Transcript
Speaker: Hey everybody, thanks for tuning in to Dissonant Echoes, the official Hauntology Records podcast. I just wanted to jump in here before the episode starts. If you didn't catch the post on the Hauntology Instagram, where I apologized for the extended delay in podcast episodes coming out lately,
Speaker: Just briefly, I've been really struggling with mental health and everything lately, particularly anxiety. And yeah, I've just let things accumulate and it's taken far too long for me to get to this. so my apologies to our guest Alex for the four month almost delay in getting this podcast episode out.
Speaker: But I'm feeling better, feeling on top of things now and we'll get this thing back rolling. So with that, enjoy the episode and yeah.
Speaker: Hey everybody, welcome to Dissnet Echoes, episode 13. This is the official Hauntology Records podcast, and today we have on our first repeat guest, Alex from Beyond Death Recordings. Thanks for coming back, man. Thank you for having me back.
Speaker: Absolutely. Love it. This my first podcast appearance, and happy to do it again. Yeah, excited to have you on again. How you been, dude?
Speaker: I'm doing all right. I had a long day at the Long Day factory and ran into unexpected traffic in Bristol, Tennessee slash Virginia.
Speaker: And they were having the Atlanta Braves versus the um and what is Cincinnati Reds, maybe?
Speaker: Don't ask me. That sounds right. Yeah. But they were, they're at the Bristol Motor Speedway, which is a relatively large NASCAR track, popular NASCAR track.
Speaker: And yeah, so I ended up running in into 45 minutes of traffic on my way to get back here to do this, but I'm happy to be here now. Hell yeah. yeah It's a party.
Speaker: Well, how's things been going with Beyond Death Recordings, man? I'm doing good. It was a a little slow over the winter, but I started sort of saving up some stock.
Speaker: um Tape prices and stuff like that are, depending on where people are getting from, are going up. It seems like with like tariffs and all that stuff going on, especially earlier in the year. So ah I was kind of hoarding tapes and the releasing stuff here and there.
Speaker: But yeah, we just released the Leper Witch Curse of Consciousness tape. That one's doing doing really well. Everybody's loving that.
Speaker: um Enemy Zero Shattered released that couple months ago. Yeah, i um I'm about to put some label copies up.
Speaker: I released those to support the artists. They were going on tour and kind of needed them pretty quick. So, yeah, I got those out and I'm about to put some of those copies up now.
Speaker: Lozona, they're a personal friend. Yeah, dude, that that one was ah very harsh and cool. I enjoyed that one. Yeah. Well, dude, I mean, after our first chat, I took a little bit more of a look at this this space, this this genre, if you want to call it that, of like harsh noise and different types of noise music.
Speaker: And you were right. You told me it can be so many different things to so many different people. And it is, you know, I got into from things that I found from you would be a Societal Garbage by Kudzu Reith.
Speaker: And Unrelieving by Smertny. I'm not sure how to pronounce their name. I say SMRT and I, I'm not sure. I've never asked. Yeah, that's a tricky one to pronounce, but those are both really sick.
Speaker: arm and I just remember you talking about their releases and i checked it out and was really sick. um And the other one you mentioned was obviously On Soot. And dude, I don't think I've heard, maybe i maybe I haven't heard a better album this year than his last album. Yeah.
Speaker: yeah you got the shirt in the last copy wasn't it i think yeah the last uh the shirt right now the tape from compromission yeah yeah i love that one um he's released a lot of stuff in the past year i mean this year so far uh that album that was all vocal like manipulated vocals and stuff like that a little bit and uh And then of course, he hell is a cold state. That was ah that was awesome.
Speaker: And I'd sort of seen a little bit behind the scenes of him working on that. And yeah, I love the folkier side. yeah um i probably said it before, but that was the biggest thing that inspired me was ah seeing somebody willing to do that in like noise experimental space.
Speaker: Yeah. Really opened up another world for me. Well, I've listened to it digitally, but when I put it on like the cassette, it was just a totally all-encompassing experience. It was like, even the harsh parts of it are beautiful. It's really cool. yeah Like I said, one of the best albums I've heard this year, and I told him as much.
Speaker: um Super sick. So yeah, I have you to thank for all of that. I mean, Adrian's talked to me about Onsuit before as well, so both of you guys got me onto him, but... I think Adrian got some stuff before at some point. yes I'd sent some onset stuff over too.
Speaker: Yeah, tapes, sure shirt, shirt, yeah. Yeah, you got the old shirt, right? Yeah. let's I still a couple of those. The black and white ones. Yeah, go pick one up. Go pick one up For real.
Speaker: Anybody listening to this because of our like extreme metal like crowd, you should definitely check out Onset because it's it's it's just not what you would expect, I would say, probably. Or maybe it is. Either way, it's amazing. But you should check it out and check out Beyond Death's other stuff as well. for Sure.
Speaker: Speaking of extreme metal, I was curious about this, Alex. What are some extreme metal recommendations you might have that we might not be up to? Alex Blanchez- Honestly, I feel like I could have potentially mentioned them before, but straggler.
Speaker: They're from, I want to say California, Pacific Northwest area. I found them through Stuffed Animal Records, who is also an amazing label and friend of mine, really doing it DIY and doing a whole lot of stuff for the people around them, love them to death. But through them, I found Straggler and I'm looking back because got tapes on the wall. That's I'm looking at. But um yeah, that Straggler traumatic ends.
Speaker: I want to say it came out last year, maybe year before. um Grind, a lot of what listen to is grind, more like power violence sometimes. um
Speaker: I found Midwest Lust. I would highly recommend Midwest Lust. It's that it's harsh noise power electronics, but from the stuff that I've heard, it's kind of also 5050 with power of violence grind, but in a different way, not in that just always blasting completely. Yeah, yeah they're, they're super interesting. I've been going through some of their stuff. They're self titled. I love it. Highly recommend. I think their stuff's coming out on phage tapes.
Speaker: um
Speaker: Yeah, I've loved them. ah Crawl, if you haven't heard of Crawl. na No, no, no. I want to say it's a one-person project, and i want to say that I read that it was a person that had played drums for Boris or something.
Speaker: Oh, sick. But it's kind of, in my mind, it's like... There's some sort of almost dungeon synth imagery and synth parts in some of it, but there's also really heavy sort of death doom drums in it and blackened vocals. it's It's very interesting. I was really surprised the first time I found it. ah I think 10,000 Pole Hammers was the first song that i heard and I was like, holy shit. And I went and bought that tape.
