Matjaz Galicic

Reviews of releases of SIST EN 343, GEN 26 or any related bands, projects or labels of Matjaz Galicic


"The Sist en 343 side of their split is some nice mechanical rumbling with an organic buzz about it, not a lot of variety but a satisfying dirge. The Sonic disorder side is all warble and shrill squeals. Real "what speed is this meant to be" noise."

Stu Mollusc, Noise Ireland, February 2024

Gen 26: Recessive Gene Mutation 3" Mini CD

"Gen 26 is the work of Slovenian artist Matjaz Galicic, who is also one half of Sist En 343, which I recently reviewed and enjoyed. Galicic describes the project thus: “With GEN 26 I want to explore deep sound characteristics, transform it, divert it, design it into construction of soundscapes and create logic to unlogic chaotic sequences of sounds, rhythms, sound waves, voices and sound detonations. My live performances, sets, can vary from ambient orientated, guest appearing to complete chaotic noise deviations and brutal sound interactive actions. Each set is unique and is highly based on improvisation only. So watch out to see it.” Sounds good, so let's get into it.

“Recessive Gene Mutation I” kicks it all of with some incredible harsh noise wall. Everything is completely overdriven and buried in a thick layer of static. There is a rumble that keeps it from being pure white noise. There is more going on here than meets the eye though, and listening to this is almost relaxing. “Recessive Gene Mutation II” and “Recessive Gene Mutation III” keep this going with more variations on the themes established in the first track with a lot of buried elements. However, these two are a bit less harsh than the opener.

Overall, I found it to be a bit less spastic and fun than the Sist En 343 I reviewed, but this is still a solid release with some nice harsh noise, and serves as a good introduction to this project."

eskaton, Chain DLK, November 2021

Gen 26 – Recessive Gene Mutation – 3" Cdr/Download – [IND088] – 2021

"I am a fan of the explosively consistent Gen 26 and it is great to see a release on Inner Demons by this Slovenian heavyweight. Gen 26 has produced a body of impressive Harsh Noise over its’ two decades. Here we are presented with 3 passages of Recessive Gene Mutation. Each Mutation is a blast of distortion in wall form with subtle differences spreading across the tracks in the examination of tone and texture. The Inner Demons Records format of 3" Cdr works well for Gen 26 as his sound explorations tend to be short maintain interest and allow comparison between different takes. The first two are crisp in their sound, the third has a muffled restraint creating strong contrast against the other works. Great work as you’d always expect from Gen 26."

Nevis Kretini, 1208 North Fuller Ave Apt 1, August 2021

Gen 26 – Euromutation: Live – CDR – Harsh Noise London - #40 – 2020

"Eurountation: Live, is as its title describes a live album featuring a selection of four recordings made between 2016 & 2018 by Slovenian Harsh noise project Gen 26. The noise setting here is very much focused on grainy & feasting harsh noise- which at points moves towards noise drone & walled noise, but never truly gets to either. The release appeared in the latter part of 2020 and was put out in the form of CDR on Harsh Noise London.

The four tracks here each run between ten and eighteen minutes – with a total runtime of sixty one's minutes. Surprisingly for a release featuring recordings from two-three year period, the sound setting fairly consist & similar - so I’m not sure if this either means the projects sound didn’t really change over this period, or if these recordings were picked for there similarity.

Opening the release have “Live at Brno Noise fest 09/10/2016”- this starts with this amassed sort of chirping/ baying wash of sound, which sounds like it could be layered bird recordings. By the minute & a half mark we’ve moved into a slowly scrubbing 'n' feasting thick grained static setting - and from here on we get subtly variations in low-to-mid toned washes and sears of noise. Due to the movement here you never get to point of been tranced-out by the whole thing, instead, it’s akin to being assail on a sea of fair rough grey & white hiss bound static.

By track three we’ve onto the spot on sixteen minutes of “live at Hlukova Mysteria 13-14/09/2019” here we open with two men talking in a fairly monotone & persistent manner - it’s not in English so I’m guessing Slovak. Fairly soon a thick matt of swirling & roasting noise is slowly fed in, with the talking finishing soon. On this track the noise layers are seemingly going against each other to create an awkward wash of noise. These layers often shift & move over each other, though there seems little structure or composition to the whole thing.

The final track here is “Live at harsh noise London 23/11/2019”, and is the shortest track at ten minutes & twenty seconds. Here we find a more focused & urgent track, as it’s built around slowly shifting layers of more lengthy hiss 'n' sear bond rushing noise. The tones here have a more pleasing chalky slide & pull quality about them, with the tones nicely grinding & hazing into one's ears. And in the last two or so minutes we get some slightly deeper sears been added into the mix. Of the four tracks here this is most certainly my favourite.

In finishing there is certainly a place & a need for this type of grainy-yet-searing harsh noise. But personally, I prefer either very active/ tone shifting noise, or solidly droning or texturing noise- so Eurountation: Live really wasn’t my cup of sonic tea."

Roger Batty, Musique Machine, January 2021

Gen 26 – Euromutation: Live – CDR – Harsh Noise London - #40 – 2020

"I have never not been impressed with a Gen 26 release and I have had a lot of them over the last year, the sounds and dynamics within the work are often strong enough to come through well on the recordings of the show – Gen 26 releases many of his live recordings. This Slovenian act has become a big name on my radar, Dr. Matjaz Galicic has a clean take on Harsh Noise that allows the clarity of noise to really work whether it is simple stripped down sounds resonating or very detailed layered work that can literally scream at you when in full assault. I can’t say that I have had a bad release from Gen 26 yet.

Euromutation is four live performances from 2016, 2018 and 2 from 2019.

The first performance is from Brno Noise Fest 09/10/2016. It subtly starts from restrained sharp noise which once unleashed is like a massive screaming tantrum, the sounds are at times like screams which is parallel to the work of Harsh Noise Movement in that respect. As the screaming noises intensify, this coupled with the distortion gives the impression of rain, as if the performance is a storm of rage. This performance is an effective violent Harsh Noise outburst where the sound seems manipulated and controlled to full effect.

Full wall, textured distortion blasts out at Mrož Fest 26/10/2018 – this is very dense blast and crackle seem to form immediate depth. As the shifts in the elements begin, I feel as if I am in the core of a small planet, this is good wall work with a big roar. The wall seems focussed on the inner movement of the sound. As the wall progresses it seems to gain density in its’ sound. Gen 26s wall work is great.

The performance at Hlukova Mysteria on 13 – 14/09/2019 begins with sampled dialogue, as this plays out a rain of distortion grows over it, sharp blasts of distortion join this. It becomes about the two elements forming an effective wall that contrasts that of Mrož Fest greatly by radiating a shrill, hostile harshness.

The last performance is a sad one for me, it was the last Harsh Noise London festival on 23/11/2019, other commitments meant that I could not go. This excerpt is at first, shriller than the other performances, it sounds like an electricity storm hissing and blasting severely as sounds go off in the background. This does seem to have some sort of broken melody core that is masked. The sound thickens as it accelerates towards the end forming a dense wall as sharper hiss seems to bounce on top of it.

This is a good collection of Gen 26 performances, I feel as if I have happily travelled to different noise festivals around the world as I listen to these."

Nevis Kretini, 1208 North Fuller Ave Apt 1, October 2020

Chrup / Gen 26 – Post Viral Madness

"Chrup / Gen 26 – Post Viral Madness – CD / Download – Terraformer Research Facilities – 2020

1. Chrup – Crying
2. Gen 26 – Zvočna surovina.
3. Gen 26 – Kolonija.
4. Gen 26 – Regeneracijska sonda.
5. Gen 26 – Genetska modifikacija organskih celic.
6. Gen 26 – Prašna Nevihta.

I’ve reviewed Gen 26 a few times over the last few months and have become familiar with Matjaž Galičič and his stripped down, raw take on Harsh Noise. This latest work Post Viral Madness is a split, with a newer Czech project called Chrup.

Children’s cries serve as intro and end to this work. Big resonations of tunnelled, blasting sound progress into roaring violence. At first, the piece has a lot of space carved into it forming an area for the sound to act out creating a sense of haunted isolation. Wall noise builds with sharper sounds overlaid on top, erupting until space is gradually reinserted back into the equation. The repeated shifts from full to spacious provide a dramatic contrast within the act of Crying. Is this work a tantrum or a description of the process of being upset?

Gen 26 starts off with short abusive frequencies that make my head rattle, the following track uses a shifting, sharp, warbling distortion. I like the minimal palette that is always demonstrated here, this is also the case in the busier works – a few make a lot. This is good European Harsh Noise that uses blasting distortion to create some good walls. I would however describe these walls as a sharper, less meditative and more abusive as if they are shouting right in the listeners face. The sound is always full and at times very compressed to radiate high levels of tension; there is very rarely any space in the works. This sums the nature of Gen 26 on this recording; a more ‘at you’, impossible to disengage with approach that demonstrates the usual high levels of thought and clarity in Gen 26.

I recommend both acts and buying this screamer of a recording."

Dorcus Maximus, 1208 North Fuller Ave Apt 1, September 2020

7" Assault!!!!!!!

Animal Machine – Defleshed Technology / Gen 26 – Organic Dysfunction of the Plasmids – [&] and Invaginity, 2014

"Gen 26 begins as if blasting noise in an empty, derelict building. The waves of distortion feel empty as the static alters tone and speed. This isn’t wall just a shift of distortion that alters as if moving at a high speed, is it a reflection on speeding through time and life, this is pure Harsh Noise, straight to the point. Animal Machine along with Gen 26 has featured on here before, stretching right back to around 2006, both projects are of a similar age. Defleshed Technology begins at a low level as subtle blasts of distortion rise from the silence, using the silence as noise and interrupting it at regular intervals which is challenging.

Beautifully presented with separate art panels and an insert. I like how both artists work with a similar palette to make, simple yet effective works."

The Karmakumulator / Gen 26 -7" single - [&], Bučni Stripovi, Dare The Divine, Debila Records, F.O.A.D. Records, Grobarluk Records, Guranje S Litice, Ill In The Head, Kekere Aquarium, No Profit Recordings, Pravěk Noise Section, Sky Burial, Slušaj Najglasnije!, SweetOhmRecordings, Kulturno Umjetnička Udruga Uzgon, IKS Festival, 2018

"1. The Karmakumulator – Tiho/Bajka
2. Gen 26 – Sonic Outbursts of Modern Day Capatalism

This is a beautiful yellow vinyl open sleeve release that is a collaborative effort by16 labels. Slovania’s Gen 26 contribution literally is a sonic outburst, it seems accelerated and harsh, this is a lot more layered than the work years previously on the Animal Machine split single, this is good, harsh work. The Karmakumulator is from Croatia and has been around since 2001, This work begins with dialogue and slow suspenseful instrumental sounds and appears to be more of a group effort rather than just being Igor Mihovilovic. This does flit between subtle sound experiments and slow song that reveals more as it unfolds. Rich atmospheric beauty.

