Jajaja, after reading your review I was very curious, so I decided to took the devil by the horns! And so...ok this is not music. When you bagan saiying that, this is not a joke!
I came, I eard, I died. This is literally noise.

For the curious like me : https://www.youtube.com/watch?v=e3kqKaW78gA

Why 2? there is literally nothing here that is worth a point. Maybe except the cover art.

It sounds like someone recorded white noise off of a TV. Total horseshit. And they ganked part of the album cover from the cover of the Inferno film soundtrack.

Wow, the EP was so bad that you couldn't even make any jokes off of it. It's just... why?

Wow! A 2 from one of THE most generous reviewers I've seen around here. Must be really something special then. Shame that the cover art is good though.

Well, as a somebody who's a huge fan of drone, harsh noise, dark ambient, all that shit, I just find it necessary to say a few things

A. Of course harsh noise is music. It's just a highly discordant, unmelodic, unharmonious form of music. And let's not get pedantic about it (you know who you are) with dictionary definitions about how music is "vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression of emotion." Surely we can agree that in the past half a century of musical development our understanding of what music is and can be has expanded a bit beyond that.
B. I agree with you, for a noise album, this one sits on the pretty shitty end of the spectrum. There is definitely some good noise out there, but goddamn, this album just sounds as if someone was recording the inside of their washing machine while doing a load of laundry.
C. I really hope this negative review and listening to this album doesn't make people think that ALL noise and drone music is shit. That's far from the case. So just as a Public Service Announcement to all who might be reading, if you're simply disgusted by this album but are still open to investigating some GOOD noise/drone music, try Merzbow, as SSUS mentioned, or maybe some Godspeed You! Black Emperor

Hello everyone! Jay of Crowhurst here - I just wanted to clear up some stuff!

First off, thanks for checking out the record! I don't know how out of 76 albums you decided on MOTCG - definitely a strange choice!

That album is definitely an odd one in the discography as it's the only real "wall noise" album I'd ever done. The subgenre of noise called "harsh noise wall" involves blocks of solid, near unchanging feedback. Artists like The Cherry Point, The Rita and Vomir amongst lots of others work on these slabs of tonal concrete and the label Troniks was wildly influential in helping to bring that sound to light in the 2000's.

While I mostly operate within the realm of blackened drone and textured industrial stuff, I wanted to do a record that was a throwback to that meditative Troniks sound. I totally understand (and did when making the record) that for the most people this equates to leaving a TV on with static running, but people who dig HNW seemed to dig it.

I hope you'd check out other releases like the self titled record, which is a straightforward black metal record - or if you want a better example of the type of noise compositions that the project usually does our record No Life To Live was just remastered by Steve Austin of Today Is The Day.

Written by jaygambit on 29.06.2016 at 20:28

While I mostly operate within the realm of blackened drone...

Please do point me to some blackened drone stuff that you've done, as I really do enjoy the fusion of those two sounds

It's terrible (sorry jaygambit) but it's still music. There's really no precedent to say that just because it lacks any notable tonal variation, like, say, a Merzbow record, that it's any less "musical." If someone sets out to put this on record then that's what it is. It's just not good music. I don't think anyone is inherently qualified to call something "not music" because someone, somewhere, will receive it that way regardless of how much a person dislikes it (it has 4 likes on Youtube).

If anything its perceived artistic-less value is perhaps more valuable than a lot of stuff with supposed "artistic" merit. Dadaism is a thing after-all. I'd say this has no entertainment value, which isn't really the same as art.

Written by Auntie Sahar on 29.06.2016 at 19:16

C. I really hope this negative review and listening to this album doesn't make people think that ALL noise and drone music is shit. That's far from the case. So just as a Public Service Announcement to all who might be reading, if you're simply disgusted by this album but are still open to investigating some GOOD noise/drone music, try Merzbow, as SSUS mentioned, or maybe some Godspeed You! Black Emperor

Believe it or not, the first music my girlfriend ever showed me was Merzbow's Pulse Demon. There's definitely good noise out there, including other Crowhurst material.

Speaking of drone, the other day I rediscovered that article you wrote about the philosophy of drone. It's good stuff.

Written by jaygambit on 29.06.2016 at 20:28

Hello everyone! Jay of Crowhurst here - I just wanted to clear up some stuff!

First off, thanks for checking out the record! I don't know how out of 76 albums you decided on MOTCG - definitely a strange choice!

