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Man Is The Bastard
(the project of Eric Wood and Joel Connell)
was a hardcore band that incorporated Japanese-style noise in the sonic assaults of D.I.Y.C.D. (1995) and Thoughtless (1995).
After the band dissolved, Eric Wood launched a white-noise project,
Bastard Noise that released
Sources of Power from Another World (1994),
Voice Pie (1996),
If it Be Not True (1998),
The Analysis Of Self-Destruction (Alien8 Recordings, 2000).
After
John Wiese
joined Wood, Bastard Noise became super-prolific, with
the corresponding collapse in quality:
Descent To Mimas (Ground Fault, 2001),
RRRevenge (2001),
Throne Is Melting (Helicopter, 2001),
Mutant (Manufracture, 2002),
Skull Wave (2003),
Sound Engine (2004),
etc etc.
Man Is The Bastard's offshoot (via Henry Barnes) Sleestak harked back to
noise-rock of the early 1990s on the chaotic and cacophonous
The Power Of Gemini(a (Thumbprint Press, 1997) and
Mach 2 (Total Annihilation).
Sleestak morphed into Geronimo with Geronimo (31G, 2007), containing
the 18-minute Firewater, another experiment of
industrial music, spastic post-rock and brutal noise-rock.
The core trio consisted of keyboardist William Nelson, bassist Anthony Francoso
and percussionist Moises Ruiz.
Revitalized by Rogue Astronaut (2009) and its suite
dystopian sci-fi opera Tyranny Beyond Earth,
Bastard Noise incorporated the aesthetic of Geronimo into their
A Culture Of Monsters (Deep Six, 2010)
and Skulldozer (Deep Six, 2011), notably the
13-minute Skulldozer.
John Wiese rapidly became one of the most prolific sound artists in the world
(not a compliment):
Collected Tracks (2000),
Magical Crystal Blah (2004),
Light of a Ghost (2005),
Tumblr (2006),
Black Magic Pond (2006),
Soft Punk (2007),
Inescapable Conclusion (2007),
Rotture Gunfire (2007),
Dramatic Accessories (2008),
Circle Snare (2009),
Zombie (2009),
GGC (2011),
Seven Of Wands (2011);
plus all sorts of collaborations:
Failing Lights (2005) and General Assurance (2008) with Dead Machines,
Multiplication (2005) with Merzbow,
Equinox (2006) and Wheels Of Confusion Vol. 4 (2006) with Wolf Eyes,
Exoteric (2006) with Metalux,
White Gold (2006) with Cherry Point,
Terrazzo (2007) with Pain Jerk,
New York / Atlanta (2008) and Cincinnati (2009) with C. Spencer Yeh,
C-Section (2009) with Evan Parker,
Mondo Paradoxa (2009) with KK Null,
Panoramic Glass And Mirror (2010) with Gerritt,
Kevin Drumm and John Wiese (2010) with Kevin Drumm,
etc.
Sissy Spacek, formed by Wiese with Charlie Mumma, debuted with
the EPs Remote Whale Control (2003) and Devils Cone And Palm (2006), followed by the album
French Record (2008) and
the four-disc box-set California Ax (2008)
plus countless cassettes and live albums.
Then came the deluge:
Dash (2010),
Sepsis (2010),
Grisp (2011),
Freaked With Jet (2011),
Rip (2011),
Dash/Anti-Clockwise (2011), etc.
Sissy Spacek became even more prolific than Wiese's solo career.
LHD, a collaboration with Phil Blankenship, is documented on
Curtains (2004), Opaque (2005), Triple Void (2005), Limbs Of The Fawn (Misanthropic Agenda, 2006), Trap (2006), etc.
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