Both works differ greatly in style, but they are individually strong, and the release has a wider scope as a result. The presentation of the single is great and too many cooks hasn’t spoiled this broth."

Dorcus Maximus, 1208 North Fuller Ave Apt 1, August 2020

CHRUP / GEN 26 - POST VIRAL MADNESS (split CDR by Terraformer Research Facilities)

"Since lockdown began we’ve all had to get creative to fend off cabin fever. Some have started podcasts, others wrote books. A friend of mine organised all his possessions by colours. Books, records, clothes, food, kids toys, etc, etc. Chrup and Gen 26 decided to record some music. The resulting album ‘Post Viral Madness’ is a brooding and slightly paranoid affair, but there are patches of joyful optimism.

The tape opens with Chrup’s portion of the album. That is 90 seconds of a baby crying. As a parent, this is an uncomfortable sound. Whilst listening I had to pause it to see if my daughter had woken from a bad dream and was calling out. Each time there was silence. Suddenly, with no warning, a wall of noise explodes from the speakers. This wall is as brutal as anything built out of concrete in the 1960s. I paused it again this time checking to see if my daughter had woken but luckily there was silence. The remainder of ‘Crying’ is just blistering white noise, overloading bass and a general feeling of uncomfortable helplessness. That is the feeling you have when a child cries. You try all you can to comfort the child and find out what is wrong but ultimately you are left feeling helpless. The song closes with another 90 seconds of baby noises. But after the previous 14 minutes, you don’t feel as worried about hearing it. At times ‘Crying’ feels like it could have been trimmed a bit, or at least cut to the chase a bit more, but it’s fun to let it twist, skew and drone along.

Gen 26 offers more of the same. After a minute-long burst of feedback and blips ‘Kolonija’ kicks off. It’s just wall to wall static noise. Underneath it, you can make out other noises, sounds and possibly voices in places, but they are buried so far in the mix that you’d need a diving bell to find them. The main problem with Gen 26’s side is the lack of variation. ‘Kolonija’ and ‘Regeneracijska Sonda’ are just 10 minutes of static. There is litter variation between the two pieces. Consistency is good, but it would have been great is something was being built to, or if there were a few lulls. To break up the static.

The album was recorded during the lockdown and there is a definite feeling of being adrift and paranoia to the recordings. They show two artists trying hard not to lose their minds while stuck in an almost never-ending feeling of stasis. However, there does feel like a feeling of positivity permeating beneath the surface. At first, you don’t notice it, as there is so much surface noise knocking about, but it’s there. Buried deep down. Like a massive secret hiding in plain sight. The middle section of ‘Crying’ has some tender moments to it. The main problem with ‘Post Viral Madness’ is the lack of dynamics. It’s 40 minutes of the same tone and motifs. While there is something massively wrong with this, it does make the album feel rather 2D. Saying that if sheer noise is your bag, this is the album for you!"

NR, Vital Weekly, July 2020

Gen 26 – Altered Gene Expression

"Gen 26 – Altered Gene Expression – Debila records - #157 - 3”CDR – 2019. Limited Release of 42 copies.

1. Altered Gene Expression of Evolutionary Innovation. (Recorded on 03.09.2019)
2. Live @ GT22 04.09.2019.

Gen 26 is a Matjaž Galičič project that has been active since 2002. Altered Gene Expression is part of a batch of 2019 releases by Gen 26 on Debila Records.

As you will all know, from my adventures reviewing releases on Inner Demons Records, I am a huge fan of Harsh Noise on the 3”CDR format. So, to receive this, made me happy.

Altered Gene Expression presents two passages of Harsh Noise, one studio recorded and the other is a live performance from the next day at GT22, a small multi-disciplinary arts venue in Maribor in Slovenia which is described as a Transnational Guerilla Arts School. This performance was part of the Zasavje Noisefest International 2019.

The first track Altered Gene Expression of Evolutionary Innovation starts of as low rumble wall noise, a warm rumble with a slight sharp crackle alongside and around it, this is a two levelled deep wall of noise. This is the shorter piece of the two featured on the disc. Feedback rises briefly to break the continuity of the wall, the work continues to blast and resonate until it fades out.

The live performance at GT22 has a sharper blast of sound, this has a more aggressive shifts and is speedier in pace, this is a fast-moving piece of Harsh Noise Wall work. The sound is violent, solid and well-paced - this is a good recording of the said performance.

This brief intro to the work of Gen 26 has been a pleasant journey, this is a good recording and the venue looked beautiful. Excellent."

Nevis Kretini, 1208 North Fuller Ave Apt 1, April 2020

Sist En 343 / Fall into Dry Lungs – Harsh Noise Burger Party, 2019)

"Sist En 343 / Fall into Dry Lungs – Harsh Noise Burger Party – Debila records #166 – Cassette – 2019.

A1. Sist En 343 – 838-HN
A2. Fall into Dry Lungs – Unripe Spelt Grain.
B1 – Sist En 343 – 606-BP.
B2 – Fall into Dry Lungs – Rainbow Crossing.
B3 – Fall into Dry Lungs – Snow by the Grill.

Sist En 343 is from Slovenia and is Matjaz Galicic and Miha Novek, they have been releasing since 1999. Fall into Dry Lungs is from Austria and is Christoph F and Petar S, they have been active as a collaboration since 2015 playing either as Harsh Noise or a drums and noise duo.

My current love of the work Hydra (RIP) has made me a lover of noise that exists purely as sonic abuse, particularly when artists use long passages of sharp feedback for their work, Sist En 343 uses this as other noises dance around it, but the sharp feedback serves as the line cut into the work , the central focus of 838 -HN. As this track progresses the feedback begins to resonate in different ways with lower frequencies of noise and throbs as it does this as the distortion comes, it never manages to smother the sharpness a sound fight builds and builds. This is very horrible, good work, nasty Slovenian maniacs battering my ears.

Fall into Dry Lungs seem to follow suit with further Noise abuse with Unripe Spelt Grain as sharp frequencies form bursts of noise whilst crackling and scraping occur around it, the central sharpness remains the core of the work. Other unpleasant noises fire off and join the cacophony. Unripe Spelt Grain seems to favour rapid shifts of sound that collage together to make an uneasy whole. Cuts and chops of noise play over a wall of distortion, new sharp frequencies become the new core for periods of time. …Grain is good, horrid, Harsh Noise that gets nastier and more broken as the track unfolds.

Sist En 343 takes a darker turn for 606 – BP which seems to begin as a passage of percussive abuse that echoes and resonates menacingly. As scraping noise joins in and the percussion echoes further, the work intensifies massively, the work roars and screams through noise – simultaneously. As things melt into a wall of sharp abuse 606 goes through another period of Harsh intensity, the work never seems to let up as it identifies as a massive, sonic explosion. This is an excellent, nasty piece of work, both contributions by Sist are good, but the shift from Darkness to a vortex of sharp, sonic abuse is impressive as. Even as this exhausts itself back to the darkness towards the end, it is amazing to listen to. All I can say is I am converted; I am a fan.

The tapes hiss intensifies into shifting distortion as Fall into Dry Lungs deliver the party’s last two tracks. Rainbow Crossing begins to judder and stutter more before it goes into shifts and changes of sound, the clarity appears to get muffles as sharp digital noises pull things into focus, this happens repeatedly as new noises cut into the work, making for intensified unpleasantries to occur. Even as it falters more dramatically, sharper noises cut in and take over, the continuing shift and power battles of sound make for constant, exciting change. Like Sist’s work, the breakdowns and collapses in sound seem to increase the danger, like a wounded animal. The finale is their ‘Snow by The Grill’ track, this pulsates violently from the offset and appears to have a more obvious digital assault, only its’ intensity ties it in fluidly with the other work, this could have been a different artist, but the shifts in sound and clarity make it identifiable as Fall into Dry Lungs. Harsh Feedback intervenes and allows for mini shifts to occur within the track. You then get lots of mini low-level experiments going off at different times as sounds communicate and bounce off each other. Although things wind down, lots of information is jammed into the finale as if to intensify it from a different angle. As far as Fall into Dry Lungs goes, I was blown away by their release on Harsh Noise London in 2019, this is more excellent work by them.

Both artists, when you compare tracks seem to work on parallel levels of high abusiveness and try to outdo each other for the title of ‘champion, horrible noise duo’. The playful artwork and fun title of this tape is deceptive, this is very strong, well executed sharp noise release and the intensity of every track presented here makes Harsh Noise Burger Party an excellent album"

Nevis Kretini, 1208 North Fuller Ave Apt 1, April 2020

Gen 26 - Sonic Deconstruction of Polynomial Coefficient [Void Singularity Recordings - 2019]

"This rather lengthily and frankly pretentiously titled C40 severs up a selection of seared ‘n’ roasting noise matter that hovers somewhere between HNW, wallish noise, and dense harsh noise.

Gen 26 is a one-man project of Slovenian Matjaz Galicic. It’s been active since 2002- having around thirty-seven titles to his name- which take in a lot of splits, EP’s and one full-length release. This C40 comes in an edition of twenty copies- with the clear green-shelled cassette coming in a green, white, and black sleeve.

The tape features four tracks in all- and these each run between five and twelve minutes. As most of the tracks have the word ‘live’ in their titles- I’m guessing most of this release is culled from live recordings, and they certainly sound that way too- as they are a densely roasting ‘n’ often twisting selection of noise works- that bring together low-to-mid ranged noise, with often fairly prevalent and searing/ slicing highs.

As long-time readers of M[m] will know I’m not the greatest fan of either wallish harsh noise, and or more painfully high tones in my noise- so as you can imagine I did find this release somewhat trying. Though that said, I must commend Gen 26's thick and caustically swirling sound.

The more set ‘wall’ moments are peppered through-out all of the tracks, but it’s not until the final track "Live @ Destroy All Artifacts 12.11.2017", when things feel totally satisfying to me. As we get a fairly uninterrupted flow of wall matter- with the track been built around churning-to-slightly bucking lows/mids. Texturally the feel of this ‘wall’ is somewhere between feasting & galloping- and I must say I rather like the thickly roasting vibe of the whole thing.

