between tracks, that is when you know an album probably has some things going for it.

Let’s Hang out feels like a giant step forward for Quittinirpaaq.  The industrial aspects have been toned down, but when presented (“Man without a Body”) they are tight and well mixed with the other sounds.  Additionally, Turner’s band is more willing to explore other possible areas of music.  “A Golden Sheriff” shows us a Hecker-styled ambient (and is a great ender to Side A).

Side B follows a very similar formula to that of Side A; heavy noise rock for a few tracks and a couple nice guitar-based ambient tracks to close it all out.  Also, just look at how nice this record looks.

Listen to it Here and swoop up a copy of your own.

The Rott Childs- Alleluia: A Brit Milah In G Melodic Minor (2013)

I wrote up a nice long review of this album over on Earbuddy, but felt that I should mention this album quickly on here as well.  If you want to hear something that sounds someplace between Hella and Blood Brothers, I suggest you check this album out.

You can read my full review Here, and stream the full album off of their website, Here.

Also, be on the lookout for the vinyl release which should be out real soon

The Dead C- Armed Courage (2013)

Bands have a tendency to mellow out over time.  Usually when they don't, there is an extreme decline in the quality of their musical output; usually when they do, the music shifts from straightforward to abstract and genre pushing.  withe The Dead C's new two track album, armed courage, we see a mellowing out of the sound, and, in my opinion, the music gets its strength from this.

Let's start off with me acknowledging that I do not know much of their discography.  It is hard enough for me to keep up with a current year's music, let alone music that came before it.  That said, The Dead C provide us with a more mellow sound that I have come to expect from them.  The first track is a soft, cold instrumental piece that lasts over twenty minutes.  The other track clocks in at just over twenty-three minutes and features synths, loops, guitar, drums, piano, and the occasional wind chime, all the while presenting vocals in a very vulnerable nature.

If you are looking for a harsher ambiance within a noise rock sound, give this a go.

Listen to the second track Here, and purchase the album directly from the label Here

Sissy Spacek-Wreck (2013)

This is probably the harshest noise album I own (actually Troubled Sleep by Prurient may hold that record)
. Sissy Spacek start the album with an immediate blast of sound. If you don't care for noise, than do not bother with this album. If you are a fan of the genre, or interested in checking it out, this is a great album for you.


Like most noise albums, the quality comes from the layers and textures. Either you enjoy the end result or you don't. I found all six of the tracks to be absolutely fantastic. 'Overheat' is a perfect example that noise need not have loops and recurring patterns to still hold attention and feel carefully constructed. 'Balloon Assassination' has great vocals on it. The screams are all inaudible but match the ferocity of the sound accompanying them perfectly. This is something John Weise shows us is his expertise. The shrillest of pitches are much easier on the ear because of their careful placement after buildups of sound; the mixing of a deep static in one ear feels like the perfect accompaniment to the choppy tones played in the other. Weise is able to make a genre like harsh noise quite approachable all considered.


I find myself having the urge to put this album on at the strangest of times. I was listening to it when changing the headlights in my fiance's car. I was listening to it while applying for jobs one afternoon. If you haven't ever tried listening to harsher noise, why not put on some headphones and give this album a try. You may find yourself surprised with how relaxing auditory punishment can be.

Stream the album Here, and order it through paypal and email from Phage Tapes.

Hair Police- Mercurial Rites (2013)

My knowledge of Hair Police is extremely limited. I had a copy of Constantly Terrified back in high school, but it got borrowed and never returned. Since than I had not listened to any Hair Police until I recently heard Mercurial Rites came out.

Mercurial Rites is hard to classify. The soundscape is filled with harsh squeals and looming tones, but I wouldn't necessarily classify it as 'noise'. Rather it is as if Hair Police were trying to make ambient instrumentation but attempted this by dredging an assortment of noise releases. The sound is haunting, and not in the Halloween kind or way, but instead in the playing Silent Hill 2 in the dark kind of way.

Some of the instrumentation is quite reminiscent of older Wolf Eyes, specifically their album Slicer. If you have made your way through Wolf Eye's catalog, you may realize that this is a great point to be compared to.