That album is definitely an odd one in the discography as it's the only real "wall noise" album I'd ever done. The subgenre of noise called "harsh noise wall" involves blocks of solid, near unchanging feedback. Artists like The Cherry Point, The Rita and Vomir amongst lots of others work on these slabs of tonal concrete and the label Troniks was wildly influential in helping to bring that sound to light in the 2000's.

While I mostly operate within the realm of blackened drone and textured industrial stuff, I wanted to do a record that was a throwback to that meditative Troniks sound. I totally understand (and did when making the record) that for the most people this equates to leaving a TV on with static running, but people who dig HNW seemed to dig it.

I hope you'd check out other releases like the self titled record, which is a straightforward black metal record - or if you want a better example of the type of noise compositions that the project usually does our record No Life To Live was just remastered by Steve Austin of Today Is The Day.

I chose this EP because it was among your most recent releases, so it was largely coincidence that I settled on this one in particular. I found the noise quite impenetrable, as I suppose you can tell, but I've heard the self-titled album before and really liked it. In fact, I came back to it in the same breath as The Mountain of the Cannibal Goddess and am working on a review that should be much more positive. I'm also working on one for Isolator, which I enjoyed a lot more. You've also piqued my interest in the other artists you mentioned.

Written by [user id=4365] on 29.06.2016 at 22:10

It's terrible (sorry jaygambit) but it's still music. There's really no precedent to say that just because it lacks any notable tonal variation, like, say, a Merzbow record, that it's any less "musical." If someone sets out to put this on record then that's what it is. It's just not good music. I don't think anyone is inherently qualified to call something "not music" because someone, somewhere, will receive it that way regardless of how much a person dislikes it (it has 4 likes on Youtube).

If anything its perceived artistic-less value is perhaps more valuable than a lot of stuff with supposed "artistic" merit. Dadaism is a thing after-all. I'd say this has no entertainment value, which isn't really the same as art.

I recognize that we're all going to be at loggerheads here, but I stand by my assertion. I think there's a point at which noise, ambient, drone, maybe pure industrial stuff, cross over into a realm other than music. You might call it noise-based art or something equally silly, but I don't believe that the audio format necessitates something being considered music. I have no desire to attempt to define "music" or set boundaries or determine where that point lies, especially because Che and Jay have a much deeper knowledge of this whole form and I'd get my ass handed to me summarily. I wouldn't say that a recording like this objectively has no artistic merit, only that I personally assign none to it because this does not adhere to the vague schema of whatever I find valuable in art.

You see the quandary I referred to in the review begin to manifest itself again. Somebody, somewhere likely looks at this work and considers it music, but that does not necessarily mean that I have to or that I accept that person's judgment as correct, any more than you have to accept my judgment of this as not being music as correct.

There are definitely albums that I enjoy less, that I hate more, that I find more offensive or annoying - I mean, just look at the first few artists I referenced in the review. I'd probably never listen to this EP again, but what the low, low rating and the rather harsh review say are not so much that I think this is bad music, it' s just - as I said - that I don't really consider it music at all, and to judge a work like this on a musical scale necessitates an extremely low rating.

Noise can be music, and it can be good, and I can like it. In this case, I don't like it, I don't think it's good, and I don't consider it music. Something like Isolator, though, which is very similar, I do like and I do consider music. I can't hide from the fact that I'm being incredibly doctrinaire about this, to which I can't present a defence, other than my previous statements.

Written by ScreamingSteelUS on 29.06.2016 at 23:08

Written by Auntie Sahar on 29.06.2016 at 19:16

C. I really hope this negative review and listening to this album doesn't make people think that ALL noise and drone music is shit. That's far from the case. So just as a Public Service Announcement to all who might be reading, if you're simply disgusted by this album but are still open to investigating some GOOD noise/drone music, try Merzbow, as SSUS mentioned, or maybe some Godspeed You! Black Emperor

Believe it or not, the first music my girlfriend ever showed me was Merzbow's Pulse Demon. There's definitely good noise out there, including other Crowhurst material.

Speaking of drone, the other day I rediscovered that article you wrote about the philosophy of drone. It's good stuff.

Written by jaygambit on 29.06.2016 at 20:28

Hello everyone! Jay of Crowhurst here - I just wanted to clear up some stuff!

First off, thanks for checking out the record! I don't know how out of 76 albums you decided on MOTCG - definitely a strange choice!