Speaker: That definitely sounds up my alley. They played Texas Dungeon Siege recently, and Spife was on it, a friend of mine. I'm trying to think of what else. what other stuff like that I've been listening to?
Speaker: What have you guys been listening to as far as metal, heavy, extreme releases? Well, I mean, for me, I'll go first, I guess. Yeah. the This isn't too extreme, but the main thing that's kind of changed my life recently is ah Cult of Luna.
Speaker: They're a post-metal band. And ah my friend Gabe got me onto the album Somewhere Along the Highway by them, which came out in 2006. And it inspired the hell out of me and made me write my own post-metal album.
Speaker: Yeah. I was never a huge fan of post metal. I thought it was awesome, but I just, it wasn't like my preferred sub genre other than a couple of bands. Um, but this one sealed the deal for me. Like, it's just such a, it's like the perfect combination of doom metal and like,
Speaker: Well, I don't even know what you would combine with it to get what this is, but it's just, yeah, for me, it's like a long listen, but it's like completely absorbing the entire time. So I'm i'm into that.
Speaker: Right. Other than that, um, uh, without the sky, which is you know, um, What's his name again? frosh Josh. Shout out. Yeah, there we go. Josh. Josh Kate.
Speaker: Yeah. I checked out his new release and it was incredible. And so I went and picked up the rest of his discography and it's all just so fucking good. So I've been listening to that a lot as far as black metal goes.
Speaker: I mean, yeah, other stuff is more random, but those are the ones that I've been paying attention to. What about you, Adrian? I have... not been listening to music too much. Yeah. I listened to some, the the new one we're going to put out and Louis Lear.
Speaker: Right. I've been jamming that a little bit, but, um, no, I, no, nothing really. It's, uh, I'm most of the time just listening to comedy podcasts. I don't know. I just, a lot of times when I'm trying to write music, especially lyrics, I try to avoid music that would inspire me too much. so I don't want to rip it off.
Speaker: Yeah. Derivative. Yeah. Yeah. I've heard a lot of people say that. Yeah. So right now we're, me and Alan are working on a project, trying not to die here.
Speaker: And yeah, we're i'm i'm I'm trying to avoid bands that kind of have that sound. ah So and don't know. I haven't been listening to a whole lot of music.
Speaker: Yeah. I also listen to a lot of podcasts. Right. Now that I've i mentioned it, I think, off the record, but I've been back into wrestling. And whenever I get hard on something, I want to start listening to podcasts.
Speaker: And I started listening to Jim Cornette's podcast, a long-time wrestler, wrestling announcer, booker, promoter. So I feel that. i I probably listen to about as much Jim Cornette as I do music.
Speaker: Sometimes. When I had my ah my factory job a couple years ago or last year, I had that for like 10 years and podcasts were mostly what got me through the day because i don't know about you guys, but if I listen to music for a 10-hour shift, I'm like sick of music by the end of that that shift.
Speaker: like It doesn't matter if it's all my favorite music. I'm just sick of listening to music after that long. So podcasters is less like fatiguing. I get more sick of digging or looking for music.
Speaker: something that I feel like listening to, I guess, than I do like actively listening to it. If that makes sense. No, that's part of it for sure. Absolutely.
Speaker: Just like, like it'd be great if you could just have like a service that read your mind and played exactly what you wanted to play, you know? Spotify is trying. Yeah, they're trying, integration with the brain chip. It's not going to be good enough. think we said this last time, but fuck Spotify again. Absolutely.
Speaker: Yeah. we're all on board of airfor now there were We're all on board with that for sure. I have two projects that are on Spotify currently, and I'm in like 12.
Speaker: The rest of them are like not on streaming at all. Right. um The ones that are on Spotify are literally just there for discovery, but not like anything that's going to make me any money anyway.
Speaker: And I'm probably going to eventually get everything off of there altogether because it really sucks like really bad. The last stuff I have on there, I'm struggling to find my CD baby password to log in to to the delete it off. That's the only thing that's holding me back right now is trying to recall the password. And like, who knows if they'll even like, maybe if you email them, they can take it off of one service probably. But on most of these sites, it's not easy to do it like yourself. Right.
Speaker: Yeah. It's kind of pain in the ass. uh but yeah i mean i don't know uh it seems like artists are finally finally starting to wake up that spotify sucks and people are starting to pull their music so yeah that was to me like the problem with spotify was simple it just pull your music everyone just pulled their music yeah but I think a lot of it was the issues like the major labels were in bed with Spotify and stuff.
Speaker: And so I think, I think it made it difficult for those artists and that's, and it's probably, I know most artists on Spotify don't get any streams at all.
Speaker: Like some of them get zero. yeah, There's just so much music. So like we maybe like 1% of artists on there actually get paid like ah a living wage and then like point a fraction of a percent of that is like making a lot of money. don't know.
Speaker: Yeah, it's really just like the only good reason to have your music on streaming period is the discovery aspect. Like you play live shows, people need to be able to find the music easily. People use streaming. Therefore, streaming is the best way to convert to fans.
Speaker: But other than that, like, there's no good reason to be on it, no especially ethically. So I've been just suggesting artists that want to go their route was streaming. Like, don't put your whole album, just put one track, maybe don't put the whole thing and then just tell them to go to band camp.
Speaker: yeah as we we like That's what we've been doing. We've been on the canvas to go to band camp for the rest of the album. i you forget I think I saw that with Gnashing Teeth or something in the past.
Speaker: Yeah, he has like the explosion. yeah i ah Well, see, for me, you know with noise, it's sort of generally whether it's due to like anti-capitalist mindsets or just niche product, whatever you want to call it, or just niche material a lot of people don't don't mess with spotify and stuff in the first place and i think i ran it about it on the last episode we did together but there was a lot of like random arbitrary stuff that they would reject noise so a lot of the times i didn't even mess with it at all and a lot of people i know didn't if it wasn't for ideological and other reasons but
Speaker: um you know, millions of valid ethical concerns, but I have two on there. Cause I, I'd wiped everything. And I was like, I'm going to go to artists on an individual basis. I think this was early last year. i was like, I'm going to ask artists on an individual basis. If they want to go that route, pay a single time fee, it goes up.
Speaker: Um, obviously that's also not even the current issues at hand as as far as what I'm paying in. But, um, I've got two albums on there now and neither one of them are harsh noise.
Speaker: And, uh, once I figure out how to get back into the CD baby, it is, uh, going out, going off. Yeah. Yeah. I mean, I know for me, like it just means so much more when somebody buys my album for a dollar than for them to stream it 50 times, you know? Yeah.
