This Is What I Hear When You Talk is the harsh noise wall project of Dan Fox, the man behind the Inner Demons label. He has been pretty busy lately with this project as of late, and much of it is topical and timely. Let’s see what this one is like.

Disc 1 is titled "I." Heavy, low end rumble mixed with crunchy static. Bits of whistling feedback are buried underneath the noise, but so faint that I had to stop the music to see if it was part of the music or if something was happening outside. This is subtle in movement, but it does shift and change, even as the rumbling static remains similar. Nice to kick back and relax to (if you like noise, you know what I'm talking about). It's almost peaceful, despite its title.

Disc 2 ("II") keeps the same rumbling theme going, with a lot of underlying scraping and crunchy static. This is a lot more variety in texture than a lot of the other TIWIHWYT stuff that I have heard. In much the same way that a good artist can create a wide variety of shading with an ordinary pencil, Fox manages to create a nice palette of textures with static. Like disc 1, it's subtle, but not too subtle.

If you like your walls of noise crunchy and heavy on the bass, this will be 44 minutes well spent.

This Is What I Hear When You Talk is the harsh noise wall project of Dan Fox, the man behind the Inner Demons label. He has been pretty busy lately with this project as of late, so let’s see what this one is like.

Disc 1 is titled "Thank You For Completing Your Assassination Eligibility Paperwork" and is a huge slab of rumbling noise wall. You kind of get the feeling that Fox is a bit agitated here, right? This is heavy, and has a nice low end rumble. If you have heard any of the other TIWIHWYT, this follows the same formula: Find a nice noise and keep it going for a long time. The result is that over time you start noticing the little changes in the wall of noise, kind of how you start to notice patterns in television static over time. Nicely done. I think this is a wall that we can all agree on.

If midrange noise is more your thing, then Disc 2's track, "A Garbage Bag Made Of Skin," is what you're looking for. This too keeps it going with subtly shifting noise until it suddenly ends without warning. Both of these tracks really work well in headphones.

This is some well done harsh noise wall and well worth checking out. Each disc weighs in at 22 minutes, giving us a total of 44 minutes.

This Is What I Hear When You Talk is the harsh noise wall project of Dan Fox, the man behind the Inner Demons label. He has been pretty busy lately with this project as of late, so let’s see what this one is like.

This disc contains one track titled "Trumps Are Finally Sick, So That's Pretty Neat," which is 20 minutes of harsh, overdriven noise wall. If you want noise that is relentless and covered in a thick layer of distortion, this is what you've been looking for. I can't explain how he did it, but this was just perfect.

If you like harsh noise wall and have been trying to figure out which of the many many releases to start with in the ever-growing discography of This Is What I Hear When You Talk, I would suggest this one. Solid and highly recommended. This disc weighs in at 20 minutes.

This Is What I Hear When You Talk is the harsh noise wall project of Dan Fox, the man behind the Inner Demons label. He has been pretty busy lately with this project as of late, so let’s see what this one is like.

Disc 1 is titled "I." This is heavy rumbling noise; the sound that you hear when you implode a skyscraper. Crunching and scraping sounds lie beneath the surface. Get out the headphones for this one.

Disc 2 is titled "Other I." If disc 1 is the implosion, disc 2 is the lingering echoes of the collapse. It is much more quiet, and almost peaceful if you like the sound of staticy distorted bass. This one was too subtle for my tastes though.

Overall, if you like Harsh Noise Wall, you already know about this project, but this is worth checking out, especially for disc 1. This set weighs in at 40 minutes.

Kryshe is the work of Berlin-based artist Christian Grothe. His website states that he "creates music by experimenting with tape, self made sampler instruments, circuit bending and adding soft and airy notes from is trumpet playing." The label describes this disc as "an album of texture and colour. Singing trumpet lines and vocals float along delicate, sparkling streams of experimental sound. Melodies emerge over soundscapes full of plucked strings and tines, white noise and field recordings." Sounds good, so let's get into the music.

The disc begins with "Continuum," a peaceful trumpet and piano number. The piano is almost hypnotic as it swirls around you over a bed of lush pads to provide a base for the track. The trumpet comes in slowly and deliberately. As the notes hold out it becomes more and more staticy as the is it the microphone is too close to the trumpet. This provides an interesting bit of noise and texture to the piece. "Epilog" is a another peaceful piano number that has a kind of soundtrack feel to it. "Fragile" is an interesting mix of voice, droning synth, and what sounds like a broken music box. "Pulse" is more drones and a bit of saxophone; there's a pulsing rhythm throughout that almost sounds like a heartbeat (which is fitting for the title). "Shouting" has just enough distortion and processing of the trumpet and saxophone to make it seem like it's falling apart throughout the bed of drone buried underneath. "Fragile II" brings back the plinking broken music box back with heavy drone this time without voice. "Nocturnal" lays down some heavy dissonant drone with a stuttering synth line over the top of it. Lots of layers in this. For me, this was the standout track on the disc. "Caravan" features strummed guitar with saxophone and a loping beat that has the feel of a person staggering down the street. "Murmuration" is a track of honking horns that sound like a dying seal with some rattling percussion and bits a piano interspersed throughout. "Reprise" finishes off the disc with a very short track (less than a minute) of mostly strummed guitar.

For me this was kind of a mixed bag. There is a lot that I liked about this; there is a feeling of experimentalism that I appreciate and a healthy dose of dissonance in several of the tracks. On the other hand, there are times where it gets a bit too new-age feeling for my tastes and it didn't quite have the same feeling of cohesion as the other Serein disc I reviewed in this batch (Jonas Meyer: Konfