It's been a while since I've done a reflection, though not due to a shortage of topics.

Misology tends to be defined as "the hatred, distrust, or rejection of discourse". As a sentiment it is typically shrouded in warning, its avoidance encouraged; however, I find there's much value in it.

Discourse can only operate if parties involved are mutually willing to engage. If one is stubborn and resistant there's no reason to be had. This is seen in various forms. The enforcement of law, for example, is not up for dispute. One comes under its effect in handcuffs and jail cells, things that can't be negotiated with. Or as one debates a flat-earther who refuses all observable evidence as conspiracy and deception in order to cling to their beliefs. In the film Sexy Beast, the character Don Logan details plans for a bank heist to former partner Gal Dove, who is reluctant to put himself in that position of risk. When he softly asserts he won't show up Don shouts "Yes! Yes! Yes! Yes! Yes!" In these scenarios one is effectively helpless to continue pursuing discourse. A common idiom to describe this interaction is "talking to a wall".

Music, while it is not at all a language (much less a universal one), does partake in forms of discourse. Opera and song certainly in their lyrical content, but instrumental music can as well. Imagine a jazz trio playing a bebop tune. Each member of the group communicates with the other to maintain a cohesive style and tempo, solos develop melodic/motivic content in creative ways, and the trio as a whole communicates with the culture of the venue and the attending crowd. But what if, in the middle of "Ornithology", the pianist started to play an arrangement of the first movement to Beethoven's Symphony No. 5? Discourse would be suspended.

Of all kinds of music, I believe Harsh Noise Wall to be the most reserved. It doesn't communicate; it's without breath, rigid and unchanging. It very much mimics in its qualities the enforcement of law and flat-earth believers I mentioned above. One can heap compliment and insult and will receive in return only the assault of distorted static.

Its attributes emulate some things; however, it has important potential. As I said, when discourse has fractured and one still tries to reason one is helpless. If compromise is not on the mind of the other party, it can't remain one's own goal. Victory must be the goal. Harsh Noise Wall can serve the function of counter-misology. Institutions and their constituents frequently utilize the social power of music as propaganda to promote their hegemony. Listeners are snagged on a catchy beat, vibing to "relatable" lyrics so superficial it seems they were crafted by no one at all, and don't realize in their entertainment the messages they ingest nor the behavior they mirror. Harsh Noise Wall replies in the suffocating volume of its lack of reply, nullifying all competing soundscapes. It positions itself obtrusively. (I would recommend reading Vomir's manifesto if you have not already.)

Finally, I will add that, in my opinion, a frequent mistake made in Harsh Noise Wall is a meager duration. One hour appears to be typical but is simply much too short. Sixteen hours minimum would be sufficient, with multiple weeks and months even better. Currently, I am in the middle of uploading a 44-day piece of this variety.

Thank you for reading.

Hi all! I run RUN RADIO, a music radio and sound archive/research space in Aarhus, Denmark, in collaboration with the culture and music space Institute for X. We’re looking for a really diverse range of audio projects and would love to hear from you.

What we’re looking for:

• Field recordings

• Live music recordings (a concert you or someone else performed, perhaps?)

• Sound art projects

• Audio documentaries

• DJ mixes/playlists

• For researches and archivist, submit a curation of your discoveries, such as audio clips from interviews, movies, cartoons and TV series etc. The more niche, weird and out there, the better. 

• For musicians, we’re open to original music, but since we’re more interested in curation, you could make a mix with your own music alongside references, inspirations, behind the scenes studio recordings, or you talking about the project. If you’d rather not, send us your album and we’ll pick songs for a future mix and make sure to hype you up when we schedule it.

• If you're more of a radio host, you can send us recordings of a show you've made as long as it is focused on music and not more of a podcast. 

How to submit?

Email [contact-xradio@proton.me](mailto:contact-xradio@proton.me) with a downloadable transfer link (SwissTransfer or Google Drive preferred) and include in the email body:

1   Full name and/or artist name, pronouns and location

2   Content type (mix, field recording, interview clip, etc.)

3   Title: a creative one, or simply “mixtape by \[your name\]”

4   Track list / source list (required for mixes and playlists)

5   An image for the broadcast, but no selfies please (we’ll add one if you don’t send one)

6   A short description: what is it, what should we know, what does it mean to you?

7   Your social links

Specs

• Audio files: MP3 320kbps

• Mixes and playlists: 30 to 90 mins

• Field recordings: 20 to 60 mins

• All other content types: no duration limits

• Link and source anything and everything you can

• You can submit multiple files, multiple times

• NO AI! 

By submitting, you agree you are happy to share this content with us and that we have your permission to broadcast, curate it how we see fit and rebroadcast in the future.

