Ejaculation Death Rattle

Bio:

little jolts of enjoyment, sweeping tides of noise, drone music worship, spastic panning, bent and decayed notes, rumbling low end...Ejaculation Death Rattle started as a one off group, but has since grown to be a weekly obsession... .. I edited my profile with some idiot's myspace editor

Member Since:

March 20, 2007

Members:

Ross - contact mic ingestion, salivation and backwards screams, digital debris, the swelling of leeches, lurching rhythms, microtonal dentist drill, dubbed out bleeps, background ambiance

Sean - wobbly low end, mid range abrasion, metallic string shimmer, melodious deception

Heather - rust scrape, violin torture, spectral reverberations, banjo chicken scratch

Dan - oscillating tones, analog sound stripping, full frontal droning

Christie - chants and warcries, thrift-store treasures

& former EDR mainstay - Shan - tides of noise, screeching tires and reverberant washes

Influences:

‘Noise’ not only designates the no-man’s-land between electro-acoustic investigation, free improvisation, avant-garde experiment, and sound-art; more interestingly, it refers to anomalous zones of interference between genres: between post-punk and free jazz; between musique concrète and folk; between stochastic composition and art brut. Yet in being used to categorize all forms of sonic experimentation that ostensibly defy musicological classification—be they para-musical, anti-musical, or post-musical—‘noise’ has become a generic label for anything deemed to subvert established genre. It is at once a specific sub-genre of musical vanguardism and a name for what refuses to be subsumed by genre. As a result, the functioning of the term ‘noise’ oscillates between that of a proper name and that of a concept; it equivocates between nominal anomaly and conceptual interference. Far from being stymied by such paradox, the more adventurous practitioners of this pseudo-genre have harnessed and transformed this indeterminacy into an enabling condition for work which effectively realizes ‘noise’s’ subversive pretensions by ruthlessly identifying and pulverizing those generic tropes and gestures through which confrontation so quickly atrophies into convention. - Ray Brassier

Sounds Like:

A jet crash, a turbine, rusted metal thrown down some stairs, Tony Conrad jamming in a digital hailstorm, playing some autechre loops against zombie movie soundtracks while a folk band does an early SPK cover, an orchestra tuning up, a dishwasher, a drugged and dying stabbed console jockey jacking into a broken ono-sendai splattered with his fresh blood, island rhythms, Giacinto Scelsi on bad acid, the inside of a patchcord plugged in and on fire, an electroacoustic musician experiencing a red wine enema, accelerating sounds from an old school car racing game, if christopher lambert was a stuttering rapper, cheese with green spots on it, a disco next to a merzbow concert, hymns to the gods...

Record Label:

incessant bootlegging