I recorded and performed noise from 1997 - 2003. I don't remember why I stopped, but last year i resurrected my project, and have been working on a lot of new stuff, and would just like to share. I do a lot of different styles, and it's all strictly experimental in nature. Always free to stream/download at:

https://brxtnle.bandcamp.com/

and

https://www.youtube.com/@BRXTNLE

Thank you for your consideration

Hello everyone

I would like to post about my project Blanca Division. I used to play dark ambient and death industrial many years ago (Aethere, Gioventu Suicida Studentesca), and then I ended up playing with two other individuals, both experienced musicians (one of them plays in a band called Viscera, a psychedelic post-metal band from Italy, which is quite known in certain circles).

We created a short EP 13 years ago, plus two other songs. For reasons I cannot even remember, we did not do anything anymore, and the EP was lost and forgotten. For unknown reasons, the two other members of Blanca Division contacted me about the EP last year, and we decided to release it via the label Phage Tapes.

We do a mixture of digital hardcore, aggrotech, and death industrial. For the EP 'Santa Muerte Hardcore', we used various vst I don't remember, plus korg ms2000r, and access virus c. We decided to (slowly) resume our activities, and we are eager to release old songs in splits (send me a dm if you want to collaborate), and create new material (as soon as I get my gears back on track).

Here is the EP - let me know your thoughts!

Santa Muerte Hardcore | Blanca Division

noise.

lots of noise.

Sharing info and links for our upcoming tour, come through if you are in the area ✌️✌️✌️.

8/20 Grand Rapids, MI @ Backwards Compatible 7pm.

8/21 Detroit, MI @ TBD 9pm.

8/22 Cleveland, OH @ Little Rose Tavern 8pm.

8/23 Dayton, OH @ Skeleton Dust Records.

Bakantez is a solo experimental electronic project integrating ethereal synthesis with electro-acoustic sample-based composition & heavily processed vocals. Compositions journey through a tumultuous, dissonant mixture of bodily organic romanticism with libidinal synthetic self-mutilation.

Sarah Lutkenhaus is a sound artist and designer whose work explores interiority, contradiction, and systems of memory. Through performance, archives, and voice, she investigates one’s position within networks of bodies and histories, creating subtle, textural works that resist resolution.

https://industrialcoast.bandcamp.com/track/appendix.

https://bakantez.bandcamp.com/album/rubedo.

https://www.youtube.com/watch?v=FAEMZc848U8.

https://www.youtube.com/watch?v=viBaHdCnYq0&t=2s.

https://www.instagram.com/bakantez/.

https://www.instagram.com/lutkie/.

Made the VST "Varispeed Delay" which has built-in speed control and graphic EQ. When set to 1-2x feedback it turns into no input noise machine. Feed is empty analog input (digital zero input can't trigger noise because it is too pure). The rest is feedback.

EDIT: VST is free and opensource! Get macOS / Windows releases here: https://github.com/silvansky/VarispeedDelay/releases

I'm a high school student who is developing a free plugin!

A few weeks ago you probably saw that I posted about COGG, a free plugin I built that metallizes and industrializes any sound. Specifically, harmonic distortion, metal plate convolution reverb, and pitch layering are there all in one chain.

I just shipped v1.1 with 8 factory presets so you can dial in different metallic textures instantly instead of tweaking all the knobs from scratch. Everything is there, from subtle texture (like the preset RUST), to full chaos (like presets SHRAPNEL and MELTDOWN).

Still free, no account needed, VST3 + AU for Mac, VST3 for Windows.

Download now for free: https://plasma-hype.itch.io/cogg

Trailer/demo of the update: https://www.youtube.com/watch?v=HfD2drnrMjQ

Thanks to everyone who tried v1.0 and gave feedback, this update came directly from figuring out what people actually wanted to do with it. I personally have used COGG in almost all of my FL projects ever since I released it. Please give it a shot and let me know what you think of the presets and plugin as a whole for a v1.2!

