The focus of this blog had been firmly on Merzbow and to a lesser extent The Dead C, which is kind of unintentional because I really love the whole US noise scene and I don’t think I’ve done enough to draw some really good records to your attention. One of the best noise records I own is Boggs Volume Two. You see one of the problems with being an obsessive compulsive record buyer is that sometimes I forget to listen for simple enjoyment rather than consuming the latest thing I’ve bought and then moving on. Part of the reason is the quest to keep this blog as current as I can but I’ve decided to have a record buying moratorium for a couple of weeks and concentrate on those records that got me hooked on the whole noise thing in the first place. I mean, that is the reason I started this shitty blog after all.
Given his tenure as a one time Wolf Eyes member it would be easy to assume a continuation of the skull-fuck, death-disco of his former band. What Dilloway actually produces is a more sublime form of noise which is less sheer noise terror and more explorations in sound and texture. More Giffoni and less Hair Police if that means anything to you. Dilloway steps away from the terror and brutality of the scene around him and embraced space and light. The four tracks here are constantly changing. Like Wiese yet more muscular and less fussy. The first two tracks are Dilloway embraces tape experiments, glitch, harsh noise, walls of distortion, frequency abuse and loops. This might sound really dumb but the sound on Boggs is really tactile. Boggs is a real noise nerd’s wet dream, especially the first two Seizure tracks . You can pick up this really cheaply on ebay and Amazon and I urge you to do so because your record collection will suck without this. No shit.