Ende Tymes 16 Festival of Noise and Sonic Liberation

Ende Tymes 16
Festival of Noise and Sonic Liberation

BNC
Boar
Body Carve
Caen
CZ
Death Kneel
Developer
Eternities
Free Reel Burning
Iris Our
Jeph Jerman
Kakerlak
Las Sucias
LB
Miracle Wastes
MSHR
Null Copula
Outdoor Horse Shrine
Paranoid Time
Pedestrian Deposit
Primitive Isolation Tactics
Raven Chacon and Iggor Cavalera
Relay For Death
Shot Dog
TICKSUCK
VOSP
White Boy Scream

Members get in FREE to ALL EVENTS plus GET SHIRTS and SHWAG - join us here

GRAB YOUR MERCHANDISE

Ende Tymes social media links:

Ende Tymes YouTube channel: https://www.youtube.com/EndeTymes

FakeBook: https://www.facebook.com/EndeTymesFestival/

InstaGrump: https://www.instagram.com/endetymes/

Ende Tymes PRESS

please donate to Ende Tymes! thank you for your support!!! donations over $100 are tax-deductible! get in touch via email
https://paypal.me/endetymes/100

while you are in NYC, check out the many other events going on in the city at the super-awesome NYC-NOISE.com - more comprehensive than the OG Village Voice

BNC is a handmade electronics system created by Emma Mistele and Sam Boston in Middletown, CT in 2025. This unstable network of oscillators, microphones, and motors invites material and electrical feedback. Each component’s function is ambiguous, shaped by the total arrangement of the network, resonating through the table on which it is played. Volatility is achieved equally through action and non-action.

Boar is Alex Nowacki representing the mid of the Midwest. The land of if your 555 then I’m 666. IOWA. Forming in 2008 with never having restrictions. Only striving to push boundaries within the world of aggressive noise. Years of touring the states and having the honor of working with royalty such as Xome, Kazumoto Endo, Facialmess, Developer, Culled and many more. Releasing albums through the prolific Flag Day Recordings, No Rent, Fusty Cunt, Personal Archives, Phage tapes, Oxen, Deathbed Tapes, Pressor tapes, Breaching Static and to repeat myself….many more. Boar will forever sonically challenge the listener and creator.

Smell of blood and rotting steel... Body Carve is N. Desuah, and has been performing in the Minneapolis noise scene since 2016. Densely saturated junks and sharp feedback penetrate thick washes of tapey static. Heavy, clashing scrap metal abuse permeates every side of this sonically physical project rooted in the essential tenets of American harsh noise. Photo by @nukeabuse

CAEN is a music project of Gordon Ashworth (Oscillating Innards, Concern, Knelt Rote). It is very crude, sentimental, low hissing droning melodic tape music, created at night and intended to be heard at night. CAEN was established in 2003 in Redwood City, California with music released by Urashima, Monorail Trespassing, Ekhein, Iatrogenesis, and Gutter Rash.

My name is Crystal and I'm from Bremerton, Washington, the coolest little grunge town. I started making noise about three years ago, it was something I immediately felt drawn to and comfortable with. I use no-input mixing and a very minimal set-up because I like noise that's clear and raw that I can change with the slightest turns of knobs on pedals. Noise has always been about finding peace inside discomfort for me, the contrast of what we consider to be beautiful and palatable and how we can learn acceptance of the things that aren't esthetically pleasing. Noise is my meditation, a way to clear my mind and let go of all expectations.

the recorded output of DEATH KNEEL is characterized by unyielding binaural manipulation and unapologetic octatrack abuse. Incidental sound and electroacoustic automatic drawings dismantled and deconstructed to be recycled, again and again. Since 2014, Death Kneel has been featured on labels such as Chondritic Sound, Total Black, White Centipede Noise, and Life Of Sensation, with new releases forthcoming on Students of Decay.

Developer is the harsh musique-concret project of matthew reis. taking influence from 20th century composers, grind + power violence, burrough & gysin's cut up experiments, free jazz drummers, 90's japanese harsh noise and cut up noise. reis has been involved with the noise scene since the early 2000, and privately thru half the 90s. one time owner of epicene_esr records /tapes, reis now run factotum tapes.

Eternities is a collaboration between bass clarinetist Katie Porter and sound artist Bob Bellerue. Our work is inspired by deep presence, resonant feedback, melodic drone, and overtone magic, in the fluid realm between intention and indeterminacy. We use harmonic tones from wind instruments played within feedback systems to create multidimensional spectral drone.

Inaugural collaborative project of Scathing (Austin, TX) and JHK (NYC). Expect unrelenting Harsh Noise at breakneck speed with high octane spitting flames.