I have been collecting Merzbow cassettes since 1998, and I have managed to get 54 of them so far (plus a few comps). I got my first two for $4 each in the markdowns at RPM Records in my hometown of Mesquite, TX. I bought the bulk of my 80s era tapes in the mid 2000s, on Ebay, Discogs, and from private sale lists. A lot of them came from Japan and Europe. I am pretty certain that they are all authentic, except maybe SCUM - Steel Cum, which seems to be of a different quality.

54 cassettes is a lot, but I am still missing at least 90 other Merzbow tapes. I suspect that many of the early ones will never be seen for sale again, so it would be impossible to ever have them all. Here is my current list:

-Collection 007 (1981)
-Tridal Production (1982)
-Le Cuisinier (1983)
-Dying Mapa II (1983)
-Dying Mapa III (1983)
-Worker Machine (1983)
-Kibbutz (1983)
-Age Of 369 (1984)
-Dadavida (1984)
-Merzbow & Xerosx - Aerovivanda #1 (1984)
-Merzbow + The Hanatarashi - Collaboration 1984 (1984)
-Merzbow, Null - Deus Irae (1984)
-Various - Sexorama Vol. 2 (1984)
-Pornoise/Extra (198?)
-Ushi-Tra (1985)
-Sadomasochismo (1985)
-The Lampinak (1985)
-Chant (1987)
-Enclosure (1987)
-Merzbow & The Haters (1987)
-Merzbow + S•Core - A Collaboration Tape (1987)
-Crocidura Dsi Nezumi (1988)
-Live Drum Ensemble - 1984 (1989)
-Flesh Metal Orgasm (1989)
-SCUM - Scan Has Undergone Several Minor Revisions (1989)
-Society For Cutting Up Merzbow - Severances (1989)
-Merzbow / Hudak - The Time Stream (1989)
-Aka Meme (1990)
-SCUM - Steel Cum (1990)
-Merzbow / Das Konzentrat - Ars Elektroica (1991)
-Metal Acoustic Music (1992)
-US Tour 1990 (1992)
-Metal Mad Man (1992)
-Dutch Tour 1989 (1992)
-Merzbow / S.C.U.M. - Axx / Spooning (1992)
-Recycled (1992)
-Pornoise 1KG (1993)
-Merzbow, The Haters, AMK - Sniper (1993)
-Reiko. A With Merzbow, Achim Wollscheid - Coruscanto (1995)
-Yantra Material Action (1995)
-Total / Merzbow - Merzbow Mixed Total (1997)
-E-Study (2009)
-Collection 4 (2010)
-Collection 5 (2010)
-Normal Music (2010)
-Flesh Metal Orgasm (2010)
-Untitled November 1989 (2010)
-9888a (2010)
-April 1992 (2011)
-Variations For Electric Fan (2011)
-Gman // HJYUGTF2 (2012)
-Rainbow Electronics (2022)
-Green Wheels (2022)
-Paradoxa Paradoxa (2023)
-Material Action For 2 Microphones (2024)

plus:
-Various - Infidel Psalm Vol. 1 (1986)
-Various - Lapse From Virtue (1989)

Some of these are reissues/represses of earlier tapes, but the noted year in parentheses is the actual release year of the copy I have.

Standard sized cases are pictured in the exact order I listed above, chronological by release year.

Pic 1: Covers 1981-1995
Pic 2: Covers 1995-2024 plus comps
Pic 3: Spines 1981-2024 plus comps
Pic 4: Oversized releases (NSFW Pornoise art covered by Ushi-Tra booklet)
Pic 5: The full collection
Pic 6: Dutch Tour 1989 contact mic spring box with RCA output

Does anyone else have a lot of Merzbow cassettes? Sell them to me.