Speaker: Because like, you bought the album from me directly. you you have it for life. Like you're going to listen to it a couple of times at least 50 streams. That's awesome. But you know, the dollar just went a lot further to actually like supporting me and You don't own it when you stream it.
Speaker: So, I mean, that's kind of one of the main things for me. But then obviously all the ethical concerns, which for me, I can sum it up, you know, $11 a month or whatever does not support any artists, period. Like there's no way for it to. You can't divide that up into a support for artists. So that's why I don't subscribe to streaming anymore. And that's why I've tried to buy all my music. Spotify wasn't already fucked up. Now they're like...
Speaker: putting funds and effort into supporting genocide and like, yeah, do this AI fucking police state. Yeah. Like God damn, it's fucked up. it's It's bad.
Speaker: Yeah. I don't, i'm I'm not a fan of any war machines out there. So not trying to support it for that reason either. Of course. Um, I don't know. i wouldn't call myself like, I'm pretty damn close to a pacifist, I guess. Like, honestly, I have kind of a controversial opinion. I'm not controversial, just not popular opinion, which is that I don't even believe in self-defense personally. And look, I'm not saying that if I had a wife and kids that I wouldn't believe in that. But currently as a single man, i'm like, if you want to kill me, bro, just fucking do it.
Speaker: Right. Yeah. So I just don't believe in violence for really any reason. So yeah. Other than like retaliation against oppressors, that I can see.
Speaker: Right. Yeah, I don't, I'm a lot that way in my personal perception of myself, but I get upset over other people being mistreated, I guess. ah That's my main thing.
Speaker: Yeah. Yeah, as far as I go, i don't I don't do a ton of, I'm not a big fighter, but. I look like one. So that hurts.
Speaker: Yeah, you ever do any pro wrestling? um No, i my interest has been periodic. i there's There's good local promotions that I have a lot of interest in that are looking for commentary and stuff.
Speaker: Okay. Sick. ay Hey, I'd love to. Yeah. I'd love to wrestle. My legs are bad. And I work a fluke collar job. I can't afford to get injured.
Speaker: You know, but you know, I would love to be involved wrestling. Yeah. That'd be cool. Yeah, I thought about getting back into jujitsu. I just i did that for about 12 years, but I'm afraid of getting hurt and then not being able to work.
Speaker: so It's cruel system. Yeah. But, you know, i have ah I've entertained the idea of trying to help sponsor a little bit with local stuff and just like be like hey just throw throw the fucking like tennessee anti-noise or anti-music logo just throw it on the flyer somewhere yeah you'd be happy enough like you know there's really killer stuff going on it was awesome i saw vampiro
Speaker: I saw Vampira wrestle. Oh. I don't think he was in WCW. He was in WCW back in the day. He wrestled across... he He came out with the Misfits back in the day. The literal, like... Yeah. yeah You know, the Misfits. Yeah. He's a legend. It was awesome.
Speaker: It was crazy. There's a lot going on. just like Just like local, you know, underground music and local music in people's areas. It's like, you know, there's a million people around you doing... cool shit.
Speaker: I didn't know that there was this grade of like local wrestling promotions and stuff. yeah Imperial Wrestling and the Tri-Cities area here, Piledriver Pro.
Speaker: there's a couple There's a couple really killer ones. Yeah, it's like wrestling has this huge fan base. and like There's pro wrestling matches like in my town, like a small town. in Every town, brother.
Speaker: Every town. Yeah. it's ah It's crazy. i mean, it's just like music. I mean, it's performance art. Yeah. It's stage performance. And it's ah it's the same sort of visceral, physical stuff that like noise and power electronics and punk and metal people sort of fetishize with this like destruction and violence and stuff, but in like a not, you know, to whatever disturbing extent a person wants.
Speaker: And then there's like wrestling to whatever disturbing extent a person wants. You know, it was like death match wrestling with people getting hit in the chest with weed eaters and stuff. Yeah. I've seen videos. It's horrible. Oh my God. That's John Moxley. And he's wrestling today. He's a champion on AEW on television today, rivaling WWE.
Speaker: And he was getting, he was getting whipped in the chest with a, weed eater for real you see the blood like fly oh it's horrific 20 years ago in czw and backyards in maine started there and today he's on television aew champion yeah that's nice yeah that's really impressive ontology is going to be on mtv in 20 years bro same with beyond death yeah no i don't even know if mtv is still going is it hell i don't do people watch cable still
Speaker: I have no idea. I think MTV is just like ah reality shows now. I don't think it's even music. Yeah. I'm not sure about that.
Speaker: um I just watch YouTube. I'm sure you guys are, you know, pretty similar. Like, I'm always on YouTube. Everybody's got different expectations and sort of what they want to get out of whatever pursuit they're doing, you know, like,
Speaker: There are people that are happy to be underground and there are people that are shooting for, you know, the stars, so to speak.
Speaker: Yeah, definitely not. I've definitely never wanted to be a rock star, I can tell you that. But i did have all the daydreams as a kid growing up of just being able to play music in front of my crush and stuff like that. Well, I mean...
Speaker: you know, just like have one person that matters to you care about your art. That's kind of what I've always wanted. Yeah.
Speaker: Yeah. That was a question I wanted to ask earlier, I guess, is sort of how, ah whenever we were talking about listeners and how we perceive stuff like that, like you said, a dollar, you know, and this is was worth more than streams on streaming services, not only monetarily, but like, I wanted to ask how you see things like that of like,
Speaker: fans and numbers and things like this, how you perceive it? Well, I mean, for me, I make all the music the way I want to hear, just the kind of thing I want to hear. You know, I just make it to please myself.
Speaker: So it's a miracle if anybody actually likes it in the first place. um So the fact that, like, for example, my black metal project has like 350 Bandcamp followers, to me that is like success as much as you could possibly want.
Speaker: It has pretty killer numbers to me. Succeeded my expectations by far. So, I mean, i have no aspirations to get bigger than that or anything. But like I said, I mean, the fact that I have, I'd say maybe probably like 10 people that care if I keep making music or not, like that's success to me. So...
Speaker: You know, um it's mostly just showing my friends still to this day. I just get happy to show my friends what I'm working on and see what they're working on. And that's that's the thing that keeps me going more than like numbers. What about what about you, Adrian?
Speaker: Yeah. and the The fan thing still kind of trips me up, you know. It's crazy because like, yeah, i just never kind of seen myself as somebody that would have like fans.