So in summing up Sonic Deconstruction of Polynomial Coefficient- I’d say if you're more of a harsh noise fan, who enjoys denser-at-times wallish noise I reckon you may take to this release. For me, too much of it cross the line between HNW and Harsh noise- but I’d certainly be up for hearing more material like the last track from the project."

R. Batty, Musique Machine, 2019

Harsh Noise London Recycled Tape Series #13: Brutalomania & Gen 26 “Collaboration” (Harsh Noise London, 2018)

"Brutalomania is Manuel M. Cubas, based in Spain and Gen 26 is Matjaz Galicic based in Slovenia. This tape begins as a crusty wall, very crackly with a mid hiss with distortion. This is complimented by screeching echo that builds up with background tones. The noise accelerates and falters at times, for the wall to regain a different composure, a shifting, wavering one. The breakdowns become more frequent and it becomes an exciting broken wall that blasts and dies off continually. Part 1 shifts and morphs continuously, as it breaks from just being pure Wall it gets better and better. Sharp, shifting harsh tones introduce the second side as distortion rages, slightly muted in the background. This shifts into lower level noise territory using a partial wall that morphs it’s use of distortion whilst back noises echo through this. It contrasts well to Part 1, the levels to rise and lower periodically. The distortion when it builds moves in a cascading way, rocketing and tumbling as pitches of feedback also rise and holler. This is a good release, with strong shifts that keep things varied so they never get boring."

Choppy Noodles, 1208 North Fuller Ave Apt 1, June 2019

The Karmakumulator / Gen 26 split 7"

"Sjećate se „tribute to Satan Panonski“ pod nazivom Oči u magli? Na njemu bend The Karmakumulator izvodi obradu pjesme Tiho/Bajka Satana Panonskog. Eto, već neko vrijeme ta je obrada završila i na split-singlu The Karmakumulator* / Gen 26."

Ivica Čuljak, Blog-Dnevnik-HR, May 2018

The Karmakumulator / Gen 26 split 7" (Kooperácia)

"Tak toto je jeden z viacerých nahrávok na vinyle, co si dám rovno medzi záležitosti, bizzardné. Až neuveritelných 16 labelov sa spojilo, aby vydalo túto nahrávku ,dokonca aj Guilov FOAD z Cripple Bastards, ktorý je známy, že podporujem noise a hlavne Chorvátsku scénu.

THE KARMAKUMULATOR je projekt, na ktorý sa spojilo sedem Chorvátských noiserov, aby takto vzdali hold starej punkovej formácii SATAN PANONSKI. Nenájdete tu však nic gitarové. Je to ciste atmosferická záležitost. Pocujete tu hovorené slovo v rodnej reci, plné nadávok a do toho vám ide ,až horrorová muzika, ktorú vytvárajú sample, klavír, vrzganie. Taký soundtrack do horroru by som to skôr nazval. Všetko zhustené do jedného tracku. Zaujímavé to je.

GEN 26 je Slovinský noise projekt. Tuto nemám ani o com písat, lebo ked zle preladíte rádio, tak sa vám bude ozývat presne takýto šum. Sorry,ale toto už nie. Svojou troškou do tohoto prispeli aj Slovenský label Sky Burial. Až chceš mat nejakú bizardnost doma, skús toto."

Lepra, Dead Fist Webzine, April 2018

The Karmakumulator / Gen 26 split 7" (Guranje S Litice, Slušaj Najglasnije itd.): Slušljiva i neslušljiva buka

"Postoji buka koja godi i neslušljiva buka. Buku koja godi na ovom split singlu predstavila je hrvatska grupa The Karmakumulator, dok je neslušljivu buku predstavio slovenski glazbenik Matjaž Galicic koji je kroz razne projekte prisutan na sceni 20-ak godina. Njegova skladba „Sonic Outbursts Of Modern-day Capitalism“ jednolican je zvuk nedefinirane buke kojim je ocito htio opravdati naslov pjesme i doista je neslušljiv. Za razliku od njega Igor Mihovilovic, izdavac i kronicar hrvatske alternativne scene, okupio je zanimljiv tim suradnika još prije podosta godina kako bi obradom pjesme „Tiho/Bajka“ Ivice Culjka, poznatijeg kao Satan Panonski, sudjelovali na kompilaciji „Tribute To Satan Panonski“. Njihova obrada svojevrsna je dekonstrukcija te pjesme u kojoj su zadržali tekst i stvorili novo, vrlo zanimljivo djelo. Nema puno veze s originalom, ali nude mracni spoj elektronike i gitare kroz buku s glavom i repom i odlicnom atmosferom koja na momente podsjeca na rane radove Laibacha. Hrabar pristup glazbi koji treba pozdraviti i koji ce cijeniti rijetka publika sklona glazbenim eksperimentima. Singl objavljen na prozirnom vinilu (u cak trima verzijama boja) objavili su u suradnji cak 16 izdavaca: [&], Bucni Stripovi, Dare The Divine, Debila Records, F.O.A.D. Records, Grobarluk Records, Guranje S Litice, Ill In The Head, Kekere Aquarium, No Profit Recordings, Pravek Noise Section, Sky Burial, Slušaj Najglasnije!, SweetOhm Recordings, Kulturno Umjetnicka Udruga Uzgon i IKS Festival. Diskografsko ostvarenje vrijedno pažnje."

Dubravko Jagatić, Nacional - Neovisni News Magazin, February 2018

The Karmakumulator / Gen 26 split 7" (Multiple labels, 2018)

"Croatian experimental noise project The Karmakumulator is presenting 2009-2013 materials conducted into a single song, totally rearranged and deranged cover of Satan Panonski classic song "Tiho/Bajka" (only lyrics resemble the original a little bit). Haunting electronics and obscure out rock guitar work meet claustrophobic ambience and scraps of sounds done in 7-piece line up for this expanded 2018 version for your occult audio dinner. Gen 26 from Slovenia explores instrumental power electronics in monolithic and static HNW song "Sonic Outbursts Of Modern-day Capitalism" recorded late 2017. Great combination brings the contrast of two extreme music activists from this part of Europe packaged in beautiful color artwork and limited 7" vinyl printed on superb sounding plastic in three color variations: black/white marbled, clear white and clear orange.

Multiple labels co-release: [&] (Slovenia), Bučni Stripovi (Croatia), Dare the Divine (Croatia), Debila Records (Slovenia), F.O.A.D. Records (Italy), Grobarluk Records (Croatia), Guranje s Litice (Croatia), IKS Festival (Croatia), Ill In The Head (Canada), Kekere Aquarium (Croatia), Kulturno umjetnička udruga Uzgon (Croatia), No Profit Recordings (Croatia), Pravěk Noise Section (Czech republic), Slušaj Najglasnije! (Croatia), Sky Burial Productions (Slovakia), SweetOhm Recordings (Greece)"

Dare The Divine info page, January 2018

Harsh Noise London #1:Parliament (Harsh Noise London, 2016)

"I wasn't expecting much from these brutally worked-over recycled cassettes, but the first couple tracks, a live set from Animal Machine, effectively grabbed my attention after a couple minutes. AM radio static-like landscapes, crunchy transitions, walls of deep-belly noise, and hooting high-frequency tendrils poking out of the mess once in a while.

PCRV, opens with a thick, all-lows pulse bomb that switches between sub-flub and feedback squalls, spacey delay creep outs, and surprising flashes of violence that get more intense as the track progresses. I found myself wishing for more clarity in the mix, since the performance was so exciting and seemed a bit coated in filter muck, but damage is damage, and I'm just happy there was so much to listen to.

Gen 26 moves slower than the first two artists, but dizzying stereo field alternations either from effected panning or clashing signals almost made me hold my head in pain/sickness. It's a deceptively simple presentation of a complex assault, but I'm not sure I'll be listening again anytime soon. Seasickness or vertigo-inducing malevolence. Making someone a bit ill with a harsh noise recording is usually regarded with respect, so kudos! Bleah. Like any slow-moving, monolithic piece like this, I eventually was lulled into a head-bobbing trance, but I'm still not interested in taking this ride again.

When the final track from Nryy started, I said, "Wow, this sounds Japanese!" Had to check to confirm, but, yeah, it's totally Japanese. That's not to say it sounded formulaic or stock, I just think Japanoise is always going to have a distinct flavor. The tip-off for me was the "WAAAH WOW WOW WAAAAH" Masonna-esque vocal delivery. A discernible pattern of push-pull tension/release develops as the piece progresses, sucking in with thick walls and lashing back out with squelching highs. Surprisingly, I still feel like the Animal Machine and PCRV tracks moved a bit more, but this is a solid track.

Overall a very tasty compilation. I'd love to hear the full-fidelity recordings of some of these fantastic performances outside of the recycled-cassette muddiness, but I suppose that would be defeating some of the purpose. I'm looking very forward to hearing the other Harsh Noise London offerings."

Levi Jacob Bailey, Chain DLK, June 2017

Harsh Noise London #1:Parliament (Harsh Noise London, 2016)

"This is first in Recycled series from Harsh Noise London label. Just by seeing four projects that are involved in this tape is enough to realize this will be very nice and loud release.
Tape starts with Animal Machine. Interestingly, i saw this project many times live in some festivals, and it was always kick ass performance - but this is first time i listened it on tape. (now i realize how stupid i was not to trade for some releases on those festivals) Both are typical Animal Machine track - no compromise, loud - pure harsh noise. Its 15 minutes of pure enjoyment (if you like nice and pure harsh noise like i do...) Next project is PCRV - only project i didn't know about before this release (which is a shame because i see on discogs that it is active for 15 years already!), its just a bit less harsh probably because it has some interesting atmospheric elements along the noise, some high pitched sounds echoing in the background that is mixed with very harsh and loud rumble. All together it is fine combination of harsh noise and some more listenable elements. Quite enjoyable experience! Hope i get some full release of PCRV because it sounds very promising...
Side B starts with GEN 26. If someone don't know (if that is possible at all) behind this project is Matjaz - guy from Slovenia that made 10+ noise festivals in Ljubljana,Slovenia (it is real achievement - in this region even making noise gigs is very hard and number of people interested is more than low, and organisation of this festival was more than professional with always fine international lineup)
His sound on this one is very dense and not very dynamic - almost a borderline with HNW - but much more aggressive than any HNW - its literally ripping your ears (in my opinion 99% of HNW releases are more ambient than harsh, which one wouldn't expect from something that has harsh in its name). Last one is NRYY - one of project that have special place in my mind - not only because of sound but because it was first CDr i got beside my copies after i made my first physical release on Smell the Stench label. Its typical Japanese harsh noise - very dynamic with scream like sounds and a lot of feedback. Very fine ending to this 4 way split!