Iris Our is Sydney Spann and Kiera Mulhern. Both live in New York City. Voice, synthesis, various electronics, kinetic field recordings from their shared lives, and the harmonic interplay of their friendship form the material for their music. The duo released their debut album, Victual Vittle Bottle Сunt, on Recital in 2025.

Born 1959 Agana Guam. Started playing drums around age 16, eventually wasting time in various bar bands until giving that up to focus on re-inventing music. In Colorado during the '80's formed the bands: Cruel Posture, The Mudmen, Big Joey, City Of Worms and Blowhole, and began performing and recording under the name hands to. Moved to Seattle during the '90's and learned to improvise, beginning long associations with Dave Knott, Doug Theriault, Paul Hoskin, Lori Goldston and Wally Shoup among others. Formed the first animist orchestra and wrote music for it to perform. Moved to Arizona in the late '90's and started an investigation of the sonic properties of the desert, built crude sounding devices and generally tried to disappear.

Kakerlak is an insectoid harsh noise project active since 2004, with output on several different record labels including Dadadrumming, Phage Tapes, White Centipede Noise, and Troniks.

Avant-Tropical Noise duo Las Sucias was formed by Danishta Rivero and Alexandra Buschman-Roman in Oakland, CA in 2014. Performances are rituals that draw from their Venezuelan and Puerto Rican roots.

LB works in the fields of experimental music and performance art. The axis of his work is sound and improvisation, but his visual and physical approach to creation moves him towards a liminal region in between different artistic expressions. His concerts can be truly physical experiences or be mixed with installations or fixed media

With origins in the year 2024, Miracle Wastes is the duo project of Kwami Winfield and Charles Chatman, who quickly found kinship in their different approaches to glitchy noise improvisation. The resulting mischief of hardware, software, instrument, and object is a scrapyard oasis. A hazy latticework of tactile and digital rupture approaching concrete infinity.

MSHR is an art collective that collaboratively builds and explores sculptural electronic systems. Their performances and installations present cybernetic audiovisual environments as living compositions. MSHR was established in 2011 in Portland, Oregon. Their name is a modular acronym designed to hold varied ideas over time, pronounced as letters or as one who meshes.

Null Copula is the solo harsh noise project of Abhilasha Chebolu Figueroa. Originally from Columbus, OH, she recently relocated to Chicago, IL. She has two releases on Breaching Static: Not Like This (2024) and Tautology (2025).

Outdoor Horse Shrine is the noise project of Joe Wang. O.H.S. has toured the US and Taiwan and has released tapes on labels such as Absurd Exposition, Pube Provisional Society, Head Meat, and others.

Paranoid Time is a U.S. harsh noise project formed in 2005 by Patrick Yankee in Kalamazoo, Michigan. Using metal objects, tapes, contact mics, and distortion, the project delivers crushing, feedback-driven performances and recordings.

Pedestrian Deposit is a longstanding sound and performance project formed in 2000. The collaborative effort of Shannon A. Kennedy and J. Borges is best described as visceral and intense; narrative and highly composed, often abstract sound textures informed by elements of experimental sound, shoegaze, harsh noise, musique concrete, neo-classical, dark ambient and performance art.
Beginning with harsh noise compositions and early computer-based cut-up techniques, the project has evolved through multiple phases spanning electroacoustic minimalism, digital composition, amplified sculptural objects, and carefully structured dynamics that traverse the full range of sonic intensity.
From 2008, Pedestrian Deposit has operated as a duo with Shannon Kennedy, whose contributions of extended cello technique, movement, and performance through physically-activated handmade instruments and amplified sculptures using strings, wood and metal, brought a critical shift in presence and sonic scope. Together, their live performances are known for being unrelenting and emotionally immersive; a dynamic and deliberate presence defined by precise, layered electroacoustic textures, high-pressure silence and explosive sonic chaos, pushing both composition and endurance to aesthetic limits.

Co-organizer of Initial Shock and Scream & Writhe head honcho, Montreal's Primitive Isolation Tactics emerged in 2018 and burrows into the subconscious via “rusted arteries of industrial noise fracturing off into constricted microchannels of impacted debris and silt.”

Raven Chacon (1977, Fort Defiance, Navajo Nation. Lives in New York) is a composer, performer, and installation artist. He holds a degree in music from the University of New Mexico and a master’s degree from the California Institute of the Arts. Chacon is known for exploring the intersections of sound, space, and Indigenous histories. In 2022, he became the first Native American to receive the Pulitzer Prize for Music for his composition Voiceless Mass, and in 2023 he was awarded the MacArthur Fellowship. His work has been presented at events such as the Whitney Biennial (New York), documenta 14 (Kassel), the Sydney Biennale, the Vancouver Art Gallery, and the Musée d’art contemporain de Montréal. He also serves as senior composer and mentor for the Native American Composer Apprentice Project (NACAP).
Iggor Cavalera (1977, Belo Horizonte. Lives in London) is a drummer, producer, and sound artist. Co-founder of the thrash metal band Sepultura, he is currently involved in projects such as Cavalera Conspiracy, Soulwax, Petbrick, and the electronic duo Mixhell, created in 2006 with Laima Leyton. Since 2004, he has worked as a DJ and electronic music producer, performing at festivals like Glastonbury, Bestival, and Reading. In 2016, he joined Soulwax. With Petbrick, he explores fusions of heavy drumming, noise, and electronics. From 2017 onward, he built his own studio and, by 2019, began composing experimental music using modular synthesizers, blending ethereal sounds, electronic beats, and live drums. He works as a producer and performer in contexts that intersect music, art, and activism.