Speaker: So it is pretty wild. And then like some of the messages I get been like real, like touching, you know, like someone talked about how they were like writing a book and they were listening to one of my tracks on repeat during the the whole thing. And, you know, just like all, like all the messages I've got have been pretty like, I don't know. It, I never would have thought like my black metal project would have like inspired people to do stuff for,
Speaker: You know, i don't know. it's It's been a pretty cool experience, like getting to like see people enjoy the stuff I created that I didn't even, never really expected to gain any traction.
Speaker: I mean, and and then it eventually led to the label and stuff. So. yeah that's pretty pretty incredible yeah when i found your project dude i see satan i'm talking about specifically um or as the ai youtube overview called it it was icy like i see why satan yeah um too cold oh but when i found it um it was because of we've said this before it is because of jeremy from dead languages recommending it and ah this was like really early on for you still. Yeah. But you were just releasing like a ton of tracks and they were all so killer.
Speaker: So, I mean, yeah dude, the fact that you like started and and went from zero to a hundred as quickly as you did. And it was so good. was like really impressive to me still to this day.
Speaker: I definitely understand why people connected with that music and also everything else you've been involved with for sure, man. Yeah. Thanks. Yeah. And, uh, uh, Yeah, I kind of just went crazy for a little bit. Just a strike when the iron's hot. Yeah, yeah. yeah strike the iron Absolutely. I see Satan.
Speaker: That was my first, I think my first project. Either that or gnashing teeth that I found from Hauntology. Both of which I was like, oh my god.
Speaker: And the yeah, I've got like old like stickers and stuff all over the actual tape player that I use to record BDR tapes. It's like I ah came in contact with you guys like early on in my doing tapes.
Speaker: And yeah, even right here beside i me, there's Huntology Icy Satan stickers. Oh yeah, dude. Much appreciated. I've got at least two of the tapes right there too.
Speaker: Yeah, I mean tapes are still what it's really all about. um We would love to do more vinyl, but you know, people aren't really buying physical media right now and it's a quite a big investment.
Speaker: yeah Yeah, I mean it's uh, I could imagine. I um,
Speaker: i was I was thinking earlier, I was surprised at the reception that I've gotten with all the stuff that I've done with Beyond Death so far.
Speaker: And
Speaker: it I do really appreciate that. And I think I do a lot more...
Speaker: thank y'all so much. Love y'all be good to each other. All this stuff that I like put at the end of these posts that like, i I don't see that from other noise labels. Cause a lot of it's like this sort of tough guy, whatever. But yeah, I like the idea of like ah a family label and like, i've you know, encouraging other people to make things and be involved and,
Speaker: Yeah, it I was shocked that people were interested, but I i guess as far as far as fans go, I'm um i'm on both sides. Like Alan said, i'm not I'm definitely not doing it for any of that, and mainly I'm just making things that I want to listen to, you know? yeah But on the other end, whenever I do find people that actually do like it and show a level of interest, I'm like...
Speaker: We can be friends if you want to. you know, like, oh, you like my tape? Thanks. My name's Alex. What's your name? You know? you know for sure To an extent, that's what it's about. And, i you know, like Alan was saying, the showing your friends and stuff, there's such a community there.
Speaker: aspect of, I guess, the underground and DIY sort of things and even the internet culture around it that thrives on people who are excited to show their friends things and work on stuff with their friends and, the you know, things grow out of that.
Speaker: Yeah, probably the coolest thing about making music for a few years now, like seriously, is that I've been able to see my friends grow so much. And I've been able to like, do so many different projects where I like collaborate with them.
Speaker: And it's just, you know, it just makes me proud to have music out that I worked on with my friends and stuff like that. So that's one of the most rewarding aspects of it. Like, you know, we're talking about how Adrian and I have a band now and like,
Speaker: We've been plotting and scheming about something like that for a really long time now. We've done a couple one-off songs before, but it's super cool to finally have something work out that like shows our talents really well together. and so Stuff like that just makes me really proud. and you know If anybody cares about this like like shitty green screen music video we're going to make for it, then cool, awesome. But if not, then you know it's still really fun to do. Yeah.
Speaker: And I guess that's the pipeline for me is just doing it. And then, you know, if somebody pops out and says, hey, i like it. I'm like, hey, nice to meet you. Blah, blah, blah. You know, what do you do? do you have, you know, do you want to,
Speaker: be on the show, you know? Yeah, totally. You never know. Or like introducing people to stuff like that in the first place. You know, whenever I started, I i had no idea how to go about making noise.
Speaker: As funny as that sounds, I guess, to probably a lot of people. i had no idea how to go about doing anything. And, you know, I had a lot of local friends that I'd come to see at shows and stuff. And I'm like, hey, you know, I'm interested in this. What can I what can i do? How can I go about it And they're like, hey, you know,
Speaker: here's this bar this, you know, explaining things to each other. Yeah. Teaching and like mentoring is a big part of like the community of it for sure. That's how things continue to grow and flourish. And at the same time, I think, um, you can build upon things instead of, uh, I don't know, a lot of people just shooting off in different directions and, uh,
Speaker: Having a rougher time of it on their own than they have to, i guess, you know? Yeah. Without community and stuff like that. I will say that the what I've experienced of the noise community um and the different places that I talk about, the stuff that I do and that in that regard has been awesome. Yeah.
Speaker: I mean, people have been super cool and I was expecting the exact opposite. You know, I've had one person out of like the like 20 that I've talked to about noise music.
Speaker: I've had one person that was like super like hard line. Like it has to be this way and it has to be this and that or like, I'm like, okay, bye. And I just, you know, ghosted them because that was ridiculous. But everybody else has been so cool, just welcoming and like encouraging about it.
Speaker: And like, I don't have anybody really to mentor me, so I'm just experimenting. But I guess that's kind of like one of the but like tenets of noise music is experimentation. right so yeah um But that said, even though what I'm making sucks, people have been really kind about it. So it's been awesome. like Definitely a nicer community experience than like in what I've had in metal so far. Right.
Speaker: right
Speaker: Adrian, we got to get you making some noise sometime. I've tried. I've tried. that's just a I don't know. It just in doesn't come out quite right for me. I don't know. you've You've had your vision for it before. You've told me about recording some like field recordings at work and stuff. Yeah.
