Lord Cernunnos/ Hana Haruna — Geologic Time

Here’s a wall noise split with a mountain focus bringing together two US projects. We have Everett, Washington’s Lord Cernunnos, and Portland’s Hana Haruna. Both ‘walls’ come in at dead on the twenty three minute mark- the first been billowing, grinding & droning, and the second is all hissing ‘n’ churning in its sub-zero attack.

Pete Rose Lavelle — Run It Into The Ground

Pete Rose Lavelle is a new US wall project- who seemingly wants to keep it’s self mysterious…as all we know is it’s from America somewhere. Run It Into The Ground is digital release on Cincinnati’s Stemms Audio- taking in a single thirty minute wall.

Alive With Static

Olion Interview

Active since the early 2020’s, Olion is one of the key projects within the euro wall-noise scene. To date, it’s put out around seventy releases- taking in both physical and digital form- with stand-alone releases, splits, and collaborations. Sound-wise, their output moves between pummelling, thick-yet oddly soothing. To more texturally layered, and forays into ANW. Behind the project is Olek Browiński from Olsztyn in northern Poland, and he kindly agreed to give us an email interview

Won’t You Ragnarok with Me?

A Julian Cope Primmer

Erupting into the mainstream on February 19th 1981, The Teardrop Explodes’ debut ‘Top of the Pops’ television performance featuring their brassy, bouncy hit ‘Reward’ is to this day probably the moment from which most people recall Julian Cope. If your image of Julian remains that of an earnest young budding pop star sporting a fleece-collared flying jacket and a shaggy bowlcut of shoulder-length tresses, if you failed to maintain pace with his entry into the cosmos, if you dismissively describe him (as I’ve seen thereabouts) as “a Smash Hits pin-up”, you have one hell of a lot of catching up to do. Musique Machine have tasked me with leading their readers through the psychedelic jungle and beyond, here, and I have to say that Julian probably merits the ‘beginners’ guide to’ / ‘recommended records’ treatment more than just about any other artist in the music sphere, at least in terms of how public perception and the ‘reality’ (if such a word is appropriate in this extreme case) have a near-unbridgeable gulf.