noise | Musicosity

noise

Black Dice

Black Dice are an experimental group based in Brooklyn. They formed in Providence, Rhode Island, United States in 1997, comprising members Bjorn Copeland (guitar), Hisham Bharoocha (drums) (following a short drumming stint by Lightning Bolt's Brian Chippendale), Sebastian Blanck (bass) and Eric Copeland (vocals). After the band relocated to new york City, Sebastian Blanck left and was replaced by Aaron Warren. Hisham Bharoocha had previously sung for Lightning Bolt and is currently working on other projects, but he left the band too and is now working as a solo musician Soft Circle.

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Lasse Marhaug

Lasse Marhaug is a Norwegian noise musician that records under his own name as well as with a ton of other groups (Jazzkammer, The Sleazy Listeners, The TERRITORY BAND, The Skull Defekts, Climax of Copenhagen just to name a few). His experimental/noise is catalogued extensively through hundreds of recordings and several mp3 internet archives. for related download see: lassemarhaug.teks.no
Here he offers free downloads of live and other projects.

Ruins

There are multiple artists with this name: a Japanese prog-rock duo, an Australian black-metal band, a German thrash-metal band, a new wave band, a Canadian ska band, and a Chinese rock band. 1) Ruins is a bass-&-drum duo that formed in Tokyo, Japan, in 1985. They are usually pigeonholed into the category of prog rock. The only constant member of Ruins is the drummer/vocalist Tatsuya Yoshida (吉田達也, Yoshida Tatsuya), who has cycled through four different bassists since the band’s inception.

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XXXX

There are 2 bands with similar name: 1. Crossover Thrash band from London
http://www.myspace.com/thedrinkingdead 2. Metalcore band from Prague, Czech Republic (correctly written: xXXx, also reffered to as "Xes" or "x-ká" in their native language). They just released their debut album My Life, My Pride (July 2011). Links:
http://www.facebook.com/xxxx
http://xxxxmusic.com
http://bandzone.cz/xxxx
http://youtube.com/xxxxmetalcore
http://myspace.com/xxxxmetalcore

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Jonny Telafone

Steeped in the heartache and boredom that can come with being heartbroken and bored Jonny Telafone's music does not fall easily into any sub-genre or scene. It's all pop music...Hit after hit

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Eat Skull

Eat Skull are a quartet hailing from Portland, Oregon, co-masterminded by Rob Enbom (former bushwacker in the ranks of Hospitals and Hole Class) and another original Hospital, Rod Meyer. Like their brethren and forebears, Eat Skull runs a post pattern deep beyond pop and punk. They bring to the game an extrasensory appreciation of New Zealand's South Island Sound (Great Unwashed, Axemen), Cleveland art-damage skronk (Modern Art Studio, X-X), and the wretched excess of forgotten Midwest hardcore (Stiff Legged Sheep, Chemotherapy).

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Monolith

There are at least eight artists with the name "MONOLITH": 1) solo project of the belgian electronic music artist & producer Eric Van Wonterghem (ex-Klinik, member of Sonar and Insekt) and started back in 1997. Features a mixture of dark ambient, industrial and experimental ebm sounds mixed with lots of outboard analog gear. 2) post-metal Monolith hails from South Philadelphia. Monolith will lull you with its complex and dark instrumentation and then hammer you when you are weak and vulnerable.

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MoHa!

Morten J. Olsen -­ drums & SuperCollider3
Anders Hana -­ guitar & keyboard. MoHa! play somewhat loud music influenced by incredibly varied sources. Some say the duo deal in sonic splatter, in a brew of improvisation, noise, computer music and probably some more. Others say it is reminiscent of the conversation your mate has at you on the weekend in a club when he’s had too much to drink and is telling you how great everything is at 100mph. Only instead of your mate it is actually R2D2, which leads you to believe maybe that someone did put something in your drink.

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Stitched Vision

Stitched Vision is Jason Campbell, once global roamer now fringe-dwelling citizen of Newcastle, Australia. His pedal-heavy synthscapes are neither nostalgic nor futuristic, but rather channel the current plight of his city of residence, unfolding as explorations of urban decay and cultural regeneration. Understated melodies sheathed in white noise – pitting the organic against the industrial – mark Campbell’s work and come to symbolise Newcastle’s attempts at rejuvenation beyond its steelworks and coal exporting harbour (the largest in the world).

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