Wolf Eyes really tend to divide folks right down the middle. Love ’em or can’t stand ’em. And in typical Wolf Eyes fashion, they’re did their very best to annoy the fuck out of everybody with their ‘big break’ Sub Pop debut. A caustic mouthful of acid, spit right in your eyes (ears?). A head melting electronic throb, equal parts damaged malfunctioning synths, squealing feedback, ultra distorted howls, skittering skipping sort-of-rhythms. Wolf Eyes, more than almost any other band, definitely sound damaged and fucked and seriously messed up. But what keeps Wolf Eyes from being a boring old straight up noise band? Hard to say. But something definitely does. Some mysterious intangible something. They are definitely harsh, bit in no way unlistenable. In fact it’s strangely beautiful and subtly (VERY subtly) melodic. Equal parts Factrix, Merzbow, Throbbing Gristle, Whitehouse but all warped and twisted into the uniquely fucked sonic world of Wolf Eyes.

Mincemeat or Tenspeed at first come off as a smart ass take on Steven Reich. However, as the needle grooves through, Mincemeat builds on the riff, shatters some rhythms, and shifts into new hooks. This is loud minimalism and full of all kinds of great ideas.

Angel of Decay is Jonathan Canady, formerly of both Dead World and Deathpile, who creates dark surrealism using vintage analog keyboards. Covered in Scars blends chilling dark ambient with words and concepts culled directly from a lifetime of personal nightmares. Relapse Records.

Alex plays shredder guitar in bands like Normal Love, Satanized, Flittermice of Eld, formerly Thoughtstreams, etc. Jesse plays improvisation and noise with a bunch of people. Yngwie Malmsteen meets Maryanne Amacher. Loud, high-frequency flutter and crunch. Now with Eli.