What makes for good or bad noise? How do noise fans critique noise? Can one make feedback-heavy drones that totally suck just like some punk bands completely fail at rocking? If so, how? These questions came up when I played Winter Growths. Would a reviewer for a noise zine or blog be able to clearly define which and how some drones are better than others? This is one guy using “guitar, contact microphone and, a bucket of hardware pieces” to make these sounds. Does that make all the difference? I’m just thinking out loud because I’ve gotten stuff in a similar vein to review here, for instance, a project called I Want To Kill Every Human and liked it enough for multiple listens, but this one doesn’t grab me in the same way and I can’t figure out why. Is it because that one made noise out of different instruments (“instruments”?)? Maybe my taste is strictly tonal; IWTKEH had bit more melody under the washes of feedback. Satyr/Elfheim probably isn’t executed a whole lot differently. And it’s really not bad. I think I could get into a meditative space hearing it live. It would also blend in well with the kind of stuff they play on Hollow Earth Radio, my preferred medium for experimental music (knowledgeable DJs doing a show). Mr. Elfheim seems efficient at what he’s doing, but I’m just not qualified to review this. I think that’s what I’m trying to say.
–Craven Rock ([email protected])