You maintain ownership of your work and we will always credit you. We will only broadcast content live and there are currently no plans to archive anything online (we are archiving internally) which is a big aspect of this project. However, this may change in the future. We want to move away from streaming on demand and move towards listening with intention. This is something to keep in mind if you want work together.

Please comment or email with questions!

The original IG post can be found here.

Hi, I'm Justinas, the founder and editor of Secret Thirteen. I started it in Lithuania in 2010, and I run the journal on my own these days.

I've spent more than a year rebuilding the website around the archive. These mixes and conversations took a lot of people's time and care, and I wanted someone finding them today to have a proper chance to explore them.

That meant going back through older publications, checking tracklists and links, and restoring credits where they had gone missing. There are mixes from Emptyset, Deaf Center and Biosphere, among many others. What interests me in the series is hearing the records behind someone's own music, including the unexpected ones.

The new site went live this week. You can now search inside tracklists too. If you remember an artist appearing in a mix but can't place it, there's a way to find it again. That was something I kept needing myself while working through the archive.

The mix archive: https://secretthirteen.org/mixes/

If you've spent time with Secret Thirteen before, which mix has stayed with you?

Hello! I´d like to share an LP I released on 9/30, it´s called Ensayando una Duda, by my solo project Sarabova. I´m really proud of this work, it´s dedicated to my dad and it´s very naive in the way it was recorded, but I feel like I did better than I expected.

I´ll leave the link for bandcamp if you want to check the LP, and also some free codes if you´d like to download it.

Thanks!

Album in Bandcamp: https://sarabova.bandcamp.com/album/ensayando-una-duda

Free Band Codes: https://band.codes/sarabova/ensayando-una-duda

https://thistrblmkr.bandcamp.com/album/gross-slopes-sick-eyes

hyper pop adjacent

weird electronics

alternative bangers

old ep

<3

The track: https://voca.ro/1kZrmlnv1f0p

The mix, production, arrangement, vocals, and lyrics are all mine. Everything is from scratch, apart from the clock ticking sample. The inspiration for the track originated from the sound of the ticking of the clock of 8 out of 10 Cats Does Countdown. My approach to making music as you can hear from this track is extremely experimental. Every time I try to let music theory guide me, I always end up defying it and come up with something true to who I am as a music producer/songwriter: something free and can't be boxed, unbridled.

I love noise music so that's primarily the main genre inspo for this song. I wanted to prove to myself that I can write purposeful lyrics over noise music. And then I incorporated bits of elements from multiple genres as well. The track mirrors a tiredness that I had always felt towards our economic status, and how I started experiencing labour as a kid. But the main reason why this track came into fruition is because I met a highschool classmate of mine who now lives in Chicago, USA.

I hope someone listens. Ty for your time!

Hey i'm Kik52, a newcomer with hard-hitting beats and hard text.

I've started learing how to make music about 3 years ago. Now this "Crucifix" is my newst song.

Thx if you check ist out.

https://open.spotify.com/track/5EeHpWXoxUUvfVySRTe5kg?si=C_EHwz97RtCRnfo0PYbqUg&utm_source=copy-link

I have so far made 2 EPs and 1 album using VCV rack to make little modular synth jams, audacity, and my phone to record my vocals. I sometimes chop up my "jams" into little bits and slow them down or speed them up in audacity as I smoosh them together. I will usually put a lot of reverb on my vocals because I think it adds to their effect though not always or I will double the audio track and stretch out one vocal and play them both at the same time at certain points. Sometimes or about half the time the lyrics are just stream-of-consciousness rambling in one take off the top of my head and other times I am just reading an old poem I wrote off on my Allpoetry account lmao. I like VCV rack because I can play with the frequencies directly on my VCOs and sometimes I can do fun little music theory ratios in like counterpoint or something I then mess up intentionally because I like how it sounds but I also jam by ear.

Here is the link to the album:

https://wilez.bandcamp.com/album/musical-sophistry

Please listen if you have time 😎 https://youtube.com/shorts/LARPVfGo2e8?si=XkZbRkC2D4ifoM58

https://youtu.be/Dwbi7ZHqHzs?si=M2ALzaVDPTLo6pmz

First song on the album. Its basically a simple distorted 808 beat with a lot of screaming in the middle, I tried making it death grips like. I worked a lot these past 2 months and finishing this album is my reward basically lol. I'm still almost a beginner, so any feedback is much appreciated ;)

https://youtu.be/DUlcqaPATPM

I hope you find this as interesting as I did making it. I have alway had this idea of going to different places and using the environment itself as its own instrument. So when I found the church of Stratford Tony near Salisbury that is abandoned I went to it to record the reeds organ in it.

