Dosis Letalis is a Serbian noise artist who came to us in recent weeks inspiring a discussion about harsh noise walls and the apparent subdivisions including “lower case.”
This brings to mind that this art form of creating harsh noise still has plenty of room to expand. In fact, the style is as dynamic as a harsh noise wall can be in and of itself.
We’d like to thank Dosis Letalis for their time. Go support them via their bandcamp link.
You initially came to us with a recording you referred to as a “lower case” noise wall. Can you talk about that term? Is it simply defined by volume level or is there something deeper in the definition?
A few of us are working on hybridization of wall noise and lowercase, which we consider to be close genres that go well with one another. No, volume level isn’t a big deal here, this is just using lowercase type of sound, and incorporating it into HNW/ANW. For those unfamiliar, Lowercase sound is mostly made by amplifying usually unheard sounds from various recordings to hearable and enjoyable levels. And what a couple of us wallers do, is using these sounds to create thick walls of noise, either by mixing them with our walls or making the actual walls from amplified sounds of recordings or source works, just like my friend Peter Keller did with his PTRKLLR project, i cannot recommend last years release on Reason Art enough.
There is now subdivisions of noise/noise walls. harsh noise walls, ambient noise walls, nature/eco noise walls and so on. How do we identify the differences in these?
Like any other genre, and no matter of what some people may think, wall noise has been growing and developing over the years. There are now a few subdivisions with clearly recognizable differences.
The term HNW is used to describe all of it, but specifically stands for loud and straightforward walls.
ANW [Ambient Noise Wall] is not a new term, and it’s used to describe quieter, gentler and usually more textured walls. It’s quieter sound is more suitable for textural exploration then loud HNW, at least for me, so majority of my works can be put in this category.
DNW [Drone Noise Wall] is being originated by Cory Strand’s project Eugene Critchley, describing bleak, bass heavy walls. Few of us were inspired by this sound and started our own DNW projects, Cosmic Silence, Veil Of Nature, Nistavilo,…
Crackling Walls or Static Minimalism is used to describe walls which are usually crackle only, without or with low bass. I had few of these recording in past, witch i thought no one would be interested in, until i heard Sho No Gai from always amazing Shurayuki-hime, which braved me enough to continue pursuing this sound resulting in my most influential release “Crackling Worship”, which is also the term frequently used to describe this form of Static minimalism. Not long after, few new projects spawned, Peter’s Dirac Sea and E. F. Stoermer and James Shearman’s recordings under his own name, all of which i highly recommend.
LNW [Lowercase Noise Wall] has been already discussed, and it’s the youngest subdivision of wall noise.
I took a lot of heat for using some of these terms, seems like some people think we use it to atract attention, or whatever, and some people still claim that the only real true walls are loud and brutal ones, which i just find stupid and backwards… Situation in the HNW scene would be stale and boring if all these time there werent people who were trying to create something new and be innovative, not just sonically, but also thematically.
Can you talk about the meaning behind the name Dosis Letalis?
The name has no deep meaning, it just came to my mind when i was playing my old noisy stuff to one of my friends who called it “lethal dose”, and that was it…
You’ve got some side projects listed on discogs.com. Are any of these still active? What distinguishes them from one another?
I have dark ambient/drone project Dosis Feralis and one more experimental ambient project named Eccentricity (sort of static ambient in the spirit of HNW), but i’m not so active with these two lately…
H.I.N.L. (noise induced hearing loss) is my harsh noise alias, and it only had one release so far, debut tape on awesome Gerauschmanufaktur.
As HNW goes, i have one solo side project called Relicuum, with focus on sci-fi themes and unusual sound, besides the debut tape on Lurker Bias two years ago and collab w Jason Campbell’s space project released on Grey Matter i didn’t had more releases, but the project ain’t dead, so new stuff can come out any time…
I also have many collaborative projects, my favorites are The Naughty Angel Raptures (collab with Charlotte Thevenin from amazing Naughty), The Climate Refugees (with Ben Rehling and Peter Keller) and Critchley Letalis (with Cory Strand).