So since there was an open call for participants for this series during Slovenian noise fest this summer, i suppose more releases are not far away. Cant wait to see whom will next ones bring! Meanwhile - grab some copies on Harsh Noise London"

nundata, Everlasting Nausea, January 2017

Snajper/Ops-Psf split EP

"HIGHLY RECOMMENDED RECORD!!!!! If you are into freak shit, if you are into scum shit, if you are into shit that is actually cool.....THIS IS ONE FOR YOU!!!! Two 90's shitnoise/noisecore projects brought back to life and released on a 7" by the absolute hero Derek, the man whose enthusiasm and dedication to noisecore is almost unparalleled. You basically couldn't ask for a better record to be made in 2016.

OPS-PSF features Ryohei from Final Exit, and they use drums, clean guitar, electronics, vocals, and audio samples to create this really fast-paced and chaotic mess via quick edits and quicker blasts. It's sprawling, layered, confusing, twisted, and just lovely.

Snajper hail from Slovenia and I think are my new favorite band. They use a cardboard box and an Amiga 500 computer to create just the most unnervingly brutal and disgusting racket I've heard in a long time. No music, no art, no fidelity, just two dudes that cite Dan-Charge and Retarded Rooster as influences, so you know they are well-informed and of only the most exquisite taste. This is real noisecore."

SPHC, SPHC, November 2016

Snajper/Ops-Psf split EP

"I was one of the few lucky chimps who owns a test press copy of this piece of black-gold. And i can tell you that you can shock your mum & dad with this piece of psychotronic noise plastic!! So order your copy now and shock your parents and friends with this 7" hit machine of brainless fun!!!"

Noiseape, To Live A Lie board, July 2016

Snajper/Ops-Psf split EP

"... Rage For All #9- Snajper/ops-psf split ep. After years of slow correspondence, backed up pressing plants, artwork trouble, and total technological incompetence, its done & out and I couldnt be happier with or more proud of this one.

Snajper- formed in 1995 in what would later become (largely because of these folks!) one of my favorite scenes in the world for noisecore/experimental/shit noise music, Slovenia. Dual vocals screamed over cardboard box drums, while an Amiga 500 generates an obnoxious racket to tie everything together. Despite the way that sounds, the recordings don't come across as jokey at all, but rather an impressive document of the creativity of the era. These recordings are the last that Snajper did sometime in the year 2000, using a mixer for the first time (with tremendous results!). Brought to you by the personnel that also gave us the sorely missed Abnormal Tapes label, as well as scores of other Slovenian treasures.

ops-psf return after over a decade of inactivity with a slightly different approach from their usual total lo-fi monotonous slop we've all come to know and love. This recording from 2014 (told you I took forever to put this out...) finds the Japanese shit masters operating on a different level. The noise is still generated via drums/jangly clean guitar/and various electronic devices, however this time around they go for a faster paced and more claustrophobic approach... quick editing and explosive bits of choas, inter spliced with totally random audio samples only serve to confuse and disorient here. Truly remarkable stuff from people who have been making consistently wild shit for over 20 years at this point. Pressed in an edition of 300, so there are plenty to go around. A co-release between Rage for All and [&] in the UK."...

Griefofseparation2, To Live A Lie board, July 2016

Luxury Mollusc / Ontervjabbit / Animal Machine

"I was not familiar with any of these bands before getting this, but looking at the cover and the lo-fi presentation (artwork is a creepy drawing on pen and paper, blank CDR), I kind of expected some noise here (especially since it came in the same package as Sist En 343, which was some great noise). So I was a bit surprised when I put on the disc. First up, we have Luxury Mollusc with 'Fishing For Chalk Lung Breathing Is A Chore Wax Tundra.' This is gritty and a bit noisy, but not really noise. Imagine a post apocalyptic landscape where the machines are still running simply because there is no one left to shut them off. As you can expect, the machines have become a bit rusted and parts have started to fall off of them, but they keep grinding away. This is the feel that we begin with. Lots of reverb gives it a cavernous feel, and it gets progressively noisy as it goes along. The machines are starting to break down and it's beginning to show. Nicely done. Next up, Ontervjabbit comes in with all guns firing with 'Disruption Slot' This is a slab of heavy, feedback laden noise that crushes everything in its path. There are recurring themes throughout, but this is surprisingly good if you like rumbling, grinding noise. As such, it manages to keep the nonstop intensity going while still being engaging. It ends with an ear piercing squeal of feedback, just as I thought it would. Well done. If you were looking for some kind of aural respite after Ontervjabbit's assault, you will find none in Animal Machine's 'Live at the Rehearsal 14.10.12.' But while Ontervjabbit functioned mostly in the lower end of the spectrum, Animal Machine aims for the treble side with lots of white noise before heading into a segment of rumbling bass and feedback about halfway through. So much feedback. If you like harsh noise, this will definitely be up your alley. Overall, don't let the cover fool you, this is well worth checking out. This album weighs in at around 66 minutes."

eskaton, Chain DLK, October 2015

Sist En 343 – J20-00

"I really like 3' CDs. They give you a short taste of music that has to stand as a unified whole. You can't really try out too many ideas in 20 minutes or less. This offering from the Slovenian duo Sist En 343 is a great example of quickly getting down to business. As the cacophony fades in, you get a sense of what you are after: harsh, unrelenting noise. Rumbling low end noise, a circuit bent toy keyboard, computer noise from a 2600 baud modem, and the recorder that you used to play in 4th grade all thrown together into a blender. As it slowly fades away, you are aware of just how loud it was for a while. Good stuff for the harsh noise set. This album weighs in at 15:43 minutes and is limited to 100 copies."

eskaton, Chain DLK, April 2015

Sist En 343 – J20-00

"Killer harsh noise from Ireland. Unlike most harsh noise and HNW acts this is engaging and brutal without the violent internet found pictures and cliches. I recommend J20-00 especially for those longtime listeners who find the over saturation of shit noise everywhere discouraging. This is a refreshing reminder of why we like harsh noise and HNW in the first place, trust me, this is good!"

sdwilson, August 2014


"Sonic violent, that is the correct word to describe Outermost. C.U.D.L 2 is my favorite track. It was rich with various sounds that accompanied each other. Nothing monotonous and it was perfectly raged for less than four minutes long. While Life As is the longest track of 19 minutes. To be honest, both tracks actually are not really different from one to another. I can say it was just continuation, with the second track has less speed than the first one. Available from [&]"

Rice factory, September 2013

OUTERMOST "C.U.D.L. 2/Life As" CDR ([&] #6)

"KEI YOKOTA is responsible for this racket. In the liners he thanks CECIL TAYLOR, whose work I'm thinking, gave inspiration to Yokota's fickle and fretful brand of chaos... through here notions like notes and rhythm are lost in translation. on the 19-minute "Life As", Yokota grazes impatiently from spritzer-spurts of squall to attenuated low-end sludge to electronic circuit-abuse. Below it all lurk the occasional warped tones of a piano being tickled (by Taylor, I'm guessing). The buried piano tones are my favourite aspect to this track, both because they ads something unique to the proceedings and because they lacquer an extra gloss of askewness onto the noise. If that wasn't enough, four-minute "C.U.D.L. 2" condenses all the action of "Life As" into one blistering segment of ossicle-abuse."

MT, Professionals #2 zine, June 2013

CATHAL RODGERS "The Walls Have Ears" CDR ([&] #7)

"Here are three cavernous industrial soundscapes from Cathal Rodgers, who also records under the prolific WEREJU banner. Much like the other thousand-odd drone records he's piddled out in the past, the tracks here feel more like backdrop than main attraction, and that's positive. Rodger's epics extract varied timbres from his guitar, implementing both grainy texture and soaring tone, forging the perfect supplement to Eraserhead-esque wastelands. It's rare that and obscure CDR release will lock on to this level of emotional salience, but Rodger's skilled hand permits both massive theatrics and nuance: the nervy tremulousness of "Sinking Ships", the crystalline shards of guitar that give "The Walls Have Ears II" its and-all-that's-left-is-the-scorched-earth heft."

MT, Professionals #2 zine, June 2013


"Thirdorgan was the first; blasting electronic noise with some dynamic noise added in the first track, Discipline 08. The second and third tracks are less electronic but more creative in delivery. Phoresy comes with chaotic and messy tracks that can send you straight to hell. Lots of distortion, manipulation and pitch shifter involved. Three tracks for every band with total running time of 75 minutes of harsh noise! Available from [&]"

Rice factory, April 2013


"The baseline of the part one The Walls Have Ears are totally low semitones with organic filler here and there. The second track Sinking Ship is much more on the same level of baseline track, low semitones, droning but to the point. The Wall Have Ears part two on the other hand are more bold and chaotic. Not really out of control, but just chaos. This is my first time listening to this project, so I cannot compare this release to any of their previous one, but I really do see some big potential from Cathal Rodgers to move to another level. Available from [&]"

Rice factory, April 2013

Gen 26 "Gene Farm" 3" CD-R

"'Gene Farm' captures another grizzled veteran at work: Gen 26 is the noise project of Matjaž Galičič, one of the precious few who built the Slovenian scene from the ground up - including founding both Abnormal Tapes and Fuck-U-Tapes. His mini-CDR also worships the middle range of the sound spectrum, but he's replaced Yasutoshi's irascible caterwauling with a rigid Harsh Noise Wall. As Vomir foretold, there is no progression nor dynamics here, except for the occasional, short-lived drop to a different frequency; instead the (dis)pleasure lies in being subjected to stiff-lipped, disciplined auditory abuse for just over seventeen minutes. Prepare to be drained by track's end - if you can make it that far."