That album is definitely an odd one in the discography as it's the only real "wall noise" album I'd ever done. The subgenre of noise called "harsh noise wall" involves blocks of solid, near unchanging feedback. Artists like The Cherry Point, The Rita and Vomir amongst lots of others work on these slabs of tonal concrete and the label Troniks was wildly influential in helping to bring that sound to light in the 2000's.

While I mostly operate within the realm of blackened drone and textured industrial stuff, I wanted to do a record that was a throwback to that meditative Troniks sound. I totally understand (and did when making the record) that for the most people this equates to leaving a TV on with static running, but people who dig HNW seemed to dig it.

I hope you'd check out other releases like the self titled record, which is a straightforward black metal record - or if you want a better example of the type of noise compositions that the project usually does our record No Life To Live was just remastered by Steve Austin of Today Is The Day.

I chose this EP because it was among your most recent releases, so it was largely coincidence that I settled on this one in particular. I found the noise quite impenetrable, as I suppose you can tell, but I've heard the self-titled album before and really liked it. In fact, I came back to it in the same breath as The Mountain of the Cannibal Goddess and am working on a review that should be much more positive. I'm also working on one for Isolator, which I enjoyed a lot more. You've also piqued my interest in the other artists you mentioned.

Written by [user id=4365] on 29.06.2016 at 22:10

It's terrible (sorry jaygambit) but it's still music. There's really no precedent to say that just because it lacks any notable tonal variation, like, say, a Merzbow record, that it's any less "musical." If someone sets out to put this on record then that's what it is. It's just not good music. I don't think anyone is inherently qualified to call something "not music" because someone, somewhere, will receive it that way regardless of how much a person dislikes it (it has 4 likes on Youtube).

If anything its perceived artistic-less value is perhaps more valuable than a lot of stuff with supposed "artistic" merit. Dadaism is a thing after-all. I'd say this has no entertainment value, which isn't really the same as art.

I recognize that we're all going to be at loggerheads here, but I stand by my assertion. I think there's a point at which noise, ambient, drone, maybe pure industrial stuff, cross over into a realm other than music. You might call it noise-based art or something equally silly, but I don't believe that the audio format necessitates something being considered music. I have no desire to attempt to define "music" or set boundaries or determine where that point lies, especially because Che and Jay have a much deeper knowledge of this whole form and I'd get my ass handed to me summarily. I wouldn't say that a recording like this objectively has no artistic merit, only that I personally assign none to it because this does not adhere to the vague schema of whatever I find valuable in art.

You see the quandary I referred to in the review begin to manifest itself again. Somebody, somewhere likely looks at this work and considers it music, but that does not necessarily mean that I have to or that I accept that person's judgment as correct, any more than you have to accept my judgment of this as not being music as correct.

There are definitely albums that I enjoy less, that I hate more, that I find more offensive or annoying - I mean, just look at the first few artists I referenced in the review. I'd probably never listen to this EP again, but what the low, low rating and the rather harsh review say are not so much that I think this is bad music, it' s just - as I said - that I don't really consider it music at all, and to judge a work like this on a musical scale necessitates an extremely low rating.

Noise can be music, and it can be good, and I can like it. In this case, I don't like it, I don't think it's good, and I don't consider it music. Something like Isolator, though, which is very similar, I do like and I do consider music. I can't hide from the fact that I'm being incredibly doctrinaire about this, to which I can't present a defence, other than my previous statements.

Thank you a ton for even checking out the material - and especially for the kind words. I don't disagree with you in the slightest about any of that stuff. When it comes to noise, HNW is designed to be the least musical of any of the subgenres of noise so it *isn't* music. It's something a lot of my friends listen to with headphones on to relax, kind of like that scene in Big Lebowski where The Dude is listening to the sounds of a bowling alley.

I totally understand it's a record that fits a very niche market, and even to that market this tape sits unevenly to some as it's not nearly as long as most wall releases. It was a challenge for me to make but fun nonetheless. I much more prefer working with large varied soundscapes, but I love exploring various subgenres and HNW is one of them.

Written by Auntie Sahar on 29.06.2016 at 20:59

Written by jaygambit on 29.06.2016 at 20:28

While I mostly operate within the realm of blackened drone...

Please do point me to some blackened drone stuff that you've done, as I really do enjoy the fusion of those two sounds

I released a compilation of stuff called Collected Droneworks 2011-2016 and that's our most recent release! It's a good summary of about 75 percent of what I do in about 2 hours.

Written by jaygambit on 29.06.2016 at 20:28

Hello everyone! Jay of Crowhurst here - I just wanted to clear up some stuff!

