Tangerine Awkestra - Aliens Took My Mom (2001)

Free-Improv by kids ages 3-7. Do I really need to say much more? No this isn't a joke. It's incredibly interesting in concept alone and these kids actually manage to make it work in reality. It's not just a bunch of preschoolers fucking around on their father's keyboard, it's a bunch of preschoolers making full-fledged Free-Improv that's genuinely good. It's not overdone, it's pretty subtle in fact. It's honestly a solid Free-Improv album and the fact that it's made by people who don't even know their ABCs yet makes it even more interesting, because let's be honest, music doesn't really exist in a vacuum. I highly recommend it.

Link

Destroy All Monsters - 74 76 (1994)

Destroy All Monsters were quite an interesting group. Emerging in Ann Arbor in the early 70's, their sound could best be described as an extremely noisy and hectic proto-punk group. The band, however, is very eclectic and it's difficult to define their sound with just a genre or two, and this album, compiled by Sonic Youth's Thurston Moore, definitely shows it. They were certainly ahead of their time, and quite out there too, with songs that are full-on improvisational freak outs, to really droney songs, to songs that seemingly signal and hint at the Post-Punk, Punk Rock, and Anarcho-Punk movement that were soon to come. I definitely feel they had an influence on all three of those genres. Although the album is quite intimidating, clocking in at just under three and a half hours, its definitely worth it and I highly recommend giving this album a chance. It's a great look into one of the many (but in my opinion one of the best) precursors to the Punk movement.

Disc One: Gospel Crusade

Disc Two: Crying In Bed

Disc Three: To The Throne Of Chaos Where The Thin Flutes Pipe Mindlessly

Bill Orcutt - Way Down South (2010)

Way Down South was an EP released in 2010 by Bill Orcutt, who was the former guitarist of Noise Rock band Harry Pussy. It really shows in this noisy and bluesy acoustic Free Folk album. The album is quite hectic and, like I said, noisy. Not to a degree that it becomes more of a Noise Rock (or I guess it would be Noise Folk) album than anything but to a degree in which it feels very textured and psychedelic. And there are, surprisingly, vocals on this album, its mostly just moaning or screaming from Orcutt, but they are vocals nonetheless, and I quite enjoy them, they probably are not for everyone though. The album ends up getting so hectic and noisy, its magnificent that Orcutt could create such a wall of noise with an acoustic guitar. Or maybe guitars, I'm not entirely sure about the production of the album, so it could be layered with multiple instances of him freaking out on his acoustic guitar at once. Either way the sound he pulls off in this album is quite impressive. The recording quality on it appears to be pretty low. I'm almost positive that it's on purpose, to contribute to the fuzzy, noisy sound that this album pulls off so well. All in all this is a really interesting album from a man with a really nice track record.

Way down south where bananas grow, 

A grasshopper stepped on an elephant`s toe.

The elephant said, with tears in his eyes,

'Pick on somebody your own size`

WaMü- Viafuckt (2012)

          

          WaMü seem to succeed in functioning within the sphere of organized chaos.  The Seattle noise rock/free improvisation group utilizes violin and alto saxophone along with more traditional rock instrumentation to make for a pulverizing wall of cacophonous sound.  In this respect, they share kinship with contemporaries Little Women, yet where the latter insist on carving out slight homages to their free jazz ancestors, WaMü insist on revitalizing the brutal punk aesthetic of their No Wave progenitors in a modern context.  This pulls more comparisons to bands like DNA and Mars, while Rachel LeBlanc’s shrilly vocals are reminiscent of Lydia Lunch and Teenage Jesus and the Jerks.  Yet, despite all the influence tracking and comparisons, WaMü do manage to craft a sound of their own on Viafuckt that thrives on the interplay between musicians and the willingness to shape their wall of noise into ebbing sections rather than punishing the listener from start to finish.