Difference between revisions of "Chav Stabber"
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== Style == | == Style == | ||
Harsh, dynamic and violent sonic brutality, through to minimalist drone and dark ambient. Layers of synths, controlled feedback, contact mic scraping, extended vocal techniques and home-made instruments/effects, typically multi-tracked live and then edited further in Cubase. Some albums veered towards HNW, but the majority involves spastic movement, cut-ups and pushing frequencies to the point of physical sensation. | Harsh, dynamic and violent sonic brutality, through to minimalist drone and dark ambient. Layers of synths, controlled feedback, contact mic scraping, extended vocal techniques and home-made instruments/effects, typically multi-tracked live and then edited further in Cubase. Some albums veered towards HNW, but the majority involves spastic movement, cut-ups and pushing frequencies to the point of physical sensation. | ||
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== Releases == | == Releases == | ||
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1. Computer got hacked and infected with malware, so I thought I had lost everything. | 1. Computer got hacked and infected with malware, so I thought I had lost everything. | ||
2. Not to put too fine a point on it, I went mental. Long story. Largely irrelevant. | 2. Not to put too fine a point on it, I went mental. Long story. Largely irrelevant. | ||
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== Current Projects == | == Current Projects == | ||
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[[The Oceanic]] produces nothing but HNW in all of its various forms. | [[The Oceanic]] produces nothing but HNW in all of its various forms. | ||
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== Links == | == Links == | ||
Revision as of 14:33, 22 June 2020
History
Chav Stabber was a project by Scottish noise and video artist, Thomas Simon Japp, that was active between 2008 and 2011.
Originally started under the name Spakka in 2006, the project evolved from glitchy ambience into experimental noise and extreme volume assaults.
Style
Harsh, dynamic and violent sonic brutality, through to minimalist drone and dark ambient. Layers of synths, controlled feedback, contact mic scraping, extended vocal techniques and home-made instruments/effects, typically multi-tracked live and then edited further in Cubase. Some albums veered towards HNW, but the majority involves spastic movement, cut-ups and pushing frequencies to the point of physical sensation.
Releases
Chav Stabber produced around 50 albums and numerous contributions to splits, collabs and compilations over the course of 2-3 years. The vast majority of material was released on the Australian netlabel, Smell the Stench, which no longer appears to be active outside of Bandcamp. I briefly ran the label before my 'absence' With its demise, many of the Chav Stabber releases are no longer publicly available and so I'll be releasing some from my own label, Opulent Lunch Recordings, in various formats over the coming year.
Discogs is in the process of being updated at the moment. Albums and EP's are being cataloged, and new material will be added as it's released.
Termination of Project
1. Computer got hacked and infected with malware, so I thought I had lost everything. 2. Not to put too fine a point on it, I went mental. Long story. Largely irrelevant.
Current Projects
At the moment, I have three active projects exploring different areas of noise. All involve similar processes in creating source material, but are drastically different when it comes to composition and performance.
Japsi focuses on creating a perverted 'noise pop', mixing stark and repetitive beats with harsh textures in a conventional song-like structure. It started out as a Deep Internet experiment, but the whole sub-genre bored me to tears and so I decide to get experimental with noise and structure.
Understand David focuses on straight-up noise in all its various forms, e.g. HNW, tape noise, guitar noise, loops, junk percussion, etc. Aimed less at the extremities of Chav Stabber and more at old-school, 80's and early 90's inspired lo-fi recordings.
The Oceanic produces nothing but HNW in all of its various forms.