First off, thanks for checking out the record! I don't know how out of 76 albums you decided on MOTCG - definitely a strange choice!

That album is definitely an odd one in the discography as it's the only real "wall noise" album I'd ever done. The subgenre of noise called "harsh noise wall" involves blocks of solid, near unchanging feedback. Artists like The Cherry Point, The Rita and Vomir amongst lots of others work on these slabs of tonal concrete and the label Troniks was wildly influential in helping to bring that sound to light in the 2000's.

While I mostly operate within the realm of blackened drone and textured industrial stuff, I wanted to do a record that was a throwback to that meditative Troniks sound. I totally understand (and did when making the record) that for the most people this equates to leaving a TV on with static running, but people who dig HNW seemed to dig it.

I hope you'd check out other releases like the self titled record, which is a straightforward black metal record - or if you want a better example of the type of noise compositions that the project usually does our record No Life To Live was just remastered by Steve Austin of Today Is The Day.

You spent more time writing this post than "composing" this shit.

I checked the EP. Couldn't take it for more than a couple of minutes then I picked randomly three other albums and enjoyed them all. Haha! "Give In" is pretty good.
Glad I didn't completely give up on these guys, specially considering the pedigree involved (for those who have not, check out the related acts, you may be surprised).

Written by jaygambit on 29.06.2016 at 23:25

Thank you a ton for even checking out the material - and especially for the kind words. I don't disagree with you in the slightest about any of that stuff. When it comes to noise, HNW is designed to be the least musical of any of the subgenres of noise so it *isn't* music. It's something a lot of my friends listen to with headphones on to relax, kind of like that scene in Big Lebowski where The Dude is listening to the sounds of a bowling alley.

I totally understand it's a record that fits a very niche market, and even to that market this tape sits unevenly to some as it's not nearly as long as most wall releases. It was a challenge for me to make but fun nonetheless. I much more prefer working with large varied soundscapes, but I love exploring various subgenres and HNW is one of them.

Thank you for being so cool about this. I recognize that I was probably unnecessarily harsh, so I appreciate you not tearing me a new one. On top of that, you've now given me some more acts to listen to.

Written by Daniell on 30.06.2016 at 00:28

Written by jaygambit on 29.06.2016 at 20:28

Things

You spent more time writing this post than "composing" this shit.

Now, that's uncalled for.

...I say after having posted this review.

Written by ScreamingSteelUS on 30.06.2016 at 00:41

Written by jaygambit on 29.06.2016 at 23:25

Thank you a ton for even checking out the material - and especially for the kind words. I don't disagree with you in the slightest about any of that stuff. When it comes to noise, HNW is designed to be the least musical of any of the subgenres of noise so it *isn't* music. It's something a lot of my friends listen to with headphones on to relax, kind of like that scene in Big Lebowski where The Dude is listening to the sounds of a bowling alley.

I totally understand it's a record that fits a very niche market, and even to that market this tape sits unevenly to some as it's not nearly as long as most wall releases. It was a challenge for me to make but fun nonetheless. I much more prefer working with large varied soundscapes, but I love exploring various subgenres and HNW is one of them.

Thank you for being so cool about this. I recognize that I was probably unnecessarily harsh, so I appreciate you not tearing me a new one. On top of that, you've now given me some more acts to listen to.

Written by Daniell on 30.06.2016 at 00:28

Written by jaygambit on 29.06.2016 at 20:28

Things

You spent more time writing this post than "composing" this shit.

Now, that's uncalled for.

...I say after having posted this review.

Of course! Your critique was totally fair, and your argument rational. HNW is something not many people enjoy, and I didn't expect anyone to except for the people who are really seven layers deep into harsh noise. It's not like you straight up insulted me by saying that it took no effort to make the record itself... hah!

Written by X-Ray Rod on 30.06.2016 at 00:37

I checked the EP. Couldn't take it for more than a couple of minutes then I picked randomly three other albums and enjoyed them all. Haha! "Give In" is pretty good.
Glad I didn't completely give up on these guys, specially considering the pedigree involved (for those who have not, check out the related acts, you may be surprised).

Thank you!!!

I'm glad to see good back-and-forth constructive feedback and civil discussion from both sides. Noise is completely not my thing (and neither is black metal to a lesser extent) so I can't contribute much here, but thank you, Jay Gambit, for taking such extreme criticism with grace.