The vocals on Mercurial Rites fall somewhere between the intense whispering style of older Sightings music and the overdriven effect screams of Whitehouse. While at times the vocals do hold the music back slightly ('We Prepare'), tracks like 'Scythed Wide' turn out a perfect representation of what Hair Police were trying to achieve. I found that the more minimalistic the vocals were, the more they fit the mood of the music and the better it overall sounded.

Overall, I found myself mildly enjoying the album until I got to the second half. From 'Dilate and Inhabit' on, Mercurial Rites was engrossing, and it is because of these tracks I keep going back and am taking the time to share it with you. 

Stream the album Here 

Giuseppe Ielasi & Kassel Jaeger- Parallel // Grayscale (2013)

Over the past couple weeks, Parallel // Grayscale has become a late-night favorite of mine.  Some people get ready for bed by drinking warm milk and read, others re-watch the same DVD from their collection, but for me this album has become a great way to unwind.

Maybe it is because the doctor has me taking opiates very 4-6 hours until this kidney stone passes, but Ielasi and Jaeger have a way of making even the softest of sounds feel intimate.  While the first few minutes of 'Parallel' may only focus on minor sound changes, the end result is still a lush, texture filled opening to the almost 20 minute track.

'Parallel' feels almost reserved in its sound, as though there is more to it that isn't being shown but hidden beneath it.  When the song shifts gears around the 8 minute mark, a burst of sound quickly escapes, only to be quickly tamed and restrained back into the quiet ambience it was making before.  After this point in the track, there is a constant churning as if the sound is going to eventually boil over, but it never quite does.  While the sounds presented on the surface are soothing, beneath is a tension by how they are arranged which results in feelings of anxiousness and anticipation amidst the ambaince for the listener.

The start of 'Grayscale' is why I really enjoy this album at night. The crackle of tape with the occasional echoey bloop; this is a sound that is overwhelmingly calm and it comes after the long buildup 'Parallel' creates before it.  The loops in 'Grayscale' stack up nicely, in a way that one could easily not notice the numerous layer of loops unless paying close attention.  The electric guitar samples at 12:30 feel evanescent with their short bursts and delay effects, and it's not until the loops start fading out that you realize that the album is already almost over.

Having heard Ielasi's other 2013 outputs (solo album Rhetorical Islands and collaboration with Andrew Pekler Holiday for Sampler), I can safely say this is his strongest work of 2013.  Go into this album expecting long, quiet ambient tracks, and you will come out of it with a fond appreciation for the duo's work.

The two tracks can be heard Here, and the album can be purchased Here.

Bill Orcutt- A History of Every One (2013)

Bill Orcutt has always played with his own unique style, be it his out-there electric guitar jams with fellow noise makers Harry Pussy or drummer Chris Corsano, or his acoustic guitar spasms of notes.  Personally, while I do love Harry Pussy, I feel that Bill's sound is best with an acoustic.  I really enjoyed A New Way to Pay Old Debts when I heard it last year (I was a little late to the party), and I think I enjoy this release even more.

On A History of Every One, Orcutt plays renditions of classic songs throughout modern history like 'White Christmas', 'Black Betty', 'When You Wish Upon a Star', and others; all while making them incomprehensible from their original versions and crooning like Keith Jarrett while doing it.

One reason I like this album more than A New Way to Pay Old Debts is that it tends to have slower song tempo's yet maintain the ferocity of Orcutt's play style.  This allows for times where actual strumming occurs to mix with the hit-every-note-now play style Orcutt has become known for.  This makes for an album that is better paced and for songs with better structures to them.  Additionally, tracks are more memorable than compared to those from his previous solo efforts (except for his version of The Star Spangle Banner).

Really though, there isn't too much to say about A History of Every One.  If you have heard Orcutt on an acoustic, know simply this is him at his best, doing his thing.  Either that interest's you or it, or it definitely doesn't.

Editions Mego are nice enough to have the album on Youtube.  Listen to it Here.