Speaker: I do have a project that is not named right now, but I don't know. Like I've considered trying to do something. kind of i guess it would be more along the lines of like gnaw their tongues or something like that. Awesome. I really like the more, the more harsh stuff and just like,
Speaker: um I don't know. ah Maybe, maybe someday. Yeah. Yeah. You're a busy dude. So yeah, you're killing it as it is. Hey, you know, thanks. Yeah. This dude, for anybody that like thinks that I do most of this stuff because I like record and edit the podcast, like no, Adrian does all the hard work here. Like he is the machine of this record label, you know, all the orders, you know, he's making the tapes, he's packing everything up, shipping it out to you guys. Um,
Speaker: You know, he puts the time and care into responding to everybody about everything. Like, nah, it's mostly Adrian. I'm mostly here to just do like the podcast and like contribute music, you know?
Speaker: Hey, that's awesome. Yeah, they're killing it. you cautious a lot ah you know I was sitting here thinking a lot of noise is based on perspective, but it it was to to our conversation earlier, as far as like what people are happy with and what they're shooting for, um it's also subjective. you know And like to...
Speaker: from my perspective, I, I endlessly respect you guys and you know, the, the thing Adrian, the stuff that you've done, both of you musically, as far as the label goes and like the seeing growth in the label and in the art at the same time. Um, in just the time that I've known you, which I guess like kind of probably two years or so, two or three, yeah one on three years we've been interacting. But, um,
Speaker: Yeah, it's like I ah i look up to Hauntology 100%.
Speaker: Man, that's that's flattering, dude. Yeah. I just i had some people come in that we had a show together and the collapsing and Francis Thornton out of...
Speaker: Virginia there's some really good friends of mine more on the experimental side and uh we were kind of exchanging tapes and zines and stuff like this that we had on us and uh I think I want to say I passed on a cd of repent and I passed on something else but yeah was like go go check out ontology love them killing it Yeah, we really appreciate that, man. And like with noise too, it's ah it's a matter of ah it's a matter of perspective like that too, you know? Because it's like to your normal person, somebody would look at and be like, this is just a bunch of racket.
Speaker: Just like a bunch of... it' A southern expression, I guess. But like, yeah you know, this is just... There's no value to it. And... I think for a lot of people, especially at the beginning when you're dealing with something that's niche and I think personal as it is in a way, um it's very easy to even be critical of yourself when it comes to noise or the way you want things like that to sound.
Speaker: And i think for a lot of people, as far as what they like and what they do with noise, it sort of comes down to what they allow themselves to do or what they
Speaker: had a better statement in mind for it.
Speaker: What you envision, I guess, for yourself at the end of it. I don't know. I see noise is very personal in a way. Yeah.
Speaker: And I can, I can see that because everybody comes to an end point with noise where they're like, all right, I like this enough that I want to show other people. Yeah.
Speaker: It's almost like a universal truth about art in a way, but at the same time, like I get what you're saying about noise being personal because, you know, I mean, you're kind of like staring into the abyss of the human condition with, with like that type of music.
Speaker: And so everybody's got a monster inside them somewhere. Right. And it's like, how much of that do you want to let out into this music is kind of how I see it. Right. Well, and it's also like the even just ah i was telling Francis and the Paul the other day, whenever they were saying that ah it's like the conceivable universe of music.
Speaker: And then like everywhere outside of the rest of the genres and these things is just noise, like the the blackness of the universe. in a way, so to speak, like outside of what you what we have names for.
Speaker: That's all noise, like the the final frontier, I guess, of like, we don't have a name for it. It's just noise. Or people call it noise. And that's a really nebulous thing to, to sort of, you
Speaker: be comfortable enough, but I guess for people that especially that have other musical stuff, like for me, I came from like banjo and like acoustic guitar and stuff. So for me to sit down and just start like, like that was like, hard for me to accept at first and to be like, Yeah, I like this enough, I'm gonna get up in front of people and feedback this mic.
Speaker: After I just played like a banjo show with a band last week. You know what i mean? Like it took me a while to get from A to B on like, a but whatever that B is, is just dependent on how comfortable you are with yourself and what you choose to show, you know, I guess that vulnerability, like we were talking about. Yeah.
Speaker: Even in something so aggressive, there's a lot of personality and vulnerability to a lot of it.
Speaker: Yeah, dude, that's basically what it's all about. I mean, art doesn't have to be super meaningful, but, you know, I definitely appreciate the connection aspect of like,
Speaker: you know, when I get, when I, when I will, when I'm able to take something away from like the lyrics or the the music itself, um, that relates to me, even if it's not what the artist intended, that, that makes me want to, that makes me almost way more likely to be a fan of the music than just consume it in passing kind of thing. So, and everybody's different. So and not everything's going to connect with everybody regardless, but, um, um,
Speaker: Shifting gears just a little bit here, because I did have one particular thing that I wanted to talk to you about. I just, it's just something that's been on my mind and you're, you, you run a label. So I'm curious what you think about it. um You may not have an experience with this at all. And if so, then you've been very fortunate, but I just wanted to see what you think about difficulties working with artists or musicians, you know, in general, like any personality difficulties or any communication difficulties that you might've experienced with Um, that's funny, because I was about to ask if you wanted to sort of shift and talk shop a little bit. um
Speaker: I honestly I've been um been fortunate that I've really not had a lot as far as negative interactions on the like, misunderstanding side. I didn't have one that that came.
Speaker: i didn't have one that popped into mind immediately. hmm.
Speaker: trying to think i mean i've there's one artist i uh and i'm not gonna like delve into like the whole thing but like they i'm pretty sure they're using ai art and uh i'd worked with them in the past and uh
Speaker: yeah at that point i don't think i'd work with them again and i've seen them express some kind of uh I don't know, unsavory opinions towards art.
Speaker: If that makes sense as a whole, like sort of opinions expressed, but then they were turning around and using AI art for band artwork. Yeah. I think, and I was like, you know, I'm not gonna work with that person again. Well, let me play devil's advocate for just one second here, if you don't mind. Good.
Speaker: And and it's ah it's a simple point, but it's that The artists, you know, visual artists, um it's such a nebulous thing. Sometimes you ask for something and then they they do the commission and it's like totally not what you expected. And sometimes it's like it'd be really hard to steer the ship home. I've had that experience myself a few times.
Speaker: And then you you just type it into an AI and it just does what it what you tell it to do, you know? Now, I'm not saying that that makes it okay to do that at all. i don't believe in it. I don't use it when I can avoid it, but which is you know pretty much always. There's only been two cases where I've used AAR in the past, and I don't think I would going forward at all, but...