Written by ScreamingSteelUS on 30.06.2016 at 00:41

Now, that's uncalled for.

...I say after having posted this review.

If the artist joins the discussion, he must be ready for some criticism. Either in a more educated form (your review), or in an insensitive, terse form (my single sentence). 2/10 sounds like a more polite way to say "shit" anyway

This is better music than most shit that comes out today. And Six Feet Under is gnarly, if you don't like Chris Barnes, you're a pussy.

Also, you aren't more metal than anybody. You write review's on the fucking internet.

Written by OBR420 on 30.06.2016 at 17:07

This is better music than most shit that comes out today. And Six Feet Under is gnarly, if you don't like Chris Barnes, you're a pussy.

Also, you aren't more metal than anybody. You write review's on the fucking internet.

I don't know, there wouldn't be a song named "Chris Barnes Is A Pussy" if he weren't a pussy.

Written by Overrwatcher on 30.06.2016 at 15:14

I'm glad to see good back-and-forth constructive feedback and civil discussion from both sides. Noise is completely not my thing (and neither is black metal to a lesser extent) so I can't contribute much here, but thank you, Jay Gambit, for taking such extreme criticism with grace.

It's not that extreme! The worst that has been said here is that it took no effort to make this, and if I had a nickel for every time I heard that as a drone/noise musician I would have a shitload of nickels. Like ScreamingSteel said - it's one big slab of noise that barely moves. If you're reviewing it as a wall noise album, you'll probably get a very different score than if you're reviewing it as music -- because even for noise this is one of the least musical subgenres to work within.

Written by Overrwatcher on 30.06.2016 at 17:56

Written by OBR420 on 30.06.2016 at 17:07

This is better music than most shit that comes out today. And Six Feet Under is gnarly, if you don't like Chris Barnes, you're a pussy.

Also, you aren't more metal than anybody. You write review's on the fucking internet.

I don't know, there wouldn't be a song named "Chris Barnes Is A Pussy" if he weren't a pussy.

^ What she said. Also, my only qualification for writing reviews is that I have written other reviews previously, so I'm not pretending to be any more of an authority on the subject of metal than anybody else here. I don't write reviews because I'm more metal than anybody else, or because I think it makes me more metal; I write reviews because I love to write reviews, and the fact that I can get them published in a public forum like Metal Storm is pretty darn cool. Everyone else is welcome to write their own to contradict me. Frankly, I think Six Feet Under is about due for a positive review, given the number of negative ones they've accumulated (and not just from me).

Written by jaygambit on 30.06.2016 at 18:19

Written by Overrwatcher on 30.06.2016 at 15:14

I'm glad to see good back-and-forth constructive feedback and civil discussion from both sides. Noise is completely not my thing (and neither is black metal to a lesser extent) so I can't contribute much here, but thank you, Jay Gambit, for taking such extreme criticism with grace.

It's not that extreme! The worst that has been said here is that it took no effort to make this, and if I had a nickel for every time I heard that as a drone/noise musician I would have a shitload of nickels. Like ScreamingSteel said - it's one big slab of noise that barely moves. If you're reviewing it as a wall noise album, you'll probably get a very different score than if you're reviewing it as music -- because even for noise this is one of the least musical subgenres to work within.

It is very difficult to listen to a wall of noise album with any criticism, because it's very hard to set noise apart from other noise. What makes a wall of noise album better than another wall of noise album, what makes a wall of noise album good? I understand why someone would listen to wall of noise, the same way someone would listen to white noise or just silence.

It's easy to say that there's no effort in making this, but that's what people usually say with electronic music, they say that all you have to do is push some buttons. As someone who also makes drone/noise, I know that you can work from a day to a couple of months on a single release and for someone outside the noise listening circles, they may not see the difference. So would you care to explain how exactly does one make a wall of noise album and how much effort does it actually take to make one?

Written by RaduP on 01.07.2016 at 02:28

Written by jaygambit on 30.06.2016 at 18:19

Written by Overrwatcher on 30.06.2016 at 15:14

I'm glad to see good back-and-forth constructive feedback and civil discussion from both sides. Noise is completely not my thing (and neither is black metal to a lesser extent) so I can't contribute much here, but thank you, Jay Gambit, for taking such extreme criticism with grace.

It's not that extreme! The worst that has been said here is that it took no effort to make this, and if I had a nickel for every time I heard that as a drone/noise musician I would have a shitload of nickels. Like ScreamingSteel said - it's one big slab of noise that barely moves. If you're reviewing it as a wall noise album, you'll probably get a very different score than if you're reviewing it as music -- because even for noise this is one of the least musical subgenres to work within.