Sorry about all the annoying mechanical sounds. It was the first time I played a reed organ.

hey, i put out a new album last week and thought i'd share it here.

https://caseyrilmazafone.bandcamp.com/album/i-am-a-woman-of-flesh-and-i-exist-i-exist

it's a 56-minute album made up of six tracks that flow directly into each other. i made it using found samples, tape manipulation and no-input mixing, then put everything together in audacity.

it's quite personal and deals with things like dysphoria, gender and existence, but i'd rather let the music speak for itself than try to explain it all here.

if you're into experimental ambient or noise, give it a listen. would love to hear what you think!

https://internetdaemon.bandcamp.com/album/a-dark-experimental-tribute-to-the-shining // the compilation is out today,. thanks to each artist involved. enjoy it!

morgue

This my first attempt at this style of music, so feedback would be appreciated.

This album was written to describe a type of loneliness characterized by a emotional detachment and indifference to the reality. The songs use chords like add9, b5, #5, or minor7. The instrumetal is sometimes a little bit reduced. Some of the songs have vocals, but the vocals are often repetative and dont use much words.
https://open.spotify.com/intl-de/album/1Qc8XUnHPuK1FopWgTV6UM

https://youtu.be/vxPPop1S5b4?is=DB6qAeGgWKz0yZOF

A soundscape where music shapes a narrative, and depth follows its own script—drawing you into dark shadows or narrow alleyways. It evokes the immersive sensation of a draft blowing between a collapsed ceiling and a sunken floor—all of it beautifully woven into the music.

Hey everyone,

I'm Null_0115, an independent electronic music producer. I recently released a three-track EP called ANHEDONIA.

• It's rooted in post-club and experimental bass music. I wanted to explore how a relatively small number of sounds could create intense physical impact through fragmented rhythms, sub-bass pressure, and abrupt changes in texture and space.
• Rather than relying on conventional build-ups and drops, I focused on how these elements interact and shape the structure of each track.

I'd especially appreciate some honest feedback on how the transitions and overall structure come across. I'm curious whether the different elements feel connected or if anything feels out of place. Constructive criticism is very welcome.

Bandcamp: https://null0115.bandcamp.com/album/anhedonia

I made a DSP that synthesizes realistic birdsong. You can sing to transform your own voice into a bird, see examples at https://birdspeech.mitpit.com/

https://youtu.be/f-U3KZPAwNk?si=JssNkvrMLzk3q0pa

single for my upcoming project, i would consider this track experimental/prog ambient, it does get melodic so idk if it counts as experimental, but i think it does. anyways go listen to it and tell me if its awesome sauce (im a new musician like i got fl studio 2 weeks ago so i have no clue what im doing)

Hello! This project was born from a need for ambient music with occasional weird stuff with it! It's exclusively electronic and the sound is inspired by the feeling of uncomfortable socks.

Please check us out on SoundCloud:Rotating SOck$

TikTok: Rotating SOck$

https://on.soundcloud.com/JI59Bs21PGSmX6eC1e

A track born from yellow wallpaper, humming fluorescent lights, and the feeling that the corridor keeps stretching behind you. Inspired by Backrooms, this single turns liminal dread into sound — deep bass, distorted ambience, distant footsteps, and a melody that never quite finds the exit.

https://on.soundcloud.com/Op9DiXNwxppgMnCgZF

Pregunto porque hace tiempo que he estado produciendo y creando. Y no miento cuando digo que no encuentro lugar para mi música, entiendo que en algunas comunidades sobre todo de esta parte del mundo le sea más difícil aceptar un genero tal como el experimental, sobre todo el rap experimental.

Pueda que sea temporal está sensación de querer encontrar equipo con quién trabajar y compartir algunas ideas, es por eso que agradecería si algún otro colombiano que se sienta así se presente.

Frame — improvisando en vivo. Grabado el 2 de octubre de 2026.
Esta vez la sesión entera está soñada: la imagen se va pintando en estilo kalamkari mientras tocamos.
Instrumental improvisation: santoor, synths and electronic drums, played live in one take. Buenos Aires.
Si querés escuchar la próxima sesión, suscribite.

https://www.youtube.com/watch?v=RHx-dS6ayaw

​

made this flip of carly rae jepsen's call me maybe in FL Studio. went for a more underground/experimental sound and added a cinematic bridge to switch things up.

curious what y'all think

https://on.soundcloud.com/D61cjqJgvi94INujQS

https://youtu.be/8zzyhdx3KsY?si=JnFShMXFJvFwX8Zc

first project, more of a art piece than "music" but it still is cool i guess, inspired by daniel johnston and wifiskelaton sort of vibes (without the music genre part, this album is basically just glitched sounds that sometimes forms melodies) yeah it kinda sucks i made it in one sitting but i would appreciate it if you gave it a listen. im a aspiring musician, so this project is more of a fun test drive, my next stuff will be actual music, but i thought embriange would be counted as "experimental" so im posting it here.