Is iAMsburg getting conservative party? The people wandering around no longer look like the magical metal head goths I grew up with since 2006. In 20 years of busking (playing music for money in public) I have never had trouble until last night in the neighborhood that I felt most safe in of all the English speaking world for my brain type. Having toured the world and a lot of that time has been playing outside., the cops only ever stood by to see if other people liked what I was doing. And people always do - last night was no exception. People rolling down their windows to say they loved it and other people dropping dollars in our bag while we sang about universalism. Just as we were getting into the backtracks like everyone else on the block, 4 squad cars pull up and I have it all on video. The city will owe us for this one especially since I actually have the documents they asked for and they didn't let me furnish them. If East Williasburg wants to save itself, it needs to norlize universal housing so the bad actors calling 311 on established artists is how they can retalliate outside the comment section. Also the cops can't wait to have rainbow zebra uniforms to help keep everyone calm knowing they're here to protect and serve our community (not the tourists who come to work - haha how many slumlords don't even live in the city). Don't worry we have something being developed for my people but just making notice and saying thanks to everyone who filmed the show. For everyone else who bought the autobeef, here's more <#payDumb (not freedom): https://185668232.org/riseup

Got a sweet noise delivery today. I ordered a box set and a shirt from Mima Cassette (https://mimakass.bandcamp.com/ ) but also got an additional cassette, CDs and shirt. Noise for days!

Hey everyone! You might have seen some of my previous posts sharing our Kingdom Death: Monster campaign progress, along with some pretty photos of my painted minis. Today, I wanted to take a step back and share the story of how KDM completely reshaped my 23-year hobby journey and pushed me to start creating my own physical music project specifically for our game sessions.

1. A Lonely Hobby in the Middle of Nowhere

I am 30 years old, and I’ve been in the miniature hobby since I was about 7 or 8, when my uncle gifted me my very first set. I live in a town where wargames and tabletop hobbies are still virtually unknown. Growing up, I was heavily obsessed with cinema and filmmaking. In the early days, I didn't even paint—instead, I tried making stop-motion videos with unpainted miniatures. Needless to say, they looked terrible!

My very first paint job was a cheap local kit. My mother, who is into classical painting, painted it for me using oil paints directly onto the bare plastic without a primer. It took ages to dry, and the paint flaked off within days. Later, when the internet finally arrived in my home, I stumbled upon a few basic articles on painting. Equipped with hardware-store primer and industrial paint markers with metal mixing balls inside, I would crack the markers open and literally smear the paint onto the minis.

By age 12, I discovered Warhammer. Looking back, it’s crazy how cheap it used to be! However, since I could never find an opponent (and the rules felt overwhelmingly complex), I just kept painting, building terrain, and fantasizing about how cool it would be to actually play. I kept this loop going until I was 18. After that, I played a few local wargames with random people. Over time, I developed my own specific hobby culture: custom terrain, fully painted armies, and an absolute obsession with atmosphere. Today, I have my own house, an extensive collection of custom terrain, a dedicated game room with multiple tables, and experience in countless commercial and indie wargames. Ironically, I never truly got into Warhammer—it just kind of pushed me away.

2. Discovering KDM and Waiting for the "Stars to Align"

A couple of years after the first KDM Kickstarter, I stumbled upon the game. Back then, I was making very little money, so I had to make do with looking at cheap recasts. But I quickly realized that money wasn't the only obstacle. I simply didn't have the painting skills required to paint these gorgeous miniatures in a way that would make me proud. So, I shelved the idea until the stars aligned: until I had both the disposable income and the painting maturity.

I've been with my girlfriend since I was 20, and she has shared all of my hobbies to this day, including KDM. As my 30th birthday approached, we decided I was finally ready. We are doing well financially now, and while my painting isn't top-tier Golden Demon level, it has gained recognition (the developers of Eldfall Chronicles even used photos of my painted minis for their official website!). For a long time, I was deeply into the gritty Blanchetsu style, but games like Warcrow and Eldfall Chronicles forced me to learn cleaner techniques, true NMM, and OSL. Despite my decades in the hobby, I've only been painting NMM and OSL for a little over a year.

