A rerelease from 2000, $100 Room is awkward, rough, and soundslike a demo recorded on a crappy 4-track in someone's rec room—andit's also beautiful. The cover image echoes the songs inside: roughlyscrawled and amatuerish, but sweetly so.
We made it to 700 episodes. While it's not a special episode per se—commemorating this milestone—you can pretty much assume that every episode is special. This one features Mark Spybey & Graham Lewis, Brian Gibson, Sote, Scanner and Neil Leonard, Susumu Yokota, Eleven Pond, Frédéric D. Oberland / Grégory Dargent / Tony Elieh / Wassim Halal, Yellow Swans, Dental waste in Saigon photo by Krisztian. Get involved: subscribe, review, rate, share with your friends, send images!
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One of my main criticisms of Merzbow is the lack of quality control. Everything he records seems to be released whether it’s good or bad. The idea of good noise, however, is oxymoronic, but in comparing this release to some of his better works and other more fruitful collaborations, it nearly ends up as a complete dud. Akita’s contribution is nothing but “Merzbow by Numbers” and only some deft work by Tamarin makes this record anything more than bargain bin fodder.
Edward Ka-Spel's appearance on the upbeat and bubbling "Globally Yours" is the cream of the crop as far as this record is concerned. I avoided listening to this record for longest time after reading the puerile lyrics for "Monoball," but after giving it a chance it's now obvious that this release needs memorable tunes more than anything else.
The lost and forgotten member of Company Flow is back with a gritty andsearing if slightly uneven clarion call-out. Long playing the Flav toEl-P's Chuck D, Bigg Jus hit an early peak as one-third of industrylegends Co-Flow. But unlike El-P, Jus has yet to make a solo effortworthy of holding a candle to Funcrusher Plus. 
The third single off Thrills,Allien’s most recent full length is actually one of my least favoritetracks from a record that has taken some time to get used to. After Berlinette,the artist’s blissful attempt at incorporating glitch and pop elements into herunique blend of sleek post-electro and handmade futurist techno, Thrills seemed a rather straightforwardattempt at bringing her art back to the dancefloor: it's certainly addictive butfor many a sideways step. 
Landing's latest full length album is more of a single symphony than fiveseparate tracks; Brocade is not a song-based album but one longcontinuous work. The music unwinds at a leisurely pace and is bestappreciated all in one sitting. 
Prefuse 73 follows up his last, guest-filled full length with thisstripped-back instrumental "mini album" dedicated to the rigors oftraveling to promote and perform his music. This is cut up hip hop forthe short attention span set, and should satisfy the folks who criedfoul when he littered his last hip hop record with (gasp) rapping!
Neil Campbell’s sixth volume of his solo efforts away from Vibracathedral Orchestra’s more democratic accommodating approach is an outstanding collection of different musical pieces. Volume 6 is probably the best yet, running the musical gamut between experimental, melody, drone and fun. The only way I can think to recommend this series anymore would be for me to go around selling it door to door.
Very little on this eleven track remix project moves me to endorse it. The prospect of Gruntsplatter and Troum remixing Aidan Baker's varied catalogue is exciting, but many of these revisions add up to little more than frivolous games played with choice sampling material.
With the recent explosion of interest in the noise scene, a number ofartists, some worthy and some not, have gotten a taste of (relative)success that in years past would have been unheard of. ChristopherForgues, the man behind Kites, utilizes a phalanx of pedals, circuitbreakers, microphones, and amps to achieve his unusual and bracing takeon music. Live, he screams, hisses, and flails into his mics and amps,achieving an unworldly scream of sound that it truly impressive for aone man band.
