Jon Buckland

Ultracrepidarian

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Bandcamp Daily •

Semiratruth, “S!M”

In 2014, The Simpsons outsourced one of their couch gags to the Oscar-nominated, experimental animator Don Hertzfeldt. Hertzfeldt handed in what remains to this day one of the most audacious, creative, and arresting intros to an episode of the long-running cartoon. It parodied and ridiculed the show, advancing us to the year 10,535 where the disfigured characters are reduced to bleating mangled versions of their catchphrases at one another, intermittently stopping to plug merchandise. It was a bold deconstruction of a beloved TV series.
The Quietus •

Nu-Jazz – Un-Jazz | The Quietus

In the third series of Donald Glover’s groundbreaking TV series Atlanta, rising rapper Paper Boi (played by Brian Tyree Henry) finds himself rapidly losing touch with reality after consuming a Nepalese space cake. He spirals through a series of nightmarish scenarios involving a woman sobbing in an art gallery, British schoolkids tossing a baby around and a visit to the ‘Cancel Club’ where Liam Neeson seems to double down on his racist admissions. Along the way, he encounters Lorraine, a sort of adversarial guardian angel, who dubs him ‘New Jazz’ and pops a Goofy cap on his head.
Bandcamp Daily •

Jem Finer and John Matthias on the Strange Magic of “Almost Starlight”

Mid-August, in the small village of Felpham on the South coast of England, approximately 200 people filed into an 11th-century church to listen to a violin and hurdy-gurdy duo. The pair consisted of The Pogues founding member and Longplayer mastermind, Jem Finer and the theoretical physicist John Matthias who also creates epic, sprawling works of sound. His Fragmented Orchestra project, for example, covered the UK in transmitters, sending sounds that bounced back and forth between them like neurons.
The Quietus •

Blown Minds: Matt Cargill’s Favourite Albums | The Quietus

You could have crossed paths with Matt Cargill keeping the show on the road at such cream-of-the-crop festivals as Supernormal and Acid Horse. Maybe you’ve been privy to his perennially bonkers and joyous rooftop takeovers at Birmingham’s Supersonic Festival. Perhaps you’ve seen him at his day job running tech at the King Alfred Phoenix Theatre in Golders Green. Or you might even have spotted him at the Hope And Ruin one Brighton Halloween, in a hail of fake blood and tissue wads, thrashing the life out of a papier-mâché Skipper the Eye Child from Garth Marenghi’s Darkplace.
The Tonearm •

The Euphoric and Exuberant Noise of Nolan Hildebrand

A few years ago, a New Jersey noise artist who goes by the name of EROSLOVESYOU printed a run of t-shirts with the phrase "The difference between sound art and noise is institutional funding." They might not be the first person to have had that thought, nor the first to draw comparisons between the worlds of academia and DIY movements, but they were certainly the first to print it on a t-shirt and ship them worldwide.
The Quietus •

The Remnants of Worship: Michael Cloud Duguay Interviewed | The Quietus

Just off the East coast of Canada, resting in the Atlantic Ocean, is a large island called Newfoundland. This sizable piece of land – similar in size to England – is nicknamed The Rock and is accessible from the mainland via ferry. Recently, composer and producer, Michael Cloud Duguay, along with multi-instrumentalist Andrew MacKelvie, engineer Jake Nicoll, and field recordist Dave Grenon climbed into a vehicle known affectionately as the Scamper and embarked on a 30-hour drive to Newfoundland from Duguay’s home in Peterborough, Ontario.
The Quietus •

Waves Eaten by Flames: Endless Summer by Fennesz at 25 | The Quietus

In 2001 Christian Fennesz released his third full-length record Endless Summer which followed the disrupted drone and noise aesthetics of debut Hotel Paral.lel and spectres-in-a-blizzard sounds of plus forty seven degrees 56′ 37″ minus sixteen degrees 51′ 08″. The strange string of numbers in the title of the second album were coordinates for the open-air studio in his native Austria where he recorded the album.
Bandcamp Daily •

How Visible Cloaks Stitched Themselves Back Together

It’s been nine years since Visible Cloaks (the duo of Spencer Doran and Ryan Carlile) released their last studio album, Reassemblage. In the interim, there have been EPs and collaborative records; Doran also scored the video game Season: A Letter to the Future. But for those of us mesmerized by their previous album, it’s been a long wait to hear a new full-length outing from these master electronic manipulators.

The delay was worth it. Each shard of sound feels expertly chiseled; every iteration, tone, and note sculpted into unique, ephemeral sonic art.
The Quietus •

Shatterproof: Sam Hoyek's Demonstration 01: Anomalous | The Quietus

For Sam Hoyek, the decentralised songs on Demonstration 01: Anomalous are inflicted by sounds which seem to transgress interior/exterior borderlands. They creep in from outside. There’s a porous sense of exchange. Of ideas lost and gained. Of sounds encroaching on a destabilised core before dissipating away. The result is a constantly shifting record which rattles through styles and genres quicker than a Reform councillor collecting their P45.
The Tonearm •

'Power to Consume' and Lou Reed's Metal Machine Afterlife

In July 1975, Lou Reed released Metal Machine Music. It followed on the back of his most commercially successful album—Sally Can't Dance—a record that Reed despised so much that it hasn't been officially reissued on vinyl for nearly 40 years. Speaking to The Varsity in '76, Reed described Sally Can't Dance as "a piece of shit from beginning to end," adding that "the worse they [his albums] get, the more they sell." After three weeks on the market, Metal Machine Music was withdrawn from sale.
The Quietus •

Irked – The Grievance | The Quietus

In the 2004 rockumentary Dig!, Portland psych-janglers The Dandy Warhols turn up to the aftermath of a debauched, drug-fuelled party at the home of The Brian Jonestown Massacre and position themselves as participants in the antics for a magazine photo shoot. This type of posing and mimicry has been rife in music for decades, with bands and musicians attempting to present themselves as something they’re not in a bid for kudos, clout, cool points and, ultimately, cash.
The Quietus •

Melvins & Napalm Death – Savage Imperial Death March | The Quietus

Something is in the water. Mark Z. Danielewski’s 2025 opus Tom’s Crossing follows two teenagers who steal a pair of horses and ride into the fictional Isatch mountain range of Utah. Boyhood, David Keenan’s latest novel, features a scene in which four purloined horses are fed acid and raced through the midnight streets of Glasgow. And a third act of equine larceny now takes place during the unholy Melvins/Napalm Death alliance – Savage Imperial Death March.
Bandcamp Daily •

dälek - “Brilliance of a Falling Moon” | Bandcamp Daily

Noise has been an act of protest for centuries. Rough music, also known colloquially as charivari or skimmington, was used strategically in Europe and North America to mete out justice during the 17th century, putting power back in the hands (and the pots and pans) of the people.

Since forming dälek in the mid-’90s, Will Brooks (aka MC dälek) has been making music meant to soundtrack revolution. Currently a duo completed by Mike Mare, dälek draws on inspiration from within hip-hop and beyond it...
The Quietus •

Teerath Majumder – Dust To Dust | The Quietus

No stranger to a juxtaposition, Bangladeshi composer Teerath Majumder has previous in merging seemingly disparate forms to create something new. His 2023 EP Mouno Shonchar blended traditional Bangla sounds with more contemporary compositions, whilst a collaboration with Dhaka-based, electro-acoustic outfit Taraga resulted in spiky metal riffs butting heads with ambient soundscapes. And last year’s Do Not Feed The Robots participatory concert featured musical improvisations responding to toys and...
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