We ended up buying a pristine 1.5 Core Box. It was available locally, cost half the price of a new 1.6, and the components were completely untouched (I bought the 1.6 cards set right away). Before the box even arrived, I 3D-printed and painted every single piece of terrain needed for the core game. I tried printing the showdown board too, but burnt out and bought a neoprene mat instead (best decision ever).

With the first miniatures painted, I realized I wanted absolute, uncompromising immersion. I had always chased deep narrative and atmosphere in wargames by writing extensive house rules, but it never felt right. I didn't want to transition into TTRPGs either; playing RPGs with just two people isn't as fun, and I refuse to play online. I am a 100% analog guy—I need the visuals, the weight of the components, and the tactile feel.

We played our prologue lantern year on my 30th birthday. We made a ton of rules mistakes... but it felt like being struck by lightning. I realized right then and there that I don't need other wargames anymore (which is great, because I won't have any money left for them anyway, haha!).

3. Stripping the Collection and Chasing the Atmosphere

Following that revelation, I made a radical choice: I sold off almost all of my other wargaming armies and warbands. That money went straight into funding several major KDM expansions, including the recent Screaming God. However, we won't touch those until we've fully experienced the core box.

Because we both work long hours, we only play once a week. This schedule is actually perfect because it lets us stretch out the experience and savor the world. I only paint miniatures as they are about to appear in the campaign. KDM provides a strict monster schedule in the campaign log, so I usually start prepping and painting a new monster a week or two before we are scheduled to fight it.

After the prologue, I wanted to push the atmosphere even further. We started burning iron-and-ash scented incense and putting on thematic background music. But standard playlists quickly ended, or the algorithms would transition into songs that completely ruined the mood on the table.

Musically, I am a massive fan of Dungeon Synth and Nu-Metal (yes, quite a combination!). However, my only actual musical experience was playing the guitar. One day, I saw a documentary about the custom "horror sound machines" used by Hollywood sound designers, and I looked into Akira Yamaoka's work on Silent Hill (love this game whole life). I reached out to a musician friend for some basic advice on equipment, and that was enough to spark the fire. I am the kind of guy who doesn't watch video tutorials or guides—I love learning by doing, purely by intuition. Sometimes I do it wrong, sometimes I overcomplicate it, but I enjoy the raw process of figure out how things work—whether it’s KDM strategy, mini painting, or music production.

4. Building the "Coffin" and the Cassette Deal

I built my first small, makeshift acoustic noisebox, hooked it up to two pedals (a Zoom MS-70CDR and a cheap Chinese looper pedal), and we used it for a couple of games. The immersion was unbelievable. A week later, I went all in: I built a massive wooden "coffin" sound box, stretched heavy guitar strings and springs across it, bought a Korg Volca Keys synth, and a friend gifted me a horsehair-free bow.

I started recording and mixing dark ambient sound loops specifically designed to play infinitely without becoming annoying or repetitive, tailored to the specific phases of the game (the Settlement, the Hunt, and the Showdown).

To keep the project as analog as possible, I barely use a computer. The PC is strictly used to duplicate the finished sound loops so they can run endlessly. Every single bit of sound design, tone shaping, and effects processing is done directly on the physical hardware during the actual recording of the audio snippet. There are no software plugins or digital post-processing fixes here.

It worked beautifully. At the very least, we love it. There is definitely room to grow, and I already have massive plans to expand the setup, add new sound textures, and push the project further. But the craziest part? A local underground music label heard my tracks and reached out to me. After just two months of diving into this musical hobby, they offered me a physical cassette release deal! Receiving that kind of praise and motivation from an actual label was completely unexpected and deeply encouraging.

KDM is more than just a board game to us now; it has become the ultimate catalyst for everything I love about the creative hobby. I just wanted to share this journey with people who love this game as much as we do.

If you want to check out the gritty, anxious ambient tracks we use for our campaign, you can listen to my project Lanternborn here:

👉 Bandcamp: lanternborn.bandcamp.com/

Thanks for reading!

people either loved us or they hated us. or they thought we were ok.