Presenting harsh noise within a musical context is a challenge. Maybe it’s best to approach it with household sounds. Put on a tea kettle. Let it boil and screech. Throw ice cubes in a blender and turn it on. Next, start the vacuum cleaner. In the simplest terms, this is a recipe for harsh noise. “It takes a certain type of brain to actually enjoy and love pure, harsh, static noise or violent and abrasive power electronics,” said Alex Kmet, who operates the noise project Climax Denial. With popular music geared toward catchy choruses, it is of no surprise that mainstream culture struggles to understand noise music.
Kmet became involved in the Milwaukee experimental music scene in 2002 when the harsh noise scene was almost nonexistent. He credits Mildew as the first veteran noise group he encountered. “We would play shows with weirder rock bands in weird galleries and such, crash basement shows in Shorewood,” said Kmet. The scene has certainly grown in the time since then. Climax Denial is seeing a particularly prolific year with the release of multiple cassettes and two upcoming LPs. “It’s not a cassette revival, it simply never stopped existing for underground music,” Kmet noted.
Kmet pointed out that “noise is a niche-market for sure, but it has already crossed paths with many other styles of music,” crediting Sonic Youth as one of the major gateways to the noise community. He also sites artists like Merzbow releasing records on popular metal label Relapse Records in the ’90s, free-jazz crowds and industrial bands like Swans and Einstürzende Neubauten.
Over the next few years, the scene grew and got a major push with the opening of the Borg Ward in 2007. He referred to the Borg Ward as “a haven for the Milwaukee noise scene.” The Borg Ward quickly established itself as an integral part of the local art and music communities. Kmet recalls that in the beginning it was “kids from different parts of town, different backgrounds and musical tastes partying together, and eventually more and more started forming their own projects.” The Borg Ward made Milwaukee a premier stop for many touring noise acts.
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In February, after nearly nine years, the Borg Ward closed its doors, and the noise community was affected the most by this. “It was always just a given that you could book any noisy weirdo band there and they would be appreciated and maybe get paid,” Kmet said. “I won’t glorify it too much, though. The turnouts were usually very small.” He was quick to point out that he “certainly wouldn’t have the patience to run something like that. I would be at fault if I did not name drop Jay Linski and Peter J. Woods as the kings of Borg Ward noise shows.” Without the consistency of their home base, the future of the scene is unclear. As with every music genre, there exists an ebb and flow.
As evidenced by someone like Lou Reed making Metal Machine Music in the ’70s, to Throbbing Gristle being frequently cited as an influence, noise music is not about to completely diminish. “Noise as a music genre is certainly not a new phenomenon, but there was definitely a widening of the audience over the last 15 years or so,” said Kmet. “More people can be exposed to harsh noise with the tap of a finger rather than having to sniff out shady label ads in the back of degenerate punk zines.” Maybe 25 years from now Merzbow will be scoring the theme to “Fullest House.” Doubtful, but who knows what the future will bring.
Climax Denial plays Bremen Café, 901 E. Clarke St., on Thursday, May 5 with Echo Beds, Lucky Bone and Venereal Crush.
