Can’t get enough of them. Specially Haus Arafna.

When Eric Zwierzynski utters “there is work to be done” at the beginning of American Despair, one is immediately plunged into sonic and cognitive chaos. As he critiques the current landscape of suffering and slaughter that we are visiting upon our own people in here the U.S. and the Palestinians in Gaza, you are invited to grapple with the following conundrum:

“Is he talking about the work of undoing these global evils? Or the more mundane task of simply working to make a living in the midst of such agony and pain?”

At the risk of untangling the feedback-laden web that Ministry of Apathy has woven, there are no easy answers to be found here. This is experimental noise that’s as confrontational and timely as the events it’s tackling. The attentive listener will find themselves getting lost in the layers of almost primal rhythms, the battering waves of glitched-out vocals, and the relentless pulsing of sound design and industrial effects. It is a journey into a certain sort of madness that can only be experienced, not fully explained.

The one time we’re allowed up for air comes midway through the album, as Zwierzynski drops the wall of noise and grants us a reprieve…but only to open up to even more emotional depths through clean vocals that wrestle further with the futility and sense of powerlessness against the wrongs that our country are constantly inflicting. And soon thereafter, we are overtaken once more by the noise: shrieks, piercing tones, a barrage of sound. Reminiscent of Greymachine’s Disconnect, we can either resist the storm of tones and effects enveloping us or simply give in and allow ourselves to be carried along by the electric current.

It is an experience both punishing and cleansing. Come bathe in the waves of feedback and mourning. 

from "The Creative Nothing" out on November 6th, 2026 on hybrid SACD. www.blackringrituals.com

The first noise release on hybrid SACD. Mastered for SACD by Mark Donahue of Soundmirror, a multi-Grammy-winning engineer better known for orchestral recordings. The disc is a hybrid dual layer, so the CD layer plays in any standard player.

Hey everyone,

I'm an Italian experimental musician working under the name Grand Pause.

I wanted to share my self-titled debut album, which explores death industrial, power electronics, noise and dark ambient, with influences ranging from Atrax Morgue and Whitehouse to the Italian post-industrial underground.

Most of the sounds come from original recordings, found sounds and heavily manipulated audio, using also techniques inspired by musique concrète. I wanted to create something oppressive, repetitive and unsettling, somewhere between mechanical noise and dark, slowly evolving soundscapes.

The album revolves around a simple existential thought:

"We are in an endless cycle of unchosen birth and painful life."

I'm interested in exploring the boundaries between melody and noise, structure and chaos, without being restricted to one particular sound.

You can listen here:
https://grandpauseproject.bandcamp.com/album/grand-pause

I'm also sharing a few free Bandcamp download codes for anyone interested:

• 7a7f-kfxk
• m75x-gmj8
• 957j-u682
• zrmr-e67h
• 3vra-3yqv

Redeem: https://grandpauseproject.bandcamp.com/yum

(If you use a code, feel free to leave a comment so others know it's been claimed.)

I'd genuinely appreciate any thoughts or criticism, especially from people working with similar sounds.

Thanks for listening!

Grand Pause

https://wegottickets.com/f/30255 ticket link

power electronics from milwaukee wisconsin about the Toybox Killer (David Parker Ray)

FFO deathpile

May or may not have involved vomit...

https://jakebowmanmusic.bandcamp.com/album/emesis

Available on Spotify / Tidal / YouTube music / whatever.

This story starts in the late 70s with William "Disco Caligula" Bennett, a musician so accomplished that Wikipedia doesn't have a real page for him, despite having pages for five other) musicians) with) that name.

At that time, the music scene was already evolving thanks to groups like the jazz funk band known as Throbbing Gristle. This new breed of musicians had begun to experiment with incorporating sounds that weren't normally considered "musical" simply because they sounded awful.

Meanwhile, Bennett was growing increasingly frustrated with the contemporary London musical scene. Everywhere he looked, he discovered that bands were wasting valuable stage time "performing" things called "songs" in order to "entertain" audiences. Right then and there, Bennett made it his life's goal to put a stop to this.

To this end, Bennett founded Whitehouse in 1980, as a way to combine the two great passions in his life: screaming at confused bar patrons and disappointing his parents. He immediately began populating his band with the least-fuckable men in existence in an effort to make himself look better by comparison.

The first person recruited was teenaged runaway Philip "The White Noise" Best, who was already conveniently chained to a radiator in Bennett’s basement. Bennett had provided the youngster with an EDP Wasp synthesizer, and then purposefully trained him wrong because he thought it would be funny.

"It was," Bennett later confirmed.

The next to join was Kevin "Ten Cassettes Too Many" Tomkins, who would go on to become well-known for playing the autoharp and also pachinko machines. Tomkins would remain with Whitehouse for two years before leaving to pursue a normal life, having been the first person to realize that membership was entirely voluntary.

But Bennett knew that no band would be complete without an obese sex offender awkwardly lumbering around the stage for no discernible reason. For this, Bennett tapped world-renowned pedophile Peter "Not Allowed Within 500 Feet of a School Zone" Sotos, whom he had discovered in one of the booths above the Bijou Theater), where Sotos was on his hands and knees, licking up cold, congealed cum from the floor while jacking off to the autopsy photos of Adam Walsh.

Also there were something like ten other members during this period, but they were all somehow even less interesting than those four.

Together, the group pioneered a new genre that Bennett christened "Power Electronics)," after a technical engineering manual he once saw.

They were doing something truly unprecedented: taking an art form traditionally associated with bringing people together and transforming it into a means of making everyone in the room wish they were somewhere else.

And unfortunately for everyone involved, this was only the beginning.

BARRIKAD: HNW КРИМ HNW

Göteborg: Waters of the Western Port

WARP: Battle of Macragge

Exlibris Nordén

i just dmed him cos it doesnt hurt to ask and the man himself replies

Hi everyone, I’ve just released my new album and I thought I’d share it with the world – almost exactly a year after my last one. I had a lot of fun making it; I hope you like it, even just a little.

Anyone know where the sample at the beginning of One Man’s War by Survival Unit comes from?

I made this one some time ago...

If you don’t know who Jack Doherty is, he is a typical Gen Z asshole streamer who does moronic stunts for attention

Hello, just wanted to share some music. It's not exactly always totally power electronics at all times, though I do have power electronics tracks being uploaded, and one is live on my Bandcamp right now. It's essentially noise hip hop without going into detail, but what I really like to hone in on is the idea of corrupted cyber space and sounds like Windows error/warning messages, just hostile stuff to hurt the listener basically and make them worried that they're being cyberbrain hacked or something to that effect. Just wanted to share my noise!

A concept I had been working on for a while. Would love some feedback.