Lasse Marhaug & Bruce Russell- For Your Pleasure (2013)

This noise album is a tribute album to Roxy Music.  On listen you will probably find that none of it will remind you at all of Roxy Music.  Nonetheless, if you are a fan of noise music, this album could become one of your top albums of the year.  Probably the best way to decide whether this album is for you is to read this review.

If all of the negative points mentioned in that review sound like they were either strengths or things which could be easily misinterpreted by the reviewer, than this album is for you.  I noticed that this review takes the exact opposite approach to this album that I do.  Where reviewer Doug Mosurock finds a lack of method, I look to tracks such as 'For Your Pleasure', where the person playing the bells takes great patience in their playing, allowing the notes to linger in the air over the static filled atmosphere the other member is creating.  Where Mosurock sees absent-minded noodling I do not.  Many of John Cage's works could have been called absent-minded noodling upon a quick listen, but closer examination of such works coupled with Cage's proven performance of them has shown otherwise.  After multiple listens to this album I feel that there is much more composition to it than first meets the eye.  Finally, I disagree with Mosurock's statement that none of this album has any personality.  To me, this album has more personality than many other noise albums I have heard in recent years that have garnered much more critical acclaim (see Songs About Nothing).

Noise music is definitely not for everyone, and if you haven't ventured into the genre, this album is not the best place to start.  Still, if you do enjoy noise music and want something less harsh than the new Sissy Spacek album, this album is probably right for you.

The album can be purchased Here, and I will try to update with a sample shortly.

CavityFang-Urban Problems (2013)

Last year, the small label Table and Chairs Records gave us the great King Tears Bat Trip album.  This year, they released an album by the group CavityFang, a sextet consisting of three drummers, a pianist, a guitarist, and a baritone saxophone.  The nine compositions on urban problems are dark, broding, and filled with enough drum hits to make on think Zach Hill is a member of the group.

The album's opening track may be the worst track on the album, but it is by no means 'bad'.  Rather, it felt as if it served more as a hype piece to prepare the listener.  The track showes off some abstract drumming and improv. guitar as if to say 'this is what the album is about', but the music never really comes to gether as a piece and ends up being nothing more than a hype track for the rest of the album.

Once the listener gets to the second track though, they begin to get an understanding of the sound of the album; a sound that is very hard to describe.  'Dreamzzz' is a jazz groove in a diminished key(if I still remember my music theory accurately, which I almost certainly don't).  It keeps an upbeat pace which completely contradicts the actual sound being played.  This song is strange and slightly unsettling, but it is a good showing of the things to come from CavityFang, who's music always seems to be at odds with itself throughout the record.

Even at their most minimal, CavityFang keep their sound busy.  To them, minimalism is merely turning the volume down lower while playing the same amount.  Even the ambient soundscape made in 'Armadillos' is still filled with shakers and rainsticks.  At their most minimal I would say CavityFang is it's weakest, but fortunately this sound still isn't bad and is very short lived.

CavityFang are at their best when they let their drummers explore different sounds simultaneously.  'Average Shopper' showcases this perfectly.  All of the drums together create an intricate rhythm that works great for the slower baritone saxophone to dance around.

'Prelude to Rara' and 'Rara' both continue to show off how well the drummers can work together.  As my fiance put it, 'Rara' is a "mess of sounds".  To me, this track is a mess of sounds in all the best ways possible.  It is tribal sounding in the drumming and has a focused repetition in the saxophone and guitar which help push the energetic sound that is created, making this track one of the highlights of the album.  It is really a shame this track is so short.

Overall, Urban Problems was a strange trip, but one that I would recommend taking if you are a fan of free jazz or were a fan of King Tears Bat Trip.  CavityFang are able to make contradicting sounds work well together, and the music created for this album shows this.

The album can be both bought and streamed Here.

Diamond Terrifier- The Subtle Body Wears a Shadow (2013)

Zs member Sam Hilmer's second solo album,The Subtle Body Wears a Shadow, takes a few more risks than his debut album, Kill the Self that Wants to Kill Yourself, and it really pays off.  With his Diamond Terrifier project, Hilmer runs his saxophone through various pedals and effects to achieve a wide array of sounds, from synthesizer to grainy drones.  His latest album takes his saxophone's sound even further, exploring various synthetic sounds and even some repetition of industrial tones.  Additionally, this album's songwriting is more unique; while I would still make a comparison of this to Colin Stetson, Hilmer's sound has become more of his own.

