Listening Room / Music at the Edge

This is where the music takes over.

The liminal zones between collapse and transformation, ritual and noise, beauty and decay. Whether through meditative erosions, or glitch-drenched liturgies, the music featured in this edition is united by its commitment to disobedience, its resistance to order, and its ability to turn rupture into revelation. In this edition: Ulver, Kashaiof, The Pleasure Majenta, Gertie Adelaido.

Ulver – Blood Inside

Emerging from a group once synonymous with Norwegian black metal, the album offers no allegiance to its origins. And yet, one could argue that this radical mutation represents not a betrayal, but a speculative fulfillment of black metal’s avant-garde potential.
Released in 2005, this album by Ulver is a fever dream dressed as a cathedral. A decadent, disobedient baroque opera filtered through glitch, jazz, and warped pop sensibility.
Almost twenty years on, it still feels ahead of its time. Or maybe just out of it. A grand guignol of broken liturgies and 21st-century dread.

Ulver 2010 © Agnieszka Zwara | handoneye.com

Photography: Lars K. Lande

Kashaiof – Days

Kashaiof’s Days unfolds with the quiet assurance of an artist deeply attuned to the poetics of decay. It inhabits a liminal zone between endurance and disappearance, inviting the listener into a temporality that feels both stretched and suspended.
Across a sparse, low-lit sonic landscape, Kashaiof doesn’t so much build songs as grow them—allowing textures to bloom in the shadow of negative spaces before receding back into a kind of meditative decay.

Photography: Dana Decktor

The Pleasure Majenta – Looming, The Spindle

There are bands that perform, and then there are bands that haunt. The Pleasure Majenta belongs firmly to the latter.
Their 2022 release, Looming, The Spindle, is a scorched earth manifesto of post-punk dread and noise-drenched catharsis. The group channels the wild-eyed nihilism of The Birthday Party, the metallic hypnosis of Suicide, and the ritualistic drone of early Swans—yet their sound remains distinctly their own: feverish, cinematic, and wholly unhinged.
A transmission from a doomed world where language is just another thing breaking apart.

Photographer: Noah Swan

Photographer: Zeb Ringer

Photographer: Noah Swan

Gertie Adelaido

Operating at the outer edges of contemporary sonic resistance, Gertie Adelaido describes their work as “meta-punk” and “ADHD-core.”
They collapse distinctions between noise, metal, hardcore, and electronic disruption into a volatile aesthetic of refusal.
Their track “RESPECT EXISTENCE OR EXPECT RESISTANCE”, released on Psych Tent 2023 via Stoned To Death Records, is a throat-scorching manifesto that arrives like a long overdue mutation of Atari Teenage Riot’s late-’90s cyber-anarchy.

Photographer: Cáry mlhy

Photographer: Michał Patycki

Credits:

Artist: Ulver / @ulver_official
Photographer: Lars K. Lande / @photolarslande

Artist: Kashaiof
Photographer: Dana Decktor / @dana.decktor

Artist: The Pleasure Majenta / @thepleasuremajentanzl
Photographer: Noah Swan, Zeb Ringer / @didyoubringcandy @zeb_ringer_photography

Artist: Gertie Adelaido / @nintendogertie
Photographer: Cáry Mlhy, Michał Patycki / @carymlhy, @mpatycki

Words: Avi Caspi / @avi__caspi

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