How did you initially become interested in noise and which artists inspired you?
I heard first noisy stuff when i met Alex from DBC (it was back in the day, when he only started Creation Through Destruction), he gave me my first Noise and PE discs, and i really liked those brutal sounds.
But it was a few years later until i found out about HNW, after i discovered DBC on bandcamp. And then i started discovering other projects, it was Vomir’s Proanomie that ignited the spark in me, it was the first wall i truly immersed in, and it’s how my obsession with this genre started.
As for sound of Dosis Letalis goes, i can’t say i had specific inspiration, always wanted to create something new (even when i didn’t knew it wasn’t new at all)
Is there anything about the Serbian culture that inspired you to become interested in creating noise?
No, not really, but it certainly had something to do with the themes i chose for Dosis, which are usually socially charged and anti-capitalistic, anti-establishment and against this system thats exploiting us and against mass media that’s manipulating us…
What does a typical equipment set-up look like for you and how has it changed since the first release? And has there been any kind of evolution with regard to creating or equipment?
Actually, the very start was digital only, i guess i was too anxious to start making walls… Gradually, i started investing in gear, and after some time i moved to completely analog wall craft. Serbian standards are not kind for analog artists so this process wasn’t as fast as i wanted… I still need/want a lot of things, and i’m always trying to save up for more pedals, so i guess i can say my set-up is in constant, tho slow, evolution. Pedals that are constant are EH memory boy (very diverse delay toy), boss EQ, and bass Big Muff, usually accompanied with Sovtek Green Muff, and ofc, with some of the DOD’s and/or some Fuzz.
I have argued that much of the reason people listen to noise is based on dynamics – low vs. high frequencies, harsh/abrasive vs delicate and so on. What other reasons would you think to include?
Why people listen to noise? Hmmm, well, i guess some enjoy many different textures and changes in sound that are present in usual noise (non-HNW) tracks, and some just like loud shit, ha!
When i listen to harsh noise it’s usually to vent off and blast something loudly and when i listen to walls its to relax and immerse in the textures (and to soothe my addiction), and thats the difference between HN and HNW, first is wild and hyperactive and other is steady and meditative…
You have a new release on Breaching Static. What can you tell us about this release?
This isn’t a newly made album, it was recorded more then a year ago, so can’t really remember any details… I know that its one of my most unique and darkest walls and I’m glad that such bad-ass label decided to release it!
What is next for your plans in 2018?
Uh, too many to name… Collaboration with Gorenoise legend Vomitoma is scheduled to be released on Uninvited Records, my collab with Clive Henry and James Shearman (called Architectonicum) will be out soon on Gerauschmanufaktur , (it’s a fine release showing process of HNW collab), looking forward to new The Climate Refugees and Naughty Angel Raptures and to massive and long awaited collab between Ebony Tower, She Walks Crooked, Big Hole and Willowbrook…
Also, there will be many surprises this year, but i won’t reveal them just yet…
You’ve just received a huge commission payment to create a noise-based version of Vivaldi’s “Four Seasons.” You must create soundscapes that have some resemblances to the characteristics of winter, spring, summer and fall. What kind of equipment do you use, what soundscapes do you incorporate and how do you put this all together?
I think i’d go with my feeling and made the walls that remind me of certain seasons, it would probably be crackles for winter (reminding me of the snow), ANW for spring (for waking up the nature), HNW for busy summer and very bleak DNW’s for autumn, and equipment used would vary for wanted sound.
Look what you did, now i must actually record all this!
Many, many years from now, a very distant relative locates a box in the attic of an old home. Inside the box they find a Dosis Letalis recording and something to play it on. What do you hope this person learns about your legacy simply from listening to your work?
Well, i’d like to think they wouldn’t be bored at least, with diverse catalog of various sounds…
And i guess that this relative would notice my critique of society and time i lived in, and unfortunately, I don’t think it will be much better in hers/his time too…
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