Interview: Austrian noise artist Gunter Larry-Veston (harsh noise/power electronics)


Some months ago we covered a very obscure noise artist from Austria by the name of Gunter Larry-Veston and his debut release Mein Kampf mit dem  Scheißen.  Next to nothing is known about him.  We are very pleased to bring this exclusive interview with him as he has never given one before.  We’d like to thank Gunter for his time.

So for starters what part of Austria are you from?

I’m from a very small village near the foothills of the Alps called Wiener Neustadt.  It’s basically an autonomous collective and I live down by the river.

What’s the experimental/noise scene like in your part of Austria?

From the dawn of time we came; moving silently down through the centuries, living many secret lives, struggling to reach the time of the Gathering; when the few who remain will battle to the last. No one has ever known we were among you… until now.

I don’t really adhere to the music stigma of caring about the music scene. I like to think that the best way to know how well your genre of music is doing is to go to clubs and see how the fans react to the music. If they’re happy I’m happy. I will say this, my cousin Seth Veston is also an up and coming noise artist.
What is your equipment setup like?


I use a mixture of sources.  I have a ton of pedals including distortion, overdrive, phase shift, vintage delay, others… I also rely as you know on a lot of environmental/field recordings processed through my software.  My software includes a bunch of altered VST plugins and a BOSS M50 drum module.  I also tend to sample found objects and alter them through effects.  I love finding old junk left on the side of the road that people 

Why is there so little information available about you on the internet?

(Question left unanswered)

When did you first become interested in noise as an art form?

Well like most kids, I was always been drawn to weird noises.  Oddly it started off very organically; burps, farts and what-not.  I’ve long since been accused of being over-analytical ever since I started noticing the rhythmic pulse of the turds dropping into the water.  There was never any noise “artists” in rural Austria.. at least not intentional.  lol. 

The first album on bandcamp features a lot of strange noises and field/environmental recordings from around the house… a lot of unexpected unintentional sounds as well.  Another exploration I’ve done from time to time… this is a little difficult to explain so bear with me…. when sounds are channeled from different directions how they collide and fade with different angles.  While I’m working with this concept in the studio, that idea first came to me as a revelation when I threw a series of snowballs at the ice cream man’s truck.  I always told myself if I ever got his job, I would likely play some harsh noise walls instead of those stupid tunes they always play.

Why do you think that harsh noise and harsh noise walls are increasing in popularity and why do you think people listen to noise?

Well, at moments people’s emotional ques render somewhat incongruous juxtapositions.  I think that certain frequencies and dynamics of noise form kind of an emotional and psychological afghan over one’s second self.  But if you look at things from the vantage points of the likes of the average listeners, the artistic hues make it possible to render ones’ conscious level like sugar-free jello.  

How do you view noise from a philosophical perspective?

Well, the thing about creating a noise album… one can use glitches and mistakes to their advantage.  In fact, you could say that there really are no mistakes in this art form…. just happy little accidents.

Your first release, “Mein Kampf mit dem Sheisse” on bandcamp contains a “cover” of Toto’s “Africa” song.  Why did you choose this and how can we identify it as a cover of this song?

Well..why?  Because it’s “Africa” by Toto.  I mean… it’s scientifically been proven to be the most relaxing song ever.  But what do I do?  I go and f#$k it up by creating a noise cover of it.  It’s identifiable if you listen to the rhythmic percussion hits against the PVC pipe behind the columnar wind noise.  I’d like to do a cover of “We Built This City” and call it something like “We f#$ked up this city with noise and more noise.”  

And what’s the story behind the “Deutchland Gentleman’s Club” track?

“Deutchland Gentleman’s Club” is an ode to my homeland and my favorite animated television show.  It’s an experiment with field recordings, noise samples and sounds made through human spontaneous outbursts.

The idea with that track was to create a very organic, environmental track alluding to the human’s connection with nature and their community.

Have you done any live performances?

Indeed but unfortunately they didn’t go so well.  A couple of years back I was a part of a mini-tour in Germany.  For some reason the promoter thought it would be funny to book a noise show in Hamburg at this chicken wing joint with a stage.  Needless to say, they didn’t have a functioning PA system by the time Gunter Larry-Veston was done.

One other venue in Berlin was right next to this drag bar so half the crowd was running in with thong pants and nipple tassels and the other half was running screaming holding their ears.  The interesting thing about that gig though… is that the thumping dance music could be heard through the walls and felt through the floor.  It created an interesting sound dynamic while the show was going on.

Just out of curiousity, what kind of beer are you drinking in that .gif image?

It’s a beer native to the villages of Austria called Bullenmeist Bier.  

What do you think your most important or your favorite collaborations have been?  It’s my understanding that you’ve had a number of them but that they haven’t even been mentioned anywhere on the net.

Wow… you do your research!  Yes that’s exactly right.  I did a split floppy disc with The Rusty Twatwaffles last year.  Have you noticed these formats that were once dead have been making an comeback?  I’d considered a VHS/Beta release with Hibachi Hasagawichi but that may or may not happen at this point.  Sending files over the internet via dial up connection isn’t the easiest thing in the world.  I’m working on a collaboration with Richard Gozinya and Douche Kanoe at the moment…. a lot of crazy shit on that one.  I’m also working my next full-length release, Aus der Mitte meiner Stirn wächst ein Haar.

Do you think that this follow-up album will show a particular kind of progression in your work?


I take that back.  I want to re-define the genre.  All we hear about are harsh noise “walls.”  I’d like to focus on creating harsh noise pastures, harsh noise envelopes, harsh noise roofs.  The next album will carry a motif of uselessness and neo-nonobjectivist perspective.  There’s even a cover of Quiet Riot’s “Cum On Feel The Noize” – 3 and a half minutes of pure silence… a total radical statement.    

Gunter, we thank you for your time.  We know that this is your first an only interview to date so it makes it that much more of an honor for us.  These last words are yours!

Thanks everyone for listening.  Check out the debut release on Bandcamp.  Thanks for the interview and the support.  I’ll leave you with this quote: “Music and passion were always the fashion. And then the punches flew and chairs were smashed in two.”

Check out Gunter Larry-Veston’s Bandcamp page.  His first release is a Name Your Own Price but as always, we encourage you to support the artists we cover.

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