7 February 2017

NEW RELEASES: Andrew Kirschner & John R. Olson

2 New Releases

#061 Andrew Kirschner | The Arm And The Eye | C30
"Andrew Kirschner is a mainstay in the US Mid West noise/experimental scene. Running the Mistake By The Lake label issuing great sounds from his local cohorts. This release demonstrates two sides to Kirschner. the A side is based on an industrial synth/tape loop interspersed with junk noise. The B side is stripped and fried string scrape and bleak rhythm hypnosis."

Edition of 50

#066 John R. Olson | Solo Horn | C40
"Solo horn from John R. Olson, one take raw recordings travelling the plane from Debussy through the ancient Middle East touching on the past and present free masters and straight to the core of his own dimension."

INZANE JOHN R OLSON is an anagram for SOLO HORN ZEN NINJA Mike Haley, Tabs Out

Edition of 100

Sound Samples:  https://soundcloud.com/soundholes

Available Here: http://sndhls.bigcartel.com

23 October 2016

NEW RELEASES: David Birchall / Nicolas Dobson / Javier Saso & Sindre Bjerga And Posset


#064 David Birchall / Nicolas Dobson / Javier Saso | XZ ::::::::: Brazil | C30

2 sides of abstract guitar, lap steel and violin spread over the stereo spectrum. Great interplay between the three musicians exploring a range of textures and atmospheres.  

Artwork edited from an original lino print by DQ.

Edition of 75

#065 Sindre Bjerga And Posset | Jazz Hands, Bloody Jazz Hands | C24

Sindre: Tape and vocal jams from Newcastle in 2015 and 2016.

Posset: Jazz influenced Jizz. Dicataphonix and grufftones.

Edition of 50

Sound samples: https://soundcloud.com/soundholes

Available here: http://sndhls.bigcartel.com

Thank you.

18 May 2016



After a long hiatus 2 new cassettes are available.

#062 Body Morph | Keep Still And Be Devoured | C60

"Dan Dlugosielski has been furrowing this electronics, soup, horns, tapes, head space, gloop for a while now and shows no signs of letting up. This hour long trip into the recesses of his repertoire ranges from spooked out distances to clean sax and a whole lot of in-between electronic sticky goop."

#063 Ashpa | Felelet | C24

"Máté Károlyi-Kiss self-released a mysterious tape a while back. This continues in that compositional style creating slowly shifting soundscapes of field recordings and tape manipulations. Feels like the sounds have been pulled from the earth, continuing their decomposition as they dissolve into something new."

Sound samples coming soon...

Available here: http://sndhls.bigcartel.com

Thank you. 

17 November 2014


Interview with Matt Mayer (A Snake In The Garden, Surgical Renaissance)

This interview took place in November 2012, originally destined for a zine that never went to press.

- What got you interested in noise?
I became interested in noise around 2004/5 while living in Worcester, Massachusetts, spawned by an initial interest in noise rock. I attended a few shows in Providence, Rhode Island at the time and witnessed music on the noisier and weirder side of the spectrum, which opened a new world to me. Around the same time, I was listening to a lot of free jazz, which eventually led to my discovery of John Cage. I went to a sort of "celebration of Cage" performance event in Worcester and saw some of his toy piano pieces performed live alongside a projected graphic score. It was intense at the time for me to see music of this nature performed live. All of this eventually culminated and clicked when I first saw Wolf Eyes play in Allston, MA around 2004 or 2005. Needless to say after that everything made sense and I fell head-first into noise.

- What inspires you musically and non-musically?
I'm mostly inspired by sound plain and simple. I'm into naturally-occuring sound, whether it be organic, elemental, man-made, industrial, mechanical, etc. I enjoy collecting sounds that inspire me with recording devices, or try to re-create them with my rig if/when possible. I'm being inspired and influenced by music of all kinds, constantly. With ASITG specifically, things like industrial (past and present), harsh noise, sound collage, Coltrane, and various electronic musics have been influencing me, particularly the noise of my friends and peers. I love live music and especially live noise. Touring has given me the opportunity to let me witness the art, ideas, and sounds of my friends and comrades in the current American noise world. This is inspires me to no end. My Burlington friends are a huge influence as well (Lord Bird, Toby Aronson, Lawrence Welks & Our Bear To Cross, Son Of Salami, et al).
Non-musically, I'm heavily influenced by visual art, imagery in general. I prefer things rough, raw, physical, and degraded. I enjoy extracting imagery that I find interesting in my everyday life and abstracting it to fit my own liking and fashion it to the aesthetic of my project. The ceramic work of my good friend Nicholas Earl has been a big influence lately as well. He works in Minnessota with a wood-fire kiln and naturally-excavated clay, creating visceral, tactile, and grotesquely beautiful pottery pieces. 