It is very difficult to listen to a wall of noise album with any criticism, because it's very hard to set noise apart from other noise. What makes a wall of noise album better than another wall of noise album, what makes a wall of noise album good? I understand why someone would listen to wall of noise, the same way someone would listen to white noise or just silence.

It's easy to say that there's no effort in making this, but that's what people usually say with electronic music, they say that all you have to do is push some buttons. As someone who also makes drone/noise, I know that you can work from a day to a couple of months on a single release and for someone outside the noise listening circles, they may not see the difference. So would you care to explain how exactly does one make a wall of noise album and how much effort does it actually take to make one?

I know people who have modular synths cost six months rent and some people with $100 setups who make wall noise. It's really all about textures. My project isn't a wall project, so I used the material that I usually use to create drone - a pedalboard including a Fender Blender and Boss PS2 Delay/Pitchshift as well as a number of other reverb, delay and distortion units attached to a Korg MS-20 and a King Capitol Punishment Sleepdrone 5 and a tape of field recordings. It took about 28-30 hours to create MOTCG from end to end, which factors in performing, rendering, timestretching, re-mixing, rendering, mixing and mastering.

This sounds like the kind of thing I'd take back to the store, like, "my copy is defective".

This is Harsh Noise Wall from the highest quality.
When Extreme Metal turned into a bunch of piercinged "beautiful" guys, Harsh keep you into the lowest circles of hell.
Insane music to segregate men from "metal" boys.

Written by NOVELLETTO on 02.07.2016 at 21:47

This is Harsh Noise Wall from the highest quality.
When Extreme Metal turned into a bunch of piercinged "beautiful" guys, Harsh keep you into the lowest circles of hell.
Insane music to segregate men from "metal" boys.

Can you get even more stuck-up please? You don't sound ridiculous enough yet.

I agree this is not a music, things I never will get why people ever pay to buy noise albums?

Written by jaygambit on 29.06.2016 at 20:28

Hello everyone! Jay of Crowhurst here - I just wanted to clear up some stuff!

First off, thanks for checking out the record! I don't know how out of 76 albums you decided on MOTCG - definitely a strange choice!

That album is definitely an odd one in the discography as it's the only real "wall noise" album I'd ever done. The subgenre of noise called "harsh noise wall" involves blocks of solid, near unchanging feedback. Artists like The Cherry Point, The Rita and Vomir amongst lots of others work on these slabs of tonal concrete and the label Troniks was wildly influential in helping to bring that sound to light in the 2000's.

While I mostly operate within the realm of blackened drone and textured industrial stuff, I wanted to do a record that was a throwback to that meditative Troniks sound. I totally understand (and did when making the record) that for the most people this equates to leaving a TV on with static running, but people who dig HNW seemed to dig it.

I hope you'd check out other releases like the self titled record, which is a straightforward black metal record - or if you want a better example of the type of noise compositions that the project usually does our record No Life To Live was just remastered by Steve Austin of Today Is The Day.

That was a really nice and civilized reply to such a harsh review of a really harsh wall of noise album. I checked out the record and I skipped through the album. Would've listened to about 5 seconds of it. I am not gonna say anything else now but that the cover art is really good.

You've definitely piqued my interest to check out your rest of the albums (or shall we say the "real" albums) though. So thanks again for keeping your cool which is so rare these days.

Written by 3rdWorld on 05.07.2016 at 20:01

That was a really nice and civilized reply to such a harsh review of a really harsh wall of noise album. I checked out the record and I skipped through the album. Would've listened to about 5 seconds of it. I am not gonna say anything else now but that the cover art is really good.

You've definitely piqued my interest to check out your rest of the albums (or shall we say the "real" albums) though. So thanks again for keeping your cool which is so rare these days.

Thank you!

I don't even think the review is harsh! If you're rating it as music, a 2 is generous as it's wall noise and the goal of the subgenre is to be as non-musical and unchanging as possible. This is the only real wall noise record I've ever done, with "Girl 27" being somewhat close -- it's something I find myself to be pretty bad at as I'm a drone/ambient musician at heart and always want to add lots of little subtle movements to things. Making MOTCG was an exercise in working on this type of material and is hardly reflective of the styles that I usually work in. I hope you enjoy the other stuff you hear and thank you for the kind words about the art!