What inspired you to first start making music? And how did you come to be in your current incarnation? Or if you prefer, a brief bio about you.

I started making music aged around 15 when I formed a sort of goth/post-punk band. There wasn’t much of an audience for drum-machine led gothy post-punk in the early-to-mid 90s, and since I wasn’t very good at singing and my guitar and songwriting skills didn’t meet my ambition, I eventually realised I was better equipped to be a writer. That in time led to doing spoken word, which in turn metamorphosized into spoken word with noise collaborations. So here we are….

Provide us with some info about your latest release…

I’ve done a couple of noise / drone pieces recently, which represent my first musical output in over 20 years, and the first recordings I’ve made properly public ever.
In written terms, I published ‘Retail Island,’ a Ballardian dystopian novella, last February, while my performances centre around an ongoing project entitled ‘The Rage Monologues’. The title is pretty much self-explanatory: one man venting his spleen.

Which ones would you consider your main influences both music-wise & non-music-wise?

I’m a massive fan of The Sisters of Mercy, but my performances nowadays channel Whitehouse and Consumer Electronics, while I’m always drawing on Ballard, Burroughs, and Stewart Home in my writing. Beyond that, I’m a cultural sponge and life is material. For better or worse. Usually worse.

In what way does your sound differ from the rest genre-related artists/bands and why should we listen to your music? In other words, how would you describe your sound?

Fucking brutal.

Please name your 3 desert islands albums, movies & books…

Only 3? That’s cruel. It’s hard enough to reduce it to three artists or authors. Anyway.

Albums: Foetus: ‘Hole’; The Sisters of Mercy: ‘First and Last and Always’; The Psychedelic Furs: ‘Talk Talk Talk’.

Movies: ‘The Blues Brothers’; ‘This is Spinal Tap’; ‘Locke’.

Books: William Burroughs: ‘Naked Lunch’; JG Ballard: ‘The Atrocity Exhibition’; Michael Gira: ‘The Consumer’.


Do you prefer studio or performing live and why?

As a writer, I spend a lot of time in isolation in my office at home. I’m comfortable with that, but the visceral release of having something approximating a meltdown in public is the ultimate catharsis, so live is what does it for me, even though it breaks me every time.

Is there any funny-unique story you would like to share with us, always in relation to your music ‘career’?

Not really: I’m terrible at meeting and talking to people and tend to hide in corners when gigging. Although David Gedge of The Wedding Present said my band was ‘well loud’ when he saw us at York Uni in ’94. He may have meant ‘well shit’, but I’ve always taken it as a compliment. The ambition of my career on stage has always been to inflict maximum pain through extreme volume.

Which track of your own would you point out as the most unique and why?

Rather than a track, I’d steer readers to ‘From Destinations Set’ – a book that’s only available in print because it’s impossible to replicate the simultaneous narrative in an e-book. Then again, I’m immensely proud of ‘This Book is Fucking Stupid’, which is ultra-meta and amalgamates theory and practise in a different sort of way.

If you do want sound, I’d probably point to this, (listen below).

Not that any of my work is remotely autobiographical in its inspiration.

Would you like to share with our readers your future plans?

The nearest future plan sees me sharing a stage with Modern Technology, Bruxa Maria, and Lump Hammer at The Victoria in London on June 28th. This will be the first time I’ve performed in London. My set will be in collaboration with harsh noise merchant Cementemental. It’s a benefit gig for Mind and Shelter, and it should be a cracking evening. Event details and tickets can be found here.
Looking further ahead, I’m working on a sequel to ‘Retail Island’ called ‘The Deserted Island’. It’s a bleak anti-narrative set in the dystopian present amidst the collapse of capitalism, against a backdrop of multinational medical corporations conducting mind-control experiments. At its heart, it’s a book about the terror of anxiety and its paralyzing effects. It’s postmodern and paranoid. And each chapter is between 340 and 350 words long. It’s all about discipline. We need some discipline in here!

I’m also working on a noise / shouting project with Paul (aka Foldhead) who’s been part of Smell & Quim and Sutcliffe Jugend under the moniker …(Something) Ruined. We debuted in Leeds in May and are both immensely excited by the energy we channeled. It’s early days, but we have plans… and badges.

Free question!!! (Ask yourself a question) you wish to answer and haven’t been given the opportunity…

Q: What is wrong with you?

A: What isn’t?

Photo credits: Ox Hardwick (1st one), Aida Knight (2nd one)

Curated by: Christos Doukakis

Recommended listening:

Connect with Christopher Nosnibor:


Twitter: @chris_nosnibor