Michael Tau, Wital Weekly, March 2013


"A list of heavy-hitters graces this diminutive tribute to Debila Records' sixteen year history. Debila head Nejc further dedicates the disc to a list of pioneering Slovenian noise labels with colourful names: Beer Records, Fuck-U-Tapes, Coca Core Tapes, Abnormal Tapes, etc. It's a wonderful artifact that does due justice to its small but persistent scene. Among the noise kingpins represented are the suffocating hate of ÂMES SANGLANTES (Canada), the corrupted-file terror of HINYOUKI (Spain), and the strident chaos of NAPALMED (Czech Republic). From other corners come Slovenia's A.U.B., an early Debila act who chuck out a trio of punishing hardcore blips, and SNAJPER (Slovenia) who regurgitates tinny noisecore composed entirely of masticated growl-vox and intermittent pates of junk-noise. Only ERIC BOROS' (France) dare-I-say-pretty acoustic guitar meditations and KA-BOOOM!!! and KARMAKUMULATOR's inspired textural experiments break the flagrantly caustic mold. Also featured: SKLO (Czech Republic), SONIC DISORDER (USA)."

MT, Professionals #1 zine

Thirdorgan / Phoresy – Split

Label – [&]
1 Thirdorgan – Discipline08
2 Phoresy – Metridium Senile
3 Thirdorgan – Discipline09
4 Phoresy – Echinocardium
5 Thirdorgan – Discipline10
6 Phoresy – DVM

"The elusive label [&], which specialize in all faces of noise music, from abstract echoes to harsh, violent and collapsing walls of abrasive sound, brings forth a split CDr between two dirty and nuclear warheads – Thirdorgan and Phoresy. Together they create a 75 minutes long odyssey through boiling plasma of crushing, distorted soundwaves and alien beacons that do not attempt to focus the listeners and show them the safe way through the corrosive oceans, but instead try to drown them and make them yield to the black magic of both participants on this split.

If we dig to the core of both artists, we face similar brutality in the music. However, Thirdorgan and Phoresy caress their insanely wild beasts with different types of intense catalysts. Thirdorgan sounds so alien at times that I find it hard to decide if this is a vile explosion of dirty sounds, or an attempt for warm communication. The beautiful, bizarre and painful display music makes this project both repulsive and alluring at the same time. Phoresy, on the other hand, has a darker, more mysterious approach to his violent sounds, which makes the listener uneasy even when the music’s flames are lowering. There is always something exotic in the music that this label releases. If you’re a harsh noise fan, check it out. If not, be advised that these people have left the golden path a long time ago and the things they bring back might be wrapped in pain, misery and hatred, but they have pure light inside them. Give it a try."

Oren Ben-Yosef, Culture is not your friend, December 2012

7MON, tn666, SIST EN 343 – s/t

Ecocentric records
01 7 Minutes of nausea – How forgotten are the anonymous dead?
02 SIST EN 343 – Z8-36L
03 tn666 – Euphonium 1
04 tn666 – Euphonium 2

"I got this impressive package from Matjaz from SIST EN 343 and it took me a while to finally listen to this three way split between 7 minutes of nausea, SIST EN 343 and tn666. Inside it are four tracks by these artists, with the common toxic ground of being hostile to the extreme. It’s not surprising at all if you’re familiar with the work of these people, yet put together, they manage to raise this kind of dormant awareness about their intensity as their tracks weld together this harsh, nauseating creation.

7MON starts this assault by a beautifully distorted composition that juggles between the great speech and drum work, who together tempt the listener to concentrate as much as possible on what’s happening on this track, and the insane rumbling and almost (but not!) random breaks, that challenge the mental endurance of the ears. Demanding and unforgiving, 7MON gives an excellent opening to this album, proving they should not be forgotten or anonymous.

But the category of being unforgiving definitely belongs to SIST EN 343. Z8-36L begins with a slow electronic breathing that crawls out of the abyss in order to evolve into a fully blown apart wall of harsh noise and quirky glitches. There is a language there, trying to communicate above or below the raging distortions, and whenever you think you understands what the message is, it slips away and drown in the harsh noise, only to surface again minutes later and test you again.

tn666 closes the album with two tracks that move on the edgy, sharp line of piercing noise, with spacey occurrences and anomalies that result in tracks that are even more alien than they are hostile. tn666 brings wonderful, mind melting surprises to their annihilating Euphonium and shows it has many things to say even after I was awe struck by the other two projects.

Not an easy album in any way, this split shows different approaches and interesting angles to the term “noise”. Some say that anyone can make noise, but you can easily hear that these guys also know what they are doing, and together they form a well packed 69 minutes of forced nausea. And it’s delightful."

Oren Ben-Yosef, Culture is not your friend, August 2012

Sist En 343 + Supraphon Family - split

Artist: Split Album / Collaboration
Title: Sist En 343 + Supraphon Family - split
Label: P.O.P. Shitcords Records, Slovakia
Genre: Noise

Track Listing:
01 Sist En 343 - 43-91K
02 Sist En 343 - 56-26P
03 Supraphon Family - …Just Another Birdieblues
04 Supraphon Family - Sawsiege

"When I held this album for the first time I couldn't ignore the cover art, which looked very familiar. I have seen one of the four safety instructions that are printed on this album on a different album. Yes, indeed. The other album was of Gen 26, Mattin and Bator Sonmez , advising me, and not without a good reason, to protect my ears from the violence that I am about to witness. Matjaz Galicic, who is behind Gen 26 and the label [&] showed great effort on that three way collaboration. Now, as I turn the album to its back side in order to gather more information, here is Galicic again, this time joining forces with Miha Novak in Sist En 343. With them are Marek Marchin and Janka Marchinova who are Supraphon Family and, if I am not mistaken, as there was not too much information I could find, the people behind P.O.P.Shitcords, the label who released this split. Is this warning relevant as well on this album? It most certainly does.

Sist En 343 opens with a distorted loop that can project on the whole album with its development. The levels of distortion and dirty sound are going to celebrate in here tonight. Remember, you have been warned. In a way, the vague rhythm that is created from the dim metal sound that creates an echoing notion of steps can relate to several haunting dark ambient albums. The feeling is most certainly there. But soon enough any trace of this will be run down by a merciless, all engulfing blast of a blow torch. The sound of Sist En 343 is breathing wildly like a captivated beast. Fading down and giving way to the second track, bearing another serial-like name, Galicic and Novak's sound is more distant. Still hostile and threatening, but it seems like there is some sort of a shell standing between the audio body and the listener's perception. The captivated beast is not sedated or anything, but if at all, it sounds like the listener is so engulfed inside this event that the shock is replaced with the sense of drowning. Like putting your ear on the external wall of a heavy factory, the second track marches on and shows some dynamics, as halfway through the track it almost dies. This time the sound can be compared to a wild open fire, reduced to dying flames at this time. But this is of course not the case, and the sonic disruption rises again with full force, adding more texture and details to the flames.

Supraphon Family blasts in with scorching and distorted sound bending, accompanied by different vocal manipulations. These shrieks are powerful and give the surroundings an extra edge. While Sist En 343 had a very meditative and ongoing effect of stillness and oneness, Supraphon Family are much wilder and chaotic, Adding lots of components to the spewing soup of sonic madness. The end of their first track gives us a screaming baby, which turns to metals hitting each other on the beginning of the second track, definitely mind bending experience, painful and straight forward. "SawSiege" achieves the ability to put the mind in an almost trance-like condition due to its certain monotony, and reminds me of a circular saw running wildly (The name of the track does not hide this fact). These two tracks mark Supraphon Family as aggressive and violent, making no apparent attempt to communicate- A need that many would find extremely overrated anyway, especially concerning this genre.

Sist En 343 Vs. Supraphon family is a very interesting split with the fine differences between the two projects, and each of these projects' tracks. Heed the warnings on the cover, take a deep breath and dive in."

Oren ben Yosef, Heathen Harvest, February 2010

VA – A Nice Noise Evening Vol.1

"Do dana današnjeg, a vjerujte mi kad kažem da sam se nagledao svega, nije se pojavilo izdanje sa boljim rješenjem pakovanja CD-a/kasete/ploče u mojim rukama. Spremite se za revoluciju, “A Nice Noise Evening Vol.1″ dođe u vidu CDr-a koji je zapakovan u komad tapete. Da, dobro ste pročitali, komad tapete za zidove i to one stare škole tapeta koje se danas skoro pa i ne proizvode.

Da oduševljene ovdje ne prestaje možete se lagano uvjeriti ubacivši ovaj CD u vaš omiljeni player. Četiri umjetnika (A.U.B., Man Manly, Gen 26, Justice Yeldham) gdje posebno izdvajam legendarnog Justicea Yeldhama koji sa krhotinama stakla i vlastitim ustima proizvodi takve zvukove da je to nemoguće za povjerovati kroz cijeli ovaj materijal žestoko će naškoditi vašem mozgu i ušima jer ima gorih stvari od buke, a to je živa buka. Četiri seta noise artista koji znaju šta rade i rade to tako da slušatelji dožive nervni slom našli su se rame uz rame na genijalnom izdanju koje morate posjedovati. Tačka. Kraj. Nema dalje. Odoh se trovati Satanskim kopiletom."

Sharan, ISK Wezine, November 2009

VA – DRMK Kronika Vol. 1

"Društvo za Razvoj Mladinske Kulture je sjajna ekipa bazirana u Ljubljani u Sloveniji koja se bavi organizovanjem i okupljanjem omladine. Ovaj DIY uradak je sjajan primjer i jedna od kruna njihovog dosadašnjeg rada. Četrnaest pjesama apsolutno nepristojne buke stvorene na najrazličitije načine definitivno nije za svakoga. Ima tu od harsh-noisea pa do noise-rocka, ali sve je sjajno upakovano u jednu krasnu cjelinu.

Kupovinom ovog albuma pomažete razvoj DRMK-a, dakle sama kompilacija ima karakter ne samo promotivnog materijala jedne mlade skupine ljudi, već i pristojne nenaporne molbe za pomoć i podršku. Vizuelno je sve odrađeno na sjajan način, DRMK ekipa poručuje da je kopiranje i više nego dozvoljeno, čak i preporučljivo, ali naručiti ovakvo djelce ne bi trebalo predstavljati neki poseban problem.

Do ovog CD-a sam došao lako. Sletio je u moj poštanski sandučić na Radiju 202 poslan od strane Matjaža Galičiča, noise entuzijaste skrivenog iza projekta Gen 26 i vlasnika izdavačke kuće [&]. Da, [&] je ime izdavačke kuće :)

Oštra i bolna preporuka za bilo kojeg noise fanatika. Buka na najbolji mogući način."

