"dropout elements"
Year:  2016
Country:  US , UK
Label:  Chocolate Monk
Format:  CD , cassette
Tracks:  4
Time:  36 min.
Genre:  electronic
Style:     Noise        Musique Concrète

  Discogs  ,  Bandcamp  ,  Chocolate

"Songs about Jason"
Year:   2013
Country:   US
City:   Oberlin  (Ohio)
Label:   Hanson
Format:   cassette
Tracks:   2
Time:   20 min.
Genre:   electronic
Style:        Experimenal       Noise

Discogs  ,  Lastfm  ,  Bandcamp  

"Grapes and snakes"
Year:  2012
Country:  US
City:   Oberlin  (Ohio)
Label:  Pan rec.
Format:  LP
Tracks:  2
Time:  40 min.
Genre:  electronic
Style:        Noise      Experimental

  Discogs   ,   Lastfm   ,   Bandcamp   ,   Soundcloud   ,   Pan Records   

https://ia902608.us.archive.org/32/items/HarshNoiseharshNoise-2011/aro.jpg"Modern Jester"
Year:  2012
Country:  US
Label:  Hanson rec.
Format:  CD , LP , cassette
Tracks:  7
Time:  70 min.
Genre:  electronic
Style:       Abstract         Experimental

Aaron Dilloway (b. 1976) is an experimental musician. He is an improvisor and composer originally from Brighton, Michigan who works with the manipulation of 8-Track tape loops in combination with voice, tape delays and various organic and electronic sound sources. A founding member of the industrial noise group Wolf Eyes (1998 - 2005), Dilloway now resides in Oberlin, OH where he runs Hanson Records and Mailorder.
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Year:  2013
Country:  US
Label:  Hanson rec.
Format:  net
Tracks:  8
Time:  47 min.
Genre:  electronic
Style:        Experimental       Noise

Este disco engaña y muucho, puesto que tiene una portada muy severa y sordida y los primeros minutos del disco todo suena a HARSH NOISE. Pero es solo la primera impresion, a primera vista. Porque a medida que vas escuchando el disco te das cuenta que, quien hay detras, sabe lo que se hace. Luego a uno le gustará y otro lo detestará, pero Aaron no nació ayer y sabe mucho sobre las teorias de Luigi Russolo y sobre los fundamentos de la MUSIQUE CONCRÈTE. El artista, porque esta vez sí se trata de un artista y no de un adolescente haciendo HNW, ha experimentado, creo yo, con todo lo que ya se habia experimentado desde tiempos del citado Russolo (1913) hasta la actualidad. Aqui hay las tipicas cortinas de ruido producidas por los pedales de distorsion y los efectos propios (que son muchos) de los micros de contacto. A ello hay que añadirle grabaciones en el bosque y en la ciudad (FIELD RECORDINGS), software, programadores informaticos, synthetizadores, manipulacion de cassetts (ACUSMATICA) y un sinfin de pequeños sonidos aislados, ruidos o atmosferas, que el oyente no puede sino mantenerse callado y estar a la espera de que vayan sucediendo cosas, por extrañas y rocambolescas que estas sean. Es decir que lo que a priori parece un disco de NOISE llega a convertirse en pura y bella MUSIQUE CONCRÈTE. (Anécdota: el disco se titula "Siena" porque el autor es de alli, Italia).
  Discogs   ,   Lastfm   ,   Bandcamp 

Year:  2009
Country:  US
Label:  Hanson
Format:  CD
Tracks:  4
Time:  47 min.
Genre:  electronic
Style:        Dark Ambient         Noise

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Year:  2002
Country:  US
City:  Chicago
Label:  American Tapes
Format:  cassette , CD
Tracks:  2
Time:  50 min.
Genre:  electronic
Style:        Noise         Experimental

For I Drink Your Skin Dilloway and Drumm each made up a composition of sounds generated by the other guy. According to the Hanson website, the samples Aaron gave Kevin consisted of loops pulled from a Renaissance eight-track tape, and the mini-disc that Kevin sent Aaron was covered in spilled coffee—its contents a mystery. The way Dilloway treats them, it probably doesn't matter. His side of the release piles stroboscopic flashes of God-knows-what on top of rhythmic loops and interminable waves of full-spectrum clutter. It's hard to concentrate on any one part of Dilloway's track, but he glues the whole thing together with a series of identifiable loops, which are separated from each other by piercing high frequency tones shrill enough to piss off the neighbor's dog. I wouldn't call it a suite exactly, but I hear at least three distinct sections on this track. The sound is as turbulent and harsh as anything else Aaron's done, but those loops hold it all together and give some shape to the otherwise shapeless chaos of his work.

Drumm also uses a loop or two on his side, but he treats them differently by carving some space out around them. One of those loops sounds vaguely like a cut and spliced horn section from Renaissance's "Mother Russia," though I can't be sure of it. It also sounds like something from a Mystery Science Theatre 3000 episode: blithe enough to be fun, but working hard to sound scary too. Lots of flanging, oddball pitch-bending, and a pinch of Theremin-like spookiness further add to the funhouse effect. That kind of variety and relief makes it easier to focus on everything Kevin pushes through the speakers, and by working with concentrated aggregates of noise, he keeps the details from rushing by too quickly. The sounds are still harsh, they're just a touch more approachable thanks to the way Drumm handles them.

I'm glad Hanson finally made this album more widely available. Both pieces are intense, heavy, and just as much fun as anything found on either artist's better known albums. Remember, Sheer Hellish Miasma and Dread were both recorded around the same time as I Drink Your Skin, so it comes from a particularly strong period for both of them. That it is not as well known is only a matter of availability, not quality. Now that there are more than 100 cassette copies floating around, I suspect it will win a lot more love. (*Review writen HERE ).
  Discogs   ,  Bandcamp  ,  American Tapes  ,  Hanson Records