Speaker: you know, it's just something like that. Like working with a human is always going to involve like communication and the sloppiness of the, you know, the, the human, um, ego experience or whatever you want to call it.
Speaker: And, uh, that's just one aspect, you know, there's the aspect of, this is a, this is another bad point I would say, but I'm just trying to play devil's advocate here, which is, you know, just that you have to pay for art and you might be a broke musician.
Speaker: And so like, if it's the reason why you can get your art out and you're broke, then, you know, kind of thing. Right. I guess the counterpoint to that would be like, somebody is willing to help you out somewhere. You just got to ask.
Speaker: Right. Well, I mean, one, you never have to use it. The person never had never, i guess, need need has a situation where you need to use something like that. But
Speaker: I mean, honestly, for me, the first issue with stuff like that is the ecological concerns that come along with like generative AI situations. And like even in Memphis and stuff right now, we're seeing situations where communities are being impacted where they're building these facilities that are housing these like whatever the fuck comes up with this shit, but it's making people's bills and homes become unaffordable. But besides all of that, as far as like the artistic approach goes,
Speaker: um you know, I mean, look at the past. A lot of, there were so many killer album covers that were just like a black and white photo and some sort of typeface, you know? And it's like, those are people that were working with nothing.
Speaker: relatively, or didn't have people in their area that were able to fucking, you know, do whatever they wanted. Or you see like killer eighties albums with this like airbrushed, spray painted, whatever, like sort of to today's eyes, it might look silly, but it's like, um, there's a human element to it though. And I don't think that the human element should necessarily be displaced for just being,
Speaker: inconvenient and but even beyond paying a person um which i you know um a lot of the art from beyond death i've um i've made myself in one way or another whether it's been like photo manipulation or you know I think I can't exactly recall. I should probably pull a copy of it and look at it. Let me even make sure I don't misquote myself on this last one.
Speaker: But I'm pretty sure.
Speaker: yeah like, I mean, you you probably can't see it. It's super killer, but it's like Dora took that photo of herself.
Speaker: And like, did this artwork. Of herself. I did the layout, but I mean, she took this image yeah of herself just in a room and edited it, you know, by whatever means she has.
Speaker: yeah And, uh, I mean, you got to be really lazy to use AI in this day and time. It's there's so many options, whether you go on Pexels and get a free photograph and manipulate it.
Speaker: Well, to me, too, I think it's a kind of like it. I didn't use this term when I was thinking about the. You know, us as people making noise, but in a way, it's sort of what you decide to settle on for yourself.
Speaker: Or what you decide to be like, OK, this is enough. Yeah. You know, and whether that's feedback or whatever. And it's like, yeah, I am out here just making feedback and rolling in the floor and stuff. But but it's like, ah it's personal to me. And at the same time, you know, the the photos and the artwork that I make, even though I'm sitting here and making it on my phone, you know, with pictures that I've taken that I've sat here and like, you know, fiddled with and stuff. It's like there there are other options. It just sort of depends on
Speaker: what we decide to put into it or yeah where we decide to say, all right, that's, you know, good enough for what is. mean, let me be clear. i'm I'm not in favor of using AI quote unquote art for any reason. We just did a whole episode with my friend Gabe about AI and in music tools, like in in software, like in the DAW and whatnot, AI and mastering music, all that kind of stuff.
Speaker: And it really sucks that it's taking away all these jobs and stuff. um You know, I mean, i'm not I'm not in favor. I just wanted to, like, kind of just be a little bit, like... also had the conversation with Francis and Paul that, like, some of these things, like these audio tools, are a little bit different.
Speaker: ah well For me, my big issue is, like, the generative AI, like the visual generative text-based stuff. That's the big issue, and that's what's causing so much of these...
Speaker: main issues that I'm seeing with it besides the sort of like human agency and ethical, whatever. Um, and so that's sort of, for me, that's, that's a big thing, but like I, I used one and like, you know, there's AI and video games, AI is artificial intelligence. I mean, you can sit and program a video game that a character acts a certain way or something, you know, it's like, that's artificial intelligence, but the, the generative AI and the video,
Speaker: sort of stuff, the video altering, i guess, deep fake sort of things like that. That's the, that's sort of the real, not only weird psycho social issue but also like the shit that's causing these plants that are like destroying the country and world and stuff you know this is I don't know how um I don't really know how it' sustainable like AI really is because it seems like it's just using up so much resources I don't know if it's really even
Speaker: able to like generate enough income to support itself. it just It seems very strange to me. um But I had a question. like ah do Do you consider ai art actually art?
Speaker: Or would you... i am you know like Well, I mean, I can't sit here and pretend like ah minimal input into a machine isn't art.
Speaker: when at the same time, you know, there's like, there's a lot of art that I enjoy that is, minimal input, I guess. don't know how to put it. Like, you know, I mean, Chris Burton put up a sheet of glass with a clock on the wall and a hammer laying beside of him and he laid in the corner of the room underneath the glass until somebody interacted with him. He laid there for like days.
Speaker: And then when somebody interacted with him, he got up he smashed the clock and smashed the glass and just like ran out. yeah And it's like, man that's relatively minimal input. You know, it's like, is that art? A lot of people would say no.
Speaker: But at the same time, a lot of people that would say performance art and other sort of stuff like that is not art would look at AI and be like, isn't this the most beautiful thing you've ever seen?
Speaker: And it's like, ah I don't know. I want to, I want to like make some sort of snarky t-shirts to say like, I heart the demiurge or something like that on it.
Speaker: Hmm. like hey just For like AI people or something. and and like I hear people criticize AI art as either like anti-art or bad art.
Speaker: it It can't really be both. You know, so I just try to just kind of try understand people's perspective on it. I don't. It can be.
Speaker: yeah But in my opinion, i told, actually funny enough, I hate to keep saying this, but i told Paul the other day in the conversation we had, I said, if people if people lack the initiative to put effort into a medium, then they probably lack the imagination or the taste to actually make something worthwhile. And it's like, I've seen people that have made you know art that I like on like trained model like more closed cell, like individual programming sort of things that I've liked, but like this sort of mass produced swirly lines and like hands and fingers messed up.
Speaker: All this sort of stuff is just like dystopian and like eldritch to me in a strange way. And I think it's, a I don't know, some sort of weird technological threat to human agency in some way.
Speaker: Yeah, I think i think the the largest pushback against AI art is just like people want the human connection in and and art.
