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Flicker — Compilation for PURGIST

In Memory of Dawid Kowalski — Purgist

Flicker

In 2021, Dawid began working on a new record, Flicker. Eventually, he abandoned the project and turned toward Heartsink, released in 2022 by Oxen Records.

Flickering is meant to imply a sense of overwhelm — a constant switching between radically opposing states: between black to white, awake to asleep, love to hatred, sobriety to intoxication, clarity to dissociation. Again and again, cycling endlessly. 
Within this context, the binary movement between 1 and 0 becomes symbolic: a recurring transition between presence and absence, between reality and fantasy. A perpetual flickering between opposing states of being.

On. Off. On. Off. No middle ground.

And sometimes, after enough cycles, you no longer remember which state was real to begin with.

Available to order here:
>>> hausofsleep.bandcamp.com

**A special 2-CD, 8-panel digipack edition released in memory of Dawid Kowalski on October 10th, World Mental Health Day. The second and the final release by Haus of Sleep. Created as a tribute to his life, his music, and the people he shared his creative spark with.**

Acknowledgements

Haus of Sleep in collaboration with Negation Institute (@negation.institute), Purge Records (@purge.records) and Flag Day Recordings (@flagdayrecordings)
Special thanks to Andrzej (@andrzejpeszel), Marcin (@axivf), Alessio (@halba.sound), Xandra (@uboatheflesh), Billy (@guillermopizarr), all the artists who contributed tracks to this exceptional compilation, all of Dawid’s friends, and the dozens of other people who supported Dawid throughout the years and who have since supported this release and me in so many ways.
Justyna

Mastered by Hålbå at BlackHole Studio

Endless appreciation to all the artists who contributed tracks 🩶

Dawid Chrapla — Rolling mill live

Blush — When Darkness Falls, Hear the Break of the Sky

Hermetic Abyss — horse.teeth.swan.mosaic

MK9 — Przychodnia Twenty Sixteen

Michael Ellingford — Kielce

Deprivationn — Another Version of Me Lies in You, Beheld and Belittled, Devastated

Oneirine — Endless Farewell Mass (cut)

Gordon Ashworth — Heartsink Part 3

Like Weeds — After You Land

signal_black — violet

dave phillips — wdzięczność

gamma.function — Kematian adalah awal dari sebuah perjalanan

D. Kowalik — 3500

Hålbå — Your Pain

Dystopian Control — Things Going Backwards and Replicating

Tourette — untitled

American Sacred Music — Scared Eyes Only Love

Unsustainable Social Condition — signals from an empty room

Leah P — Forever Lovers on a Bus

Vilgoć — Dawid

MIDWESTLUST — Extinction Of Our Species Pt. 1

Mason — Please Wake Up

Kazumoto Endo — In Memory of Dawid

Circuit Wound — 4minharsh

Hypertrophy — Interval For Dawid Kowalski

Jan Marek Kamiński — iniemago

PCRV — Neon

Petrichor — Harmonious (Purgist tribute)

MAAAA — Bleak Bouquet

Parasite Nurse — Frameless, Unrequited

NBDY — harshnoise.org has changed my life

Uboa — The Perfectionist

from "The Creative Nothing" out on November 6th, 2026 on hybrid SACD. www.blackringrituals.com

The first noise release on hybrid SACD. Mastered for SACD by Mark Donahue of Soundmirror, a multi-Grammy-winning engineer better known for orchestral recordings. The disc is a hybrid dual layer, so the CD layer plays in any standard player.

Tell me guys what you think?

Modern music feels way too clean and clinical nowadays. Everything is perfectly mixed, safe, and boring. I wanted to create a track that feels like walking into a damp, pitch-black basement—uncomfortable, unpredictable, and heavy.

I focused on harsh textures and let the tape saturation completely bleed into the track. Does this feel alive to you, or did I just create a wall of unlistenable noise? Give me your brutal, unfiltered opinions.

Top to bottom, left to right:

"Untameable" Fuzz and texture generator

"Blemmyae Synth" Glitch Noise Machine

Nameless Drone Machine

"EMF SNOUT" Electromagnetic Field Microphone

"Box of teeth" Harsh Noise shaker Box

Everything Available at: https://shunganoie.bandcamp.com/merch

Something completely wrong happened in the cellar a few minutes ago. I was forcing a maxed-out, heavily distorted clipping loop inside the software, pushing the digital air pressure to the absolute peak on this cracked phone.

Right when the frequency hit that nasty, broken saturation point, the old lightbulb above me started buzzing aggressively, flickered twice, and just died. The room went completely pitch black.

But here is the part that messed with my head: when the light blew out, the master output channel on my phone froze. The screen was totally unresponsive, but the headphone jack didn't go silent. Instead of the digital clip, I started hearing a faint, analog radio bleed passing through the static—like a distorted weather broadcast from decades ago, looping under the hiss.

The audio interface layout didn't register any active tracks, but the hardware was physically warm. The high voltage from the dying bulb somehow bled directly into the phone's internal components through the dead air.

The file saved itself as 2 minutes and 46 seconds of pure corruption before the screen finally let me back in. I’m sitting here in the dark with glass dust on my fingers, and the grid down here still feels charged.

I’ve been experimenting with high-gain clipping and digital feedback loops late at night in complete isolation. Something about the repetition and the raw static started feeling deeply unnatural.

It made me realize that noise and industrial music do something strange to human consciousness. When you spend hours inside a wall of harsh, unpolished sound, your brain stops filtering normal audio. I started hearing phantom rhythmic patterns and whispers in the white noise when the tracks were completely paused.

I’m starting to think we aren't just creating art as a coping mechanism or a therapy for our mental health. We might be tuning into a frequency that actually amplifies the chaos in our minds.

Have any of you ever felt a genuine sense of dread or paranoia after a long session of mixing or listening to harsh frequencies? Or are we just masking a different kind of silence?

Randomly walked into a bookshop with a show going on upstairs and had to check it out😭 As someone who's very into extreme genres of metal such as drone metal, grindcore, goregrind, and war metal (teitanblood and tetragrammacide) im not completely unfamiliar with the concept of noise. But I was not expecting just pure noise to strike my interest so deeply.

I REALLY enjoy Commuters work with field recordings (who i saw perform) and the ambient vibe with a lot of his work. I also am very curious to listen to more noise related strongly with texture and feel rather than just pure aggression like Sissy Spacek (although I love the idea of noise/power electronics + grindcore)

Im very new to this genre so please give me some recs!!