The Subtle Body Wears a Shadow opens and closes with computer read text discussing how one should deconstruct themselves and their material wants to achieve spiritual growth.  This is a continuing theme from his first album, but the robotized lyrics really press this theme into the music.  While this may seem almost preachy in theory, in practice Hilmer's music fits this eastern theme.  The Subtle Body is the type of album to be listened to as a whole, and is one that is more suited to listening alone at night rather than with a group of friends before going out.

The four tracks of the The Subtle Body flow well and make the 33 minute album go by quick.  Often it is hard to tell where saxophone loops end and samples begin.  Normally, much of what I hear I would assume to be samples/ synthesizers had I not seen videos of Hilmer's live performances, but after having seen such videos I assume much of what is heard that doesnt sound like a saxophone still is.  One of Hilmer's main strengths is his ability to create saxophone loops that are varied both in sound and style.  No other saxophonist is working with pedals so intricately as Hilmer right now and his creation of such a unique style really shows.

While I found myself slightly disappointed with Colin Stetson's 2013 output, Diamond Terrifier outdid itself with this release and outshines Stetson's work from this year.  The Subtle Body is composed in a way that is very spacial and emotional.  It mixes ambience with drone while remaining unclassifiable.  It is these characteristics that make this album worth listening to and make it one of the most under-appreciated albums of the year.

The album can be streamed in its entirety Here.

Health Problems-Counterproductive (2013)

Right from the get go, Health Problems throw you into a punk surf rock frenzy with an unrelenting bass guitar taking center stage.  The vocals presented are similar at times to Daughters.  The vocalist of the album makes me want to categorize the music as noise rock, but the instruments on display in the first track are much cleaner sounding than traditional noise rock.  These are some strong surf punk.

On the third track, 'Mr. Man', we are given a Rollins-esque monologue that eventually devolves and tears itself apart.  This is the longest track on the album, the strongest track on the album, and showcases a band taking risks with their sound and it paying off.

After hearing 'Mr. Man', it is hard to jump right back into the surf punk sound, making the placement of 'Boy Problems' one of the few flaws on the album.  I imagine this is a much subtler transition when you have the pause of flipping the cassette first, but on digital release, the transition could be improved.

Overall, this album has good songwriting that is highlighted by the singers powerful delivery.  Never does an instrumental standout, but the musicianship is solid enough.  While this album will probably be overlooked by the majority of the music community, it is a strong release that is worthy of a purchase if you want noise rock with an outlandish vocal delivery reminiscent of Daughters-Hell Songs.

The album can be streamed and purchased on cassette or digitally at their label's Bandcamp Here.

Fadensonnen- White Night (2012)

Here is an amazing album that randomly arrived on my doorstep.  If you were a fan of Aufgehoben’s 2012 release, Fragments of the Marble Plan, than this album is for you.  This 9-track release spans just under 50 minutes and is filled with free-improv. noise.  Let’s put it this way, if I heard this album last year, it would have made my year-end list.

Fadensonnen consists of two people, PD (on guitar) and RD (on drums).  Despite the band only being a duo, Fadensonnen’s sound is full and textured.  At its harshest it still manages to stay pleasant, a feat quite difficult when sounds are occasionally journeying into the harsh noise genre.  At its softest, the guitar work of Glen Branca may be an accurate comparison.  Usually though, it sounds as if Bill Orcutt decided to be a little more cohesive.

White Night does a great job of toeing the line between rhythm and chaos.  Track’s like “Fire of Nights” prove this.  More importantly, though, is that after going to the edge of chaos, they are able to bring it back, (however briefly), before throwing the listener into even deeper sonic holes.  “Street Smokin Eyes” is probably the most challenging piece on this album, but it is also one of the most rewarding.

In sum, Fadensonnen came out of nowhere and blew me away.  Buy this album for that Keiji Haino fan you know, because I know he will thank you for it.

Listen in full Here 

Buy the CD Here