Speaker: um And they don't they want it coming from computer. You know, like a lot of people, they say like, it's taking jobs and like it's artists are are making money when people use it. But like, you know, we use public domain pictures. we take photographs.
Speaker: We're not, we're not paying artists for all the free stuff we use, but like no one complains about that. i think it, I think it ultimately comes down to, has to have this human element that a AI art doesn't really have. And that's what really is bothering people with it, you know?
Speaker: Yeah. You know, I mean, look, as long as what the artist envisions and executes on had some consideration put into it and wasn't just like, whatever, i don't care about this, then, you know, I can try and care about it.
Speaker: And if there was a little bit of AI involved in it, whether it was in the DAW and certain plugins or you know, they they used it to like enhance one part of their cover art or whatever, you know, I honestly don't care personally.
Speaker: it's if it still had the consideration put into it, like this is what I want to make and this is the best way I know how to make it. And you try your best and like put days into it. Then that's to me, that's all it really, that counts to me. Yeah.
Speaker: Well, and like I said, I mean, like with the, um, there's a friend of mine. he is, i only know his Instagram handle and I hate to do it, but I'm about to have to pull up the man's Instagram handle, but, um,
Speaker: I don't fully understand all the technology to it, but it appears to be digital media and trained image slash language models. um River Goblin.
Speaker: River underscore underscore Goblin. go um
Speaker: Love their art, but the thing is, this person does like a lot of other things you know that people might not say is art. like These sort of textural paintings that aren't like images or depictions of something but it's textural like you know a canvas but layered you know depth to it textured and i fell in love with that first and then i've seen these like trained model image things work that they're doing um almost like mixed media where ai is one of the things that they yeah yeah and you know like i i used a uh yeah
Speaker: of course, everything says AI now, whether it's necessarily what it means or not. But like, I used a program that split tracks, like split stems yeah yeah or attempted to, you know, using stuff like that. And it's like, to me, that's sort of one thing. But...
Speaker: but
Speaker: I mean, again, like I said, the the generative stuff, the the text-based, generative, image-based, that sort of thing is the main the main scourge in my mind. I'm definitely not like an anti-technology person.
Speaker: But got is this stuff has overarching ah first environmental and ethical concerns. And then, you know,
Speaker: well, guess physical. And then there's like psychological, et cetera, concerns with it. And it's it's just not worth the, the overall cost is not worth the product at all.
Speaker: That's not going to that's not gonna stop anybody. And I don't expect it to. I expect theoretically that the thing will implode before it gets super far. That's what I'm thinking. I'm hoping so.
Speaker: i just, I, I know it costs so much money for them to like do this. Like, I think one of the the main guys said, like, every time you thank it and it responds, it costs like millions of dollars or something. Like, well, on that too. And it's like, people are sort of investing personal information. There's like security concerns. There's a, you know, yeah.
Speaker: No, that ah that's my main concern with this like chat GPT thing is like, like security. And then also it telling people like how to like make things, you know, if I mean like it's, that's my biggest concern with the eyes. it um It's very scary. So yeah, i mean, it's a very scary world we're living in right now. yeah i hope ah I hope it all just implodes.
Speaker: There's, there's this a big, it would be better for everybody if this had never been invented. I'll say that. Yeah, it's, ah well, the funny thing is people imagine it as like AI is like the the Terminators ah taking over like humanity and stomping them out. But it's like, no, in reality, it's just going to accelerate like global warming and like ah making land uninhabitable and shit to the point that that does it first.
Speaker: And it's like, I guess that would be ironic, wouldn't If we imagine this big grand sci-fi thing and then it was just like, the fact that people making stupid images and telling their deepest, darkest secrets to theoretically a thing that is not sentient um is just making the environment burn.
Speaker: Yeah. probablyably So and let's, let's, let's re let's reshift here. Absolutely. If we've got time. Yeah.
Speaker: What's, I think we talked about it a little bit. What's what's going on with Hauntology? What's upcoming? Got anything you want to plug? Well, we got Endless Lear coming out August 29th for sure. that We got tapes. We got CDs for that one.
Speaker: We have a ah big split coming up, which we I don't think we can say anything yet. Can we, Alan? No, not yet. not Not at least who's on it yet. Ooh.
Speaker: That one's going to be good. one's going to really fucking good. Awesome. uh we gotta try not to die here hopefully we can get that something out soon for that one yeah uh which uh i don't want to say his name wrong so i guess i won't say it but we do have another it's like um it's kind of like a doomish I don't know. I can't, I don't know explain it. And I don't know how to say the band name. So was not going back too I've been there.
Speaker: i large yeah really I've been really failing lately with the pronouncing names and bands and everything. Like just, just miserably. And remembering people's names. Like I forgot the names of the guys from my prisoner on our interview with them the other day. Like, ah man, I've been messing up, but there's always room for improvement with these things. So, yeah.
Speaker: yeah I know lot of Allens and Aarons and Adrians and stuff like that. So I, I struggle to keep the names right. And recording, uh, pronouncing noise projects and stuff like that gets, yeah.
Speaker: Yeah, for sure. Well, actually this might make you feel, a little bit vindicated or whatever, but, um, the way I remember your name, Alex, is because of your solo project, Alexander Yates. That's what I associate you with. So,
Speaker: That's hard to remember again. Yeah, awesome. Yeah. Yeah, that's amazing. Hell yeah. Sorry, Adrian. I cut you off. What were you? No, you're good. You're good. You're good. Yep.
Speaker: But lot of good stuff coming from Hauntology, and we're always excited for Beyond Depth recordings. Absolutely. Yeah. i've I've got an upcoming split. I originally wanted to have it out by now, and due to a couple reasons, I delayed it.
Speaker: But there's a project, long time, in my own mind, one of the American noise legends, Clang Quartet.
Speaker: I'm not familiar. um
Speaker: Underground of underground, I would say. He was a Christian-based noise project. Okay. um Scotty is a Christian, to the the best of my knowledge, and that definitely set him apart in the world of early thousands like no noise, which a lot of his was experimental. Like he'd make his own setups and stuff and like not a lot of like knob twisting or anything, you know? Right.
Speaker: And he plays drums and stuff like that. But he he really inspired me. If anybody's listening to this and that sounds halfway interesting. Funny enough, actually one night, this is a perhaps or ah I've told Scotty this, but one night I was...
Speaker: It was in a time, it was during COVID. I was doing pretty bad at the time. This was like 2021 And I got on YouTube and I was like, I wonder if there's Christian noise. Wouldn't that be funny?
