Doors of insanity review9/5/2023 A constant whistle seems to work its way through, making the bizarre and aggressive sound effects feel like passing nightmares. Listening to Insanity Mirror is like following an acrid breeze around the industrial estate that David Lynch’s Eraserhead inhabits. Like an experimental filmmaker, noise artists aim to tell a story but in an unconventional way. So, what does this have to do with the latest release from NOISEPOETNOBODY, the anti-commercial, home-built project of Casey Chittenden Jones? Much like the genres they inhabit, Jones creates art that is unforgiving, and Insanity Mirror is a continuation of the need to pull creativity out of destruction and desolation. MERZBOW has terrified audiences with crunching, industrial hellscapes, but has also managed to soothe those fears with touches of beauty. It works because we hear what we want to hear within the chaos. Yet while other genres have softened in ways, become more accessible thanks to technology, noise has continued to rally against the masses with soundscapes that range from ear-piercing feedback to terrifying sonic destruction. For such a clinical genre, made up of electronics and computers and synthesised components, it is also emotive. Yes, it’s populated with artists and boasts a prolific number of releases, dating back as far as the seventies. Noise remains one of the last great unexplored territories of extreme music.
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