- How often do you play out? Where do you play? Any stories from your last tour?
I've been playing out as often as possible over the last few years... performing in a live setting in front of an audience is very important to my project and helps me establish a connection and put my work into perspective. Lately I've been playing here and there around my hometown (Burlington Vermont), mostly in basements and houses, which is personally my favorite setting to play in. I've also done a few shows around New England lately, Massachusetts specifically. It's my home state so I feel good and have fun playing there. Over the summer, I was lucky enough to go on a tour with my friends Luke and Nate Tandy (Being and Diaphragmatic respectively) around bits of the Midwest, New England, Canada, and the East Coast. It was constructed around the first annual Buffalo Noise Fest in New York which I was honored to attend and play. I got to see lots of friends old and new, and check out tons of high-quality noise. No super crazy stories to speak of, but there was an amazing plastics factory in Olneyville (Providence RI) next door to the warehouse we played in that had this insane plastic grinder that went all hours of the night, some beautiful naturally-occurring harsh noise. Up there with the best sets of the night. We also had an intense thunder & lightning storm during our show in Montréal which knocked out power to the whole block during the Selfish Implosions set... we waited a few hours for the power to go back on and then Luke, Nate, and I played a collaborative set as Orgasmic Snake Unit through two PA's to finish off the night, communally abusing a large metal oil drum as the sound source. Partying with the Buffalo crew and everyone at the fest was a real treat.

- What do you see in your music?
I see mostly beige and black.

- Does your noise have a specific meaning to you?
My noise does have specific meaning to me, on a personal level. My noise is directly inspired by thoughts and ideas that I have no other place for. I like to keep this content obscured, hidden, and vague.. in order to leave it up to the interpretation of the listener. I try not to be too specific with things like titles and graphic imagery. I prefer for it to be fragmented, re-arranged, camouflaged, confusing.

- What instruments/objects do you use to create your noise?
My setup is pretty basic in terms of electronics, mostly just overdrive and EQ pedals, a mixer, a sampler to add density during live performance, and contact microphones. The main focus of my setup is my collection of found scrap metal. Different pieces have different sonic qualities, and I like to mix and match to achieve the sound I'm looking for. Lately I've been enjoying using less straight-ahead distortion pedals, and instead using different EQ and overdrive combinations to allow the natural harshness of the metal to come to the forefront. I've recently assembled something I'm calling the Iron Grid System, using a large metal grate and clamp-based contact microphones custom made for me by my friend Crank Sturgeon. This system has been the base for my recent live performance and recordings. I've also been experimenting a lot with using discarded guitar strings and metal wires in contact with the amplified metal.

- What are you listening to currently?
As far as listening habits go, they're pretty all over the place. I've been into a lot of Chris & Cosey, Asmus Tietchens, Work/Death, Kakerlak, Men Who Can't Love, Being, Diaphragmatic, Lungwash/Vat, Alleypisser, Reverse Baptism, Lettera 22, Lord Bird, Dog Lady Island, old Troniks single-sided records, Surgeon, Human League, Sandwell District stuff, mixtapes from friends, Joni Mitchell, Emil Beaulieau youtube videos. 

- Any final thoughts?
Thank you Daniel for your interest and support over the years. Massive appreciation to all the labels waiting on recordings from me for their patience... I work obnoxiously slow and it's something I'm trying to work on. I hope for 2013 to be a productive one, many new tapes are in the works.

Listen to A Snake In The Garden - Live At The Marilyn Mansion (Live Editions)

26 July 2014




"Under Dan Greenwood's control his home built dysfunctional electronic machines create a clash of white noise/oscillators/filters. Damaged, amplified and fragmented sounds/rhythms break from the melee only to be submerged again to mutate and resurface. Following from his masterpiece "Your Object" Drawing Utensil Ganglia is another blast from the unique machinations offering a different perspective on noise. Listening to these sounds the question remains; who is controlling the sounds, the maker or the machine?"


"John Macedo is a modular synth head. Utilising a who knows what of synth/radio/home built electronics he creates a deep piece that is rich in detail. Brandon Terzakis soothes subtle tones which grow in stature as the side progresses. Delicate and subtle developments are eventually overwhelmed. A good contrast between two artists working in the detail."


"UK heads serve up 30 minutes each of the finest sounds."

Available to purchase in the STORE

New distribution items:


2 March 2014





25 February 2014


Paul Margree | We Need No Swords

BBBlood is the alter ego of London based noise wrangler Paul Watson. He’s been refining his brutal and soiled sounds since the early days of this century with a muddy stream of releases and copious live dates in London and all over the place. Live At The Crater Lake is a fine addition to this discography, a document of Watson’s 20-minute set at the Leeds festival of the same name in March 2013.

When I caught BBBlood live a few weeks ago at Café Oto, Watson kicked off his part of the proceedings with a cheeky bit of sound collage, chopping and layering all sorts of samples and found sounds into a tasty stew.
Here, though, he eschews such fancy-pants stuff, giving it what could be described as The Full Earthmover for the entire set, throwing out chunk after chunk of grimy sound-rubble to batter our brainboxes and traumatize our ear holes. A filthy low-end torrent dominates, with Watson giving it large and battering us with wave after wave of mucky nonsense. The sound of falling buildings, to be sure.

The, about halfway through the foulness abruptly drops out for a few seconds to leave just a high pitched metallic squeal. It stops, then starts, then stops again, as if a plug has been pulled, before lurching back into assault, tougher and more gangrenous than before. Another good bit comes around 13 minutes, with a lovely buzzing bit of feedback that seems to hover in the air above the crowd.The result of all this is a more sophisticated, if still chaotic, maelstrom. Less a teenage metal freak’s solipsism, more a virtuoso stab of aural overload, with all the thrills and spills that this implies.Yet, multiple listens do yield up some more refined treats. The first few minutes set up a nice sense of tension, giving us an ominous and buzzing thrum overlaid with rusty clanking, like a bunch of smashed up gear being chucked into a skip. Later, we can just about make out hints of voices and electronic burbles peer through the murk.

I have a real soft spot for live albums that show some kind of interaction between audience and performer, all too rare in these days of clinical performances and even more clinical recordings. I suppose Lou Reed’s Live Take No Prisoners is the acknowledged classic of that genre, with Lou’s wholesome monologues providing much entertainment for all the family.

(My favourite, if I can digress a bit, is a live recording of northern goth favourites The Cult, around the time of their Dreamtime album. Released as the B-side on the cassette version of that album, with all of Dreamtime-proper squished onto the other side, this recording sees chippy frontman berating the audience for its less than enthusiastic reception of the band’s workmanlike run-through of its current set. “We’re playing our hearts out here, AT LEAST YOU COULD SHOW SOME FOOKIN APPRECIATION” mithers Astbury at one point, at others deploying the most passive aggressive ‘thanks’ to the crowd I’ve ever heard in my life. Astbury’s fury always used to cheer me up no end as I listened to the cassette after a grim day battling through theories of price elasticity for my A-level economics exam.)

On Live At The Crater Lake, however, the tables are turned, and we hear quite a lot of what seems to be a pretty lairy crowd. “It was a tough gig to play as the crowd surrounded me from all sides and were roughing me up, so I played loud,” Watson told me in a Twitter exchange. Sure enough are plenty of heckles and hollers, and every time I listen I’m certain that Watson is seconds away from being torn asunder by a whooping mob of urchins, a bit like poor old Sebastian at the end of Tennessee Williams’ Suddenly Last Summer.

There’s comedy gold around the 15 minute mark, when, during one Watson’s unexpected drop-outs, we hear what can only be described as a bloodcurdling howl. I can’t really make out what this person is saying, but she seems to calling “PLAY SOME FUCKING VOLUME!!” which is quite funny and should be printed on a t-shirt without any delay, please.

In any case, by the end Watson’s won ‘em round, as proved by the cathartic yelps of approval as he cuts out for a false finish (I think our screecher lets rip with a far more conventional ‘FUCK YEAH!!’ at that point), before taking everyone surprise with another 30 second salvo of toxicity.

Live At The Crater Lake is wonderfully abrasive warts ‘n’ all blast of BBBlood. Pure warrior style, it highlighting his inventive take on debris-ridden analogue noise. I’m surprised he didn’t need a hose down after it.