Speaker: Wouldn't that be like funny if it's Christian noise? Yeah. Which I wasn't like hating on it necessarily, but I was like, isn't that sort of like antithetical?
Speaker: And I Googled it. I Googled Christian noise. And up came a documentary called The Armor of God. I want to say it's called. And it's a clang quartet, Scotty Irving.
Speaker: And I watched that and I was like, wow. Like, uh, which, you know, of course, I come from Appalachia, Southern Baptist, you know, heavy Christian imagery. The entire, like, front room of my house is all, like, antique Christian, Southern, wooden Jesus stuff, you know.
Speaker: Love the imagery. But I saw somebody getting up and using that and doing that, and I was like, I didn't know it was possible, you know? didn't know that that was a thing that people did or could be done.
Speaker: Yeah. And, uh, long story short, already made long enough. I, uh, I was inspired to start evangelist because of, uh, Scotty and I, uh, would definitely not call myself a Christian, but, uh, it's definitely a lot more Christian noise than I think a lot of people are prepared for.
Speaker: it's still weird to a lot of people, but you know, that's personal to me. That's my, you know, half a latch you know, uh, So I have a split coming up, Evangelist and Clayton Quartet.
Speaker: Hell yeah, dude. I finally brought it full circle. I reached out to him.
Speaker: He's recording a lot, not touring a lot. ah He's having some health issues and you know getting older. And he...
Speaker: But we he we recorded a split. So later on this year, I wanted to have it out by now. we were supposed to be on a festival together coming up. but um So I'll have a Klang Quartet evangelist split, which is a big deal for me. That's like a full circle thing.
Speaker: yeah awesome I'll have the first Cave Depression full length
Speaker: Now that that's one that you mixed, right? Yes. It was recorded in this room. It was recorded in here. hell yeah. Actually, he was standing almost where I'm sitting right now in those videos that you watch.
Speaker: um but Yeah, he he's the most intense. One of the biggest, honestly, probably one of the biggest reasons why I started the label as far as this a single person goes. Because I saw him and he was just insane. Just like screaming and like...
Speaker: beating himself feedback just harsh like classic prurient style and like uh he was inspired by prurient and waves crashing piano chords who were two of the probably greatest real raw power electronic feedback style that there's a more familiar with prurient i'm not not familiar with the other one oh man buckle up he's uh He's a hoot.
Speaker: Shouts out Sean Beard. But um yeah, Cave Depression, first full length he's ever had. He's hard to record because the he screams like... If anybody's listening, if you if you enjoy the body or that sort of like high-pitched, raw, shrieking kind of vocals, um if Tyler listens to this and listens this far, he might not like that I said that. But, you know, to to your...
Speaker: potentially metal fan fan base that's like a close thing they could point to but it's just real raw shrieking just pure emotion pure energy and that's hard to capture because he's like swinging around and like that comes out in live performances when you see it but it's hard to capture in a recording setting like how do you do So I, I pretty much field recorded him.
Speaker: i had a field recorder pretty much set up over here and then he was running into stuff over here and I was out there because his mic has, his, his amp has one setting and it is all the way up.
Speaker: and That's not a joke. It's broke. It's broken. That's all it's got. recorded here mixed by me. Um, we're about to finish the artwork. Uh,
Speaker: Cave Depression, Tyler, he's half of Kudzu Wreath. Nice. Okay. um the The harsher side of Kudzu Wreath. And he he's currently hiking the Appalachian Trail.
Speaker: He's probably like 2,000 miles into hiking on a trip right now. It's the insane. Incredible. Love him. Shout out. But yeah, his first full length after he's been ah project for probably six or eight years is coming out.
Speaker: And it sounds the best he ever has. That's awesome, man. You've got some cool shit. Super excited. He's a legend. I mean, and he's, as far as the way Evangelist is now in my life performances, it's from watching him.
Speaker: So that's another, like, full circle to be able to release that full length. Yeah, man. Yeah, I've got, you know. 2025, the year of making dreams happen. I got a couple.
Speaker: A couple big ones. um I got a bunch of shows coming up. One of them those next week in Pomeroy, Ohio, Voice of the Valley Festival. It was historically, you know, Aaron Dilloway a lot of big U.S. noise legend people played there over time.
Speaker: And so i'll be heading there next week. We got women of Women of Noise Fest just got announced. for the second year. um
Speaker: That's in Chattanooga, Tennessee. A lot of our friends and family will be on there. Pippi Maraschino, Maggie, me and Maggie will be traveling from here. Maggie Leeds will be traveling from there for her performance. So I'll be there. If anybody's around Chattanooga, Tennessee, I believe it's at the beginning of September.
Speaker: You can find Women of Noise on Instagram.
Speaker: chattanooga noise crushing it man all that exciting shit dude i gotta make a trip out there maybe next year i don't have vacation this year but hey no matter what project you want to come with let me know and let me plan to get y'all at chattanooga noise night it's in west tennessee sort of well middle southwest i don't know but over more towards your direction than i am it's It's five hours across the state from me, so it's definitely closer to you.
Speaker: Okay. but yeah It's amazing. They ah regularly have, you know, people at a noise show.
Speaker: that's Comfortable setting, noise gallery, or art gallery, you know, blankets on the floor, people sitting down relaxing, you know. Nice. Harsh noise from all over the world.
Speaker: it's It's crazy. Yeah, that's a Women in Noise Fest coming up. We've got a bunch shows and releases. I'm trying to get back to having more of a regular schedule with tape releases and stuff like that than I have.
Speaker: Well, dude, it's been awesome to have you back on here again. We always appreciate your time and we love what you're doing. So we'll try to ah spread the word with this podcast and with a maybe some collaborations in the future. We'll see. Yeah. know Yeah.
Speaker: Anytime. Thank you guys for having me on again. Always nice to talk.
Speaker: Definitely is. All right. Well, thanks. Thanks everybody for checking out another episode of the podcast episode 13. Maybe that's an unlucky number to some people, but not to us. We got this thing in the bag. We're going to keep on rolling. We'll see you next time.
Speaker: Thanks for tuning in to another episode of Dissonant Echoes. And my apologies again for the extended delay between episodes. I'm going to end the episode by playing two artists from Beyond Death recordings.
Speaker: First up is Kudzu Reith with Pulsing Anxiety, which is pretty much how I've felt lately. And then after that, we'll we'll hear Coffin Neil with the song Lost in a Frozen Abyss.
Speaker: And just a little disclaimer here, there's going to be some harsh noise ahead. Enjoy.