Relay for Death is the experimental noise project of twin siblings Rachal and Roxann Spikula. Since 2005, the duo has created immersive, often bleak, sonic environments using field recordings, motors, radio transmissions, and handmade elements. They have released records on RRRecords, Hanson, No Rent, Helen Scarsdale, Total Black, Ballast, and a collaboration on Ecstatic Peace.

Shot Dog is the collaborative project of New York City based artists Tyler Keen and Kiran Arora, who have both been active under various guises since the early 2010s. As a duo they have released recordings on the labels Idiopathic and Dead Gods. This will be their sole live performance.

TICKSUCK began as a sonic ritual marker in the soundscape of NE ØK and further afield sonic communities in 2016. The project evolved as a performance extension of Warren Realrider’s composite art practice built from his lifelong connections to Pawnee art practices. The emanations from TS are centered on expressions of Pawnee forms of societal structure, universe engagement, and language memory systems. The sounds and cycles of the southern plains are woven with materials and electronics to create works moving from embodied, minimal eco-improv to domestic metal, harsh renewal. All actions for TS project set out from Pâriru’ (Pawnee Territories) & Tulsa, Øklahoma.

VOSP is the solo audio work of US artist Eric Grieshaber. Based in Providence, RI EG has been a contributing member of the east coast noise circuit in the US for over a decade, formerly developing heavy electronics as Soft Target and contributing to bizarre and obscure collaborative projects like Pool and Hand Of Food. With VOSP EG aims to create an auditory environment narrated by an existential temperament and driven by textural intricacies. A blend of field recording techniques, modular and computer synthesis result in a discomforting approach to concrete music and drone composition. From searing moments of intensely fried and damaged synth to near silent, ghosted record entries, you may walk away from this work asking yourself for directions to the bottom of the ocean. See descriptors: gross, meditative, psychedelic, humorous.
Additionally, EG also co-manages the small, US based abstract music label Hold with various releases by Asha Sheshadri, Ex Continent, Tongue Depressor, and others.
VOSP has released material on labels such as Anathema Archive, Alien Passengers, and Hold.

The desert stretches for miles behind the San Gabriel mountains where vocalist and composer Micaela Tobin was raised. Warmth and beauty are beset by vulnerability and harshness. A similar dichotomy plays out within the music of White Boy Scream, a conduit for Micaela’s visceral storytelling. Her operatically-trained voice is resonant, large like the peaks over her Los Angeles home, her electronic compositions as bleak and bright as the open expanses beyond. As The New Yorker observed, “She demands to be seen and heard for who she is”— ritualistic, communal, reverent, familial, singular, empowered.
The patriarchal confines of both the opera and noise worlds were quickly apparent during her years of training; if Micaela was to have a place in music, she’d need to carve it herself. This is most actualized with her fourth release, Bakunawa (Deathbomb Arc), on which she not only intentionally combines her seductive incantations with biting industrial extremities, but pointedly incorporates a deep-dive into her heritage. Musically, Micaela carries a lineage started by the likes of Diamanda Galas and Scott Walker; compositionally, a deeper through-line is continued with her Filipino Ancestors, from whom she received the album’s mythological and romantic themes. As her label explains: “Her voice is so unique that she’s defining for listeners what it means to create the sound of these ideas.”
The future for White Boy Scream holds the release of Apolaki, of which Mike Giegerich from Passion of the Weiss proclaims: “The work from Apolaki that Tobin has debuted live has been a brilliant showcase in the evolution of her art. At times more beautiful, at times more abrasive, it pushes her alchemized sound to its absolute limits [and] deepened her artistic reverence for ancestry and familial bonds. It’s the type of intellectual investigation that makes her catalog so spellbinding and the promise of Apolaki so great.”
Micaela is the proud recipient of the 2021 MAP Fund, the 2022 NPN Creation & Development Fund, and was awarded the 2024 Civitella Ranieri Fellowship. Originally from Los Angeles, she is currently based in Tulsa, OK as an awardee of the 2025-2027 Tulsa Artist Fellowship. Photo by Niels Vinck

Subscribe to Ende Tymes / halfnormal