Sharan, ISK Wezine, November 2009

Sonic Disorder / Sist En 343 split 7"

"Sonic violent!!! That is the correct word to describe this piece of wax. Sonic Disorder abused the turntable with 3 painful tracks including one intro. Seems that all of the tracks here are previously released from their tape collections. While Sist En 343 droning a track of evil haunted psychopath looking for a naive girl to be sacrificed. This 7" comes with color paper cover and both band's artwork in the excerpt. Next time they should do a split LP rather than this little 7". I want more!!! Since there are no list of label released this 7", you can contact MatJazz Galicik, Dragocajna 7A, SI-1216 SMLEDNIK, Slovenia."

Rice Factory Zine, April 2009

MATTIN / GEN 26 / BATUR SONMEZ 3-way split 3'' CD-R and

“The accompanying card by my friend Matjaz Galicic (a young man from Slovenia who generates hard-to-believe rumbles with rubber balloons) contains these words: “Hope you’re doing fine and enjoying the summer”. A-hem. This tells plenty in relation to what happens on this desk with 100 incoming releases or so every month. I know that the guy is serious, therefore please accept both the excuses for the delay and an advice: grab these low-budget, high-interest outings on Galicic’s [&] label.

The first is a 3-inch containing what follows: 1) A typical eruption of angry, ear-piercing, raucous vomit by Mattin, a real sandblasting of the auricular membranes; 2) A magnetic-yet-sour monolithic track by Gen 26 (Galicic himself, source unclear; don’t think they’re balloons but you never know. The piece is okay, though); 3) Two segments by Turkish Batur Sonmez, recalling industrial atmospheres from the late 80s with a modicum of trance aroma.

The second disc is a 54-minute CDR. Mattin is again there, teamed with Torturing Nurse, in a pair of magnificently obdurate cataclysmic negation of reality, chock full of distorted voices (from TV?) and ball-roasting fusillades of terrifying blasts. Amper-O-Mat uses a grater, of all things, for three “tribal atmospheric instant compositions” (sic) that in truth sound a bit “Z’EV during a depression stint” but, overall, are acceptable. The best comes at the beginning, this time: the longest selection, Aaron Hull’s “Crumble” (a live recording, for good measure) is a splendid labyrinth for losing yourselves in cerebral fog. Balanced, refined and slightly threatening at once, this is a mesmerizing example of electronic minimalism with the right dose of interference, just about enough not to destroy the killer charm of the essential design. Great stuff, and I’m going to ask Aaron for additional material. We’re at that kind of level."

Massimo Ricci, Temporary Fault, January 2009

MATTIN / GEN 26 / BATUR SONMEZ 3-way split 3'' CD-R

“This is quite an unusual little 3-way split. First I get battered with two harsh digital noise tracks, each sounding quite similar- the first from Mattin and the second from Gen 26. These tracks share a similar approach in their unrelenting walls of digital static. It's kind of intriguing in a trance-inducing sort of way, but things get a little stale after a minute or so. The last two tracks belong to Batur Sonmez, and these are by far the most interesting things on the disc. Some of the harsh digital sounds remain, but they are mixed into fields of organic delayed drones. Overall, the feel is more dynamic and the atmosphere is aesthetically rich and varied. I like how [&] is highlighting Slovenian artists, and while I'm not completely sold on this 3" cdr, I think that future offerings might be worth checking out. 6/10"

Charles Franklin, Foxy Digitalis, December 2008

Napalm Noise / Sist En 343 - Split CD

“Artist: Various Artists
Title: Split Release
Label: Underground Pollution France
Genre: Noise
This release is split between Napalm Noise and Sist En 343
01 Napalm Noise - Untitled
02 Sist En 343 - Untitled

Napalm Noise's seven minute long track is simply awful. I have nothing against noise; well-defined noise music with actual creativity and/or thought is appreciated (ironic, isn't it, a noise elitist). But this isn't even worthy to be called noise. This sounds like and most likely is an improvised rehearsal recording, with a guitar, a bass, and some vocals, although I doubt there was actually any thing to rehearse, apart from the savage, chaotic riffing and the mindless blasturbation. The recording device is either a cheap webcam microphone or located on top of a washing machine, distorting all sounds and giving them an atonal mediocrity. Don't expect anything remotely similar to other French grindcore acts like Gronibard or Ultra Vomit. This is an unlistenable low quality grind rehearsal, yielding a shitstorm of a noise recording. Some parts of this track remind me of some of the Nirvana live shows, where the musicians are too high on heroin to actually play anything decent. Now imagine that, with revoltingly lo-fi production and a more crazy and improvised approach to the guitar playing and drumming, and you've got yourself Napalm Noise. At some point, you can hear someone moaning unintelligible syllables into a cheap distorted microphone, and this is followed by substandard blast beats. The members of Napalm Noise obviously don't take their music seriously, and don't expect you to do so.

Sist En 343's track, on the other side, is a rather well produced noise piece. It starts with a soft, ambient noise, with some form of steady rhythmic pattern, and occasionally has more melodic noise added to it, which is very nicely done. For the first few minutes, I could imagine myself rowing a small boat across a lake, surrounded by haze and fog, which is in part due to the rhythmic structure of the low and slow noise in the background. More noises, just as dark and dull, are added on top of the regular “beat”. At around nine minutes into the track, the noises fuse and escalate together in a crescendo of soft, soothing noises. Sist En 343, at least on this split, does not play a harsh variety of noise music, but rather a noise ambient type of variant, one which I believe to be very coherently defined in this track. Over the minutes, the noise gets harsher, and the music sounds more and more like it was recorded in the middle of a tornado, where order and logic crashes together, producing a tasty and dark chaos jam. Spread it over a piece of toast at five in the morning, I'm sure it'll wake you up just fine.”

Romain Bonilla, Heathen Harvest, October 2008

Mattin, Gen 26, Batur Sonmez - Untitled

“Artist: Mattin, Gen 26, Batur Sonmez
Title: Untitled
Label: [&]
Genre: Noise / Experimental
Tracklist: 4 untitled tracks

How funny am I, plus it's my fault for not checking for the website of a label I have already heard about before I really had to do it. Can you imagine how hard it is to find on Google something that's called "[&]" ? well not that hard. I found it right away. But I was not sure and kept on looking, wasted one hour on this before realizing my mistake. But that's ok. I learned some stuff on the way and I am still happy. No harm done.

Four tracks, three projects that made these tracks. Is it a split? A collaboration? I am not sure since I am holding in my hands a CDr copy of the album with no other details. But for the sake of this article, it might be a good thing not to know who done what, and give each track a separate attention.

First track begins with an intense feedbacked static mayhem. Distorted vocals and crunchy sounds that go well above the limit between loud and panicking. Very interesting and different sound textures clashing with themselves, thus creating even more textures. Almost as if a side effect to the howling madness, I can hear some low beats sometime and small sounds that are adrift from the main build up. There are several different pulses within the five minute length of the track, standing alone and then intertwining with each other. Very well done.

Second track begins with as much distortion and is much more static. The focus is the low, almost too low to be heard, bass drones that constantly shift under the raging and high pitched storm. I can almost visualize in my mind the different elements shifting on under the other.

The centre of the third track is a sample from the amazing track "Masked ball" done by Jocelyn Pook (you can hear it on the soundtrack for the movie Eyes wide shot) which swiftly catches the attention. Played under heavy pressure from low drones that distort it until it fades away and give place to the haunting feedbacks that brings to mind the wonderful album "Hymns For Heresy 1&2" by Nocturne. A short piano is heard, but goes away as fast as it came. Fourth track is a direct continuity were these feedbacks grow heavier and denser. A punishing drift to the end of the album, when silence comes back again.

However it was recorded between the three parties, this joint effort is a very powerful and impressive one. The sound is hostile and severe from second one to the end of it. Mattin, gen 26 and Batur Sonmez offer no remorse or consideration to certain people who would like to breath in between these assaults. Good for them. I am happy to hear it the way it is. Look for this one if you feel the way I do!”

Oren Ben Yosef, Heathen Harvest, October 2008

Mattin, Gen 26, Batur Sonmez - Untitled, [&], 3'' CD-R

"3" noise CDR from this new Slovenian label. These little CDRs are, for me, the perfect format for noise music as it's a genre that, while liking it very much, is one that struggles to hold my attention for long periods of time. A band gets very little time within which to impress or depress on a 3" disc. Appearing on a split or compilation 3" CDR means one gets even less time. Not much more than an old 7" single. Of these 3 participants it is only Batur Sonmez that is truly up to the challenge throwing a great variety of sounds into the (cement) mix(er) and creating a fast moving and restless construction. The other two provide compositions that are just a little too static for my tastes.”

Ian, Wonderful Wooden Reasons, August 2008

Various Artists - A Nice Noise Evening Vol. 1, [&]

“Artist: Various Artists
Title: A Nice Noise Evening Vol.1
Label: [&] Slovenia
Genre: Noise
Contributing artists: A.U.B., GEN 26, Man Manly and Justice Yealdham And The Dynamic Ribbon Device

From Slovenia arrive to us an example of how interesting, constructive and well spent can be a night inside a lost club somewhere in the middle of the intense and highly cosmopolitan Ljubljana. After a good alcohol anaesthesia and even who knows, with the company of a female archetype representing the typical beauty infinity that flowers gracefully and for ages in this European capital, we are finally spiritual prepared to face the biggest of atrocities rising in our front. I mean, this is only a (stupid) idea I am giving to you in case one day you decide spent some days in Slovenia and therefore watch a showcase of the most extreme noise done in present time.

For now I will only try give to you the best possible description of what your mind and hears will experience in such possible event, through this small 4 themes cd-r sample recorded in one of those live sessions ( in this case at the Club Sot on 27/11/2005) and from which we luckily get a copy to taste. 4 distinct noise projects, with one track each, showing and injecting the most piercing sound inside our souls.

Opening all the hostility rises A.U.B. beginning with a simple electric guitar that is quickly transformed on a torture instrument that release merciless, savage and distorted frequencies from irregular and intense feedback waves, thus creating a platform for a evolution of disturbed textures of thick electronic experimentalism ( xylophones and rude electronic sound games are new found weapons here), till aim a mental breakdown with a final dirty sample of what seems to be a karaoke version of Wham!´s hit "Wake Me Up Before You Go Go". A must.

GEN 26 comes next upon a style equally mad however more focused and less vacant. We can recognise a more objective nature on the liberty of a wild brutality that flows progressively through corrosive drones that achieve a great sensorial impact creating a massive typhoon of irascible violence. Variety it is not something very present in this track but it is without doubt an efficient demonstration of electronic savage through gear and mind.

After the apocalyptic monstrosity we experienced with GEN 26, Man Manly cast us out to a sound scenario a little bit more dry, not so intense but equally devastating. One and non stopping crescendo solo note, under a motorized sound like effect. In fact the first sensation we have is to be seat over a motorcycle that is gaining speed at each second till reach an dangerous and not wise velocity that will lead us a painful end. That end can be perfectly the sudden insane scream burst, fused on completely irresponsible frequencies that are out of any control, recreating a mental accident that move us not for the nearest hospital but to the absolute silence. Velocity kills.

At last but not the least Justice Yealdham And The Dynamic Ribbon Device emerge to close this short compendium with a vision not so different from the previous ones but with definitely with a personal touch. They unleash the 4th beast amidst cruel atmospheres of heavy and cold frequencies through a process of ultra manipulation. Order is submitted to intercalary waves of radioactive and corrosive sound patterns that seems to dilacerate slowly a mountain of twisted iron. A devastating group of explosions resulting from electronic bestiality, revealing the inner side and the implacable nature of its creator. Armageddon is in his hands boys and girls.

Well, here it is…a vision of what could be a beautiful night in Slovenia, lovely isn't it? Well I think it is …the sound is great, Slovenia is beautiful at this time of year, alcohol is probably cheaper than in your local store and Nordic beauties…well….I think Nordic beauties will prefer someone who listen Ricky Martin or something…so….hell with them ….NOISE IS POWER.”

Komah11, Heathen Harvest, December 2007

Various Artists - DRMK Kronika Vol. 1, DRMK

"Artist: Various Artists
Title: DRMK Kronika Vol.1
Label: DRMK Slovenia
Genre: Avant Garde / Noise

01 Gen 26 - “Intro”
02 Propalitet - “Propalitet”
03 A.U.B. -”Radio Shitenia,Prvi Program” (REH)
04 Sist En 343 - “Merzfuk” (Live in Swenak,26.10.2001)
05 Propalitet - “Daj Mi Majko” (Droje Ljutice)
06 Gen 26 - “Incubator of death (Dickless Tracy Cover)
07 A.U.B. - “Tako Se Je Kalila Sperma” (Live 27.11.2005)
08 Propalitet - “Turist=Terrorist”
09 A.U.B. - “Umri v tezkih Mukah!” (Live 06.04.2006)
10 Gen 26 - “Brez Naslova”
11 Propalitet – “Ovo Je Moj Film”
12 A.U.B. “Obsedno Stanje” (Live 14.04.2006)
13 Gen 26 - “Se En Komad Brez Naslova (Based on Dickless Tracy's “Outside”)
14 Minimal Bastard - “Brez Naslova”

"Copying and public performance highly encouraged!", "Copyright rights denied!" screams off the release sheet of this Slovenian weirdo noise rock compilation. DRMK is a Slovenian “Collective for Development of Youth Culture” who have organised over 60 events in Ljubljana over the last 5 years. These “Youth Actions” combine live performance, video art, comics and even an art exhibition at an old castle. The organisation is non-profit, and aims to involve young people in creative development and performance. The DRMK ress release had this to say: “We will not stop our actions, because we believe that there are not enough alternative music and cultural events involving creative young people in the area of Ljubljana, Slovenia and the world. With voluntary work, enthusiasm and cooperation we do not close our eyes, but keep launching concrete actions and projects."

The Drustvo Za Razvoj Mladinske Kulture have not only drawn together young Slovenian musicians and artists, but also hosted noise festivals featuring acts from Europe, the good old US of A, Japan and Australia. The second release in this series includes sonic punishment from Japanese noise-stalwart Merzbow, America's Crank Sturgeon, and Sweden's Moljebka Pvlse. The CD releases began not only to get the message of Slovenian noise-culture to the world at large, but to raise money for a DRMK sound system.

The bands differ in approach, but all are, abrasive, noisy and thoroughly rude. Avalanches of static, aircraft take-offs (and crashing), are interspersed with bizarre am radio rock, feedback loops, nonsensical yelling, and the dying blurps of analogue torture machinery. Masami Akita should be proud.

A great compilation for a great cause, not the least of which is to keep young people well and truly away from the modern demon of popular music and culture. Pick one of these up. Or why not 10?"

Gottskalk, Heathen Harvest, November 2007

VARIOUS ARTISTS - A nice noise evening Vol.1, [&]

"A rare case of wallpaper package that does not contain wallpaper music, this Spartan production by Matjaz Galicic’s label features four low-budget noise projects. Two hail from Slovenia (A.U.B. and Gen 26), one from Australia (Justice Yeldham And The Dynamic Ribbon Device) while Man Manly comes from “Artistic nomad state”. Go figure. All the “music” was recorded live in Ljubljana, Slovenia in the November of 2005. You won’t find a place to put your mind at rest throughout this record but, if taken in the right moment and with a very elastic disposition, there is some good enough stuff to be appreciated here, often dressed by a certain degree of irony (check the absurd electro-version of Wham’s “Wake me up before you go-go” - or is it? - at the end of A.U.B.’s segment). Abundant distortion all over the place, total saturation of the brain, an increasing nervous distress while listening to the Man Manly piece, which sounds like an earth loop that’s about to disintegrate your head paralleled by some dysfunctional filtered screaming. Without pretentious stances or stupid tazebaos backing the hullabaloo, and in consideration of its not excessive length, this CDR passes my patience’s test. Better still, it’s almost amusing to a certain extent, as long as you don’t expect your girlfriend to show you any respect after you play it.”

MASSIMO RICCI, Touching Extremes, September 2007

GEN 26 - A Door To... (Mask Of The Slave)

"Two tracks on a 3-inch, yet another example of Matjaz Galicic's explosive noise potential through ridiculously cheap means like rubber balloons, kitchen forks, spoons and electronics. The first: screaming fire, subversive violence, piercing distortion, unclassifiable stridency, compressed steam, ears in jeopardy. No aesthetic of sorts, no declaration of intents; the sounds comes out as it is, and it blows your socks off. The second: disturbed hum, pops, zaps, scratches, interference upon hissing, crackle, pernicious tranquillity, prelude to devastation. Non-biodegradable birds chirping a single ultrasound after being splattered on a grill machine, or - if you prefer - a referee who ingested his whistle and dies suffocated while trying to throw it up. All of this was made with domestic materials, but it sounds like a crazed computer circuit. Move over Merzbow, there's a new kid in town.”

MASSIMO RICCI, Touching Extremes, September 2007

A NICE NOISE EVENING VOL. 1 compilation CD-R and DRMK KRONIKA VOL. 1 compilation CD-R

"Got a couple of cool CD-Rs in the mail the other, er, month from Matjaz Galicic, Slovenian everyman who has a noise outlet called Gen 26 and a label called [&]. He used to run a couple of classic labels dating back to 1994, Abnormal Tapes and Fuck-U-Tapes (not to be confused, of course, with Fuck It Tapes). [&], as you can see, are responsible for "A Nice Noise Evening Vol. 1" which is recordings taken from an evening in Ljubiljana, Slovenia in 2005 featuring the aforementioned Gen 26, A.U.B. (also from Slovenia), Man Manly ("artistic nomad state") and Justice Yeldham & The Dynamic Ribbon (Australia). I don't know if Matjaz did the "D.R.M.K. Kronika Vol. 1" CD-R too, but he appears on it, along with A.U.B., Propalitet, Sist En 343, and Minimal Bastard. The D.R.M.K. is the Ljubljana-based "Collective for Development of Youth Culture" (the acronym is Slovenian you see), who put on all sorts of "youth actions" (concerts), exhibitions, art workshops, etc, featuring Slovenian and non-Slovenian acts in a "non-profit, non-commercial way and involve young people who otherwise might not have a chance to perform and take part in events such as these". Sounds like fun!

For a soirée that brought together four acts from potentially disparate locations, I would've expected "A Nice Noise Evening Vol. 1" to be a bit longer than the pithy 25 minutes it clocks in at, but hey, works for me. Each act contributes about 7 minutes of noise. Most immediately enjoyable are A.U.B. and Man Manly. The former does up a strange brew of sizzling feedback and xylophone/toy gamelan virtuosity topped off with the addition of a melting karaoke version of Wham!'s "Wake Me Up Before You Go Go". Sounds gimmicky, shouldn't work, but it does! Kinda like Japan's Thirdorgan, with more of a sense of humor. The latter, Man Manly, uses homemade instruments to bleed out a seriously head-emptying droning throb that only increases in both pureness and intensity as the track wears on. I thought my sinuses were going to erupt towards the end, so I liked it. Now the other two "sets" were nothing slouchy either - Gen 26 dredge up a nice haze of basement-birthed feedback swirl, guitar (?) crunch and spiked blasts of supercharged oscillation while Justice Yeldham & The Dynamic Ribbon Device belie their goofy name with menacing static gamma rays and spectral crystallizations steeped in abused pedals and synths. Sprechen sie sassy? It's worth mentioning this "Nice Noise Evening" comes housed in a sexy foldover sleeve made from what appears to be a thicker wallpaper-type textile, in hand-numbered editions.

The "D.R.M.K. Kronika Vol. 1" compilation, issued by D.R.M.K. themselves, brings together five acts all with ties to the collective: Gen 26, Propalitet, Sist En 343, Minimal Bastard and A.U.B., all contributing between 4 and 15 minutes of exclusive music. All five are pretty diverse (though all with noise roots...well almost all) so this compilation makes for an entertaining listen, especially since all the tracks are mixed around and no artist's tracks play consecutively. Like the Slovenian noise mixtape you always wanted! Gen 26 plays the most straight-forward, brutist noise on the whole compilation, approaching Masonna/Prurient terrortories with single-minded feedback assaults "Še En Komad Brez Naslova" and "Incubator of Death", while A.U.B. returns with his/her/it's brand of junkyard mechanical percussion, drones and feedback joined up with keyboard quirks, same as the ones I played around with on my brother's Casio circa 1990 or thereabouts. Awesome blast from the past! Of the remaining artists, Sist En 343 contributes just under 4 minutes of sound in the excellent "Merzfuk (Live In Swenak 26.10.2001)", sounding equal parts hurricanes, earthquakes, typhoons, and other world-ending visions of apocalypse, and Minimal Bastard also goes the single-track route, only with an 11-minute barrage of mutated drum machine beats and what could be a guitar begging to be put out of its misery. It has a lot more in common with some of the more severely bent black metal than it does noise, like a weird meld of the Battlecruiser label's bedroom simplicity, the production values and the distortion of early Anaal Nathrakh, and the militant head-down stomp of Bone Awl, all without a single word uttered or (possibly) a real note played. Weirdest, however, are the four tracks from Propalitet, none of which contain a bit of noise at all. It sounds like one guy belting out fairly rockist tunes on an electric guitar, devoid of any other instruments, imbued with a strange punk rock feel despite Mr. Propalitet's mid-paced, slightly-nasal, somewhat-bored sounding speak/sing voice. Somewhere in the midst of Frank Zappa, Ludo Mich, Bruce Russell, Keiji Haino and J. Mascis sits this guy. Quite a curious and cool disc, and it comes with a boss 80's DIY-style fold-out collage containing pics, info, tracklists, etc. "D.R.M.K Kronika Vol. 2" is on the way and is slated to feature a couple of the guys mentioned here in addition to people you might already know, which is to say Merzbow, Crank Sturgeon, George Cremaschi, and Moljebka Pvlse.

If you're bored of the steady stream of Californian or Japanese noise discs you keep buying, it might be worth it to take a flyer on these, as you're sure to hit on something that tickles your fancy amongst the seven different acts featured. The D.R.M.K. disc is available throught their website while you can get "A Nice Noise Evening Vol. 1" from Matjaz Galicic right here."

Matt, Outer Space Gamelan, August 2007


"A nice noise evening appears to be a document of a show that took place in Slovenia on September in 2005. I've not heard the work of any of these artists so keep that in mind when reading, all I know of them is what's on this disc.

First up is A.U.B. an act of which I am unfamiliar with who delivers some noisy wanky experimental music. I'm generally not really into this kind of stuff but it's done pretty well here kind of reminding me of Jazzkammer but not quite as noisy. The only annoying thing about it is the drum beat that is featured in the first half of the track. But either way it embraces that sort of thing and goes into some nice noisy textures with tongue-in-cheek 80's musical references later in the track. It's all in good fun and not in bad taste so it turns out to be an enjoyable little number.

Gen 26 seems to come with a bit more of a serious edge but because of this and the inability to rise above average, the set comes off as a bit generic. He offers up some crunchy noise that slides in and out of mid-ranged feedback tones and gains in movement speed and intensity towards the end. Definitely not bad in any sense but at 5 minutes with some one dimensional noise it's nothing really to write home about. Solid material but playing it safe here.

Man Manly can most accurately be summed up with, not even a word, but one idle action: yawn. This is a very sparse track featuring basically one synth tone (could be a feedback tone too, it's pretty basic) that glissando's over the course of 5 minutes of the 7 minute track. What is it doing the for the other 2 minutes? Not much, just sitting there, static, doing only one thing, wasting my time.

Justice Yeldham and The Dynamic Ribbon Device finishes this puppy up and I can kind of tell he's the heavyweight here. His track is the keeper here with a lot of great textures and dynamics (he isn't kidding). There's a lot of moving pitch shifting and sounds of breaking glass at the core I imagine. It shows though, and it's quite well done. There are moments when you can tell the control is very particular which makes the listening engaging and shows his ability to get his ideas across and keep his vision. Very well done.

Justice Yeldham's track is what really makes this compilation worth while. I'm not sure how it compares to his other work but for an introduction you may want to check it out. The other artists seem like acts you could catch at any crappy costume noise show at your local VFW so the compilation ends up leaving something to be desired.”

Overall Rating: C+
Composition: C+
Sounds: C
Production Quality: B-
Concept: C
Packaging: C

Xdementia, Blood Ties WebZine, June 2007


"This is an excellent 4-way split. I's often difficult to collect 4 different artists for one release. On a compilation you have too many artists to think about everything have to fit together, but when it's 4 artists/bands it have to be a good match, and on this record it' just a perfect match. I have to say it's the first time I got to listen to music from all these artists, but I want to hear more in the future. Every artists here does their own thing, completely different from the other artists, but still very similar. Every track is a true pleasure, and for people who wants to get some good variable noise, this is a good record to pick up."

Wjiik, Discogs Personal page, March 2007

FUCK YOUR HEAD WITH AN IRON FIST compilation CD-R (Musicaly Incorrect Records)

"From all points of view this is a really good Compilation.

It is featuring 14 amazing Industrial and noise acts. About 5 - 6 minutes each track. Bizarre Uproar, Halthan, A Machine Called Orgasm, Barrikad & MK9, Rulla, Cloama, Funeral Mongoloids, Moke Grotton, Watchdog, Sist En 343, Tuho, Gelsomina, World Downfall & Squamata.

Harsh, Noise, Industrial styles are meeting Noisecore on this disc. The artwork is great too, a good work well thinked and totally true to the DIY way.

Summarizing, If you want noise this is your Comp."

Manuel, R.O.N.F. reviews, February 2007

GEN 26- F*/Jesen/Live - CDr (Smell The Stench)

"Gen 26 is the conceptual noise-project of Matjaz Galicic. In Rigodon#4 I wrote about his release BLN’: “I like the idea of a conceptual approach but unfortunately the result is in this case a bit disappointing. I think more variation would have been possible and would have enlarged the listening pleasure.”. Well, on this release Matjaz shows the same conceptual approach but with a lot more variation and a far more interesting result. He uses balloons, furniture, hands, his mouth and a wooden floor to produce all kind of distorted sounds and experimental noise. The first 4 tracks (“F*”) consist of scratching, creaking, rattling noises that reminded me of Invader From Mars. It never get’s very loud. The next 4 songs (“Jesen”) are much louder and tend to harsh noise. But not the kind of noise that’s made with a chain of pedals. Gen 26’s noise never get’s dense, there’s always room for silence or volume-changes. The CD ends with a short but very powerful live-performance with many different kind of sounds. Since I was not so impressed by the first Gen 26 release that I heard I didn’t expect much from this but actually this turned out to be quite a good release."

Marcel Herms, Rigodon #5

GEN 26- F*/Jesen/Live (Smell The Stench)

"Matjaz Galicic's relationship with inanimated objects is unbelievably creative: he manages to get usable sounds from a floor, various pieces of furniture, rubber. In the vein of early Daniel Menche, Gen 26 puts contact microphones in every conceivable spot to generate a world of distorted babbling, jet-propelled chorales and electrostatic discharges that seem to spring out of a high-priced laptop, while instead are just the result of this Slovenian sound artist's curiosity and love for self-expression. Unconventional to the bone, Galicic never loses his focus on the core of significance, showing aspects of his music which we could not be completely accustomed to; yet, his imagination makes sure that the sounds he conjures up keep their artistic value while establishing a new interesting lingo."

MASSIMO RICCI, Touching Extremes, April 2006

GEN 26 'BLN' - 3" CDr (self-released)

"For this record GEN 26 only used balloons and his hands as a sound source. On the inlay we read: "A sheer raw microcosm of handmovement captured from a set of balloons for very subtle sound receptivity. Captured sound waves being recycled with adding slight hand moves and being built on feedback". The outcome is a low rumbling noise that goes on and on until halfway some squeeky sounds are added. These sounds become more frequent towards the end. I like the idea of a conceptual approach but unfortunately the result is in this case a bit disappointing. I think more variation would have been possible and would have enlarged the listening pleasure. Now it's nice as an experiment but not something that I'm going to listen to very often. But maybe I miss the point. If you want to find out yourself don't forget that this is a limited edition of only 48 copies so don't wait too long."

Marcel Herms, Rigodon #4, February 2006

Gen 26 - F* / Jesen / Live CD-R

"Let's just post another lo-fi noise cd-r that I got in recently. It's always cool to get stuff like that in for a review. Although I never heard from Gen 26 before but seems he even played Belgium in a squat once with Fokking Odal (dutch hondenkoekjes collectief), anyways. Seems like this Gen 26 is the solo noise/experimental project from Matjaz Galicic who profiles himself as a multiple sub-cultural creative spriritual activist. This F* / Jesen / Live cd-r got released after all on the Australian Smell The Stench Records known for its numberous noise/experimental cd-r releases.

It seems like this cd-r is splitted up in three chapters. With the "F*" chapter opening up the cd-r with four recordings of basic rumbling harsh noise. It definitely feels basic because I don't feel like he's using any pedals or sort of like stuff. Seems like the recordings are based on the use and demolition of old computer hardware pieces in combination with hands, contact microphones and his own instincts. Very raw, rumbling and basic harsh noise coming from a primitive sound source.

The second chapter formerly known as the "jesen" part, is more of a personal experince for him I guess. Seems like these recordings were made by using balloons and sound surfaces in his room, the use of his hands and mouth in combination with contact microphones. Perosnally I liked this chapter a little bit more because it sounds less basic and it sounds different. But still keeping it very harsh and brutal with the use of a minimal of sound sources and basically no equipment. And that's kind of interesting.

The "live" chapter features a live session recorded in Slovenia at a show in 2002. And personally this is my favorite part of the cdr, pretty violent , harsh sometimes sharp swirling noise, with violent walls of rumblings. This is good harsh lo-fi noise with enough intensity to make you crumble down the floor.

In the end I feel like this cd-r is more of an exploration for the creative mind behind Gen 26, exploring and recording his experiments and willingly enough to share it with us. I like the concept of using a minimal elements to produce maximum effectivity. Comes on a cd-r with a full coloured inkjet printed sleeve, lo-fi and basic as fuck.”

Score: 5/10

Ray Kluze, Semtex magazine, February 2006

GEN 26 - BLN (Self release)

"A very peculiar item comes from Slovenia's Matjaz Galicic, who recorded this 3-inch CD using a microphone and a set of deflated coloured balloons which he rubs and drags around the mike's capsule obtaining a "sheer raw microcosm" of hand-generated noise. Surprisingly enough, the outcome is some sort of low-budget micro-concrete music which sounds like if it was generated by a laptop. The matter crumbles and breaks in absolutely uncontrollable ways, at the same time maintaining an overall cohesiveness comparable to more "evolutional" projects; it could well be a recording of a volcano's rumble and you couldn't tell the difference. I'm looking forward to hear more from Galicic - maybe a structured noise piece?"

MASSIMO RICCI, Touching Extremes, December 2005

SIST EN 343 & Noisebitch - Say Yes To Life, Say No To Music CD-R

"Two experiment experts. Split begins with reverb monotony - a drill before 22 min. whore fucking named "noise" and it goes quite well (some white flow from ears). 3rd track - hatred posed on music - harsh!, finally iron insect party in a year 2937. Cool!"

Infected By Dementia #2

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