Somewhere in 2013, still in the hangover of a period of greater exposure of noise through names like Wolf Eyes, Dalek, Ron Morelli, Growing or Black Dice, Incinerator positioned itself as a rare warning in a scenario already in wonderful boiling. Luwayne Glass projected in Dreamcrusher an unfolded reality, whose celebratory vein adjacent to the rave was surrounded in thick brushstrokes of electrifying interference. A non-binary artist with a punk past and a genius machinist on duty, he added a necessary – and perhaps even inevitable – identity to this shifting piece of time. Despite the industrial grandeur of Incinerator, the album surprises by allowing itself to be constantly enjoyed. In a way, it would soon reveal a number of much more current people whose vision is so well guided by similar means.

With an extensive creative body, mostly recorded on magnetic tape, Dreamcrusher arrived in the catalog of Hausu Mountain’s neon-pop bizarreness with an iconoclastic lozenge called Suicide Deluxe. Color-saturated quasi-songs that hardly foreshadowed the next arrival of the Another Country mixtape. There, Glass would bring with him a cryptic symbolism, between dragged beats, guitars and vocalizations cut in this brilliant document of only a hundred physical copies. Sweet and simultaneously acidic, his productions confuse the freedom of the dream with the fear of the nightmare. A nonconformist surrealist whose enduring inquiry into the unusual makes him a peerless figure. The world may be on fire, but let there be room for one last dance.

In more recent years, Dreamcrusher has appeared in two documentaries, one of them produced by the PBS channel, and signed an absolute banger alongside Backxwash (at the invitation of Adult Swim). Rare opportunity to witness a little legend of the meanderings that really matter. NA

NYC based band Kill Alters exist at the intersection of electronics infused rock , digital hardcore , freewheeling mutant noise experimentation, and incidental found sound culled from bandleader and composer Bonnie Baxter’s decades old family recordings. The incorporation of Baxter’s mother’s voice from the tapes in her personal archives serves as a central element in Kill Alters compositions, imbuing their music with added layers of personality and emotional memory and weaving together a story of early childhood nostalgia laced with catharsis and redemption.

Primary composer and producer Bonnie Baxter leads the band with her impassioned vocal performances, pummeled drum machine beats , and peals of chaotic synthesis. I’m addition to Kill Alters, Bonnie Baxter is a member of the duo Prolaps alongside Matthew Stephenson from Machine Girl and has released several albums on Hausu Mountain. Nicos Kennedy serves as the project’s co-producer/mixer & sound engineer. Baxter and Kennedy started the Kill Alters project as an outlet to decontextualize the audio from the archived tapes. The care and the vulnerability with which Kill Alters infuses their music with these archival recordings recasts the trauma and confusion documented within them as a source from which to draw power and achieve a new sense of clarity. Hisham Bharoocha (formerly of seminal of US projects Black Dice and Lightening Bolt and a solo artist under the Soft Circle moniker ) provides his signature battering ram drum performances, which collide with electronic percussion elements to animate the band’s ballistic compositions both on record and in the context of their live shows.

While their music often surges with moments of all consuming textural disfiguration and overlapping beat architectures, Kill Alters encapsulates the sum total of their clamor into songs structures that resemble something like mutated pop and punk music. Baxter’s vocal performances veer on a dime between sing-song melodies , blistering shouts and tumbling rhythmic cadences with beat sculpture / synthesis funneled into fast – evolving tracks that leap into earworm hooks and unpredictable structural upheavals. As the beating heart of the band , Hisham Bharoocha’s drum work fits between busy snare runs and bruising tom fills , escalating in climactic moments to the level of flesh and blood performances and full on drum and bass workouts.