John Duncan is a master of minimal sound-scapes and harshly intriguing collages of noise. He’s been creating sound and art projects for nearly twenty years now (since he was 15, he says), and he’s worked with everyone from Chris Keefe to Elliott Sharp. Some of his projects are painfully beautiful in their simplicity while others border on the absurd in their extremism. They often suggest that, if he thought there was something to be learned from it, he wouldn’t have a problem taking your life. Read more

Portland, Oregon’s own Daniel Menche is an undisputed master of noise. His majestic sculptures are sometimes soothing, sometimes infinitely grating, and always intriguing. He elicits a sense of control unparalleled in this oft out-of-control genre.

Throughout his tours during 94 and 95, he created and controlled said sounds using his usual contact mics and effects, but added a sheet of glass and a mound of iodized salt as sound sources. Crowds stood astounded as Menche poured the salt on the glass then let loose with the mics, grinding them against the salt-covered glass with one hand and twiddling knobs with the other. He built sounds so huge and threatening, you’d think you were standing next to a Boeing 747 preparing for take off, but he’d just as easily leave you awash in crackling near-silence with your heart racing, trying to catch your breath. Read more

In the mid-to-late 80s, I wasn’t much for Run-DMC or L.L. Hip-hop existed to me mostly through records by Public Enemy, Ice T, and Boogie Down Productions. I liked their stuff because it was about something. Rap thus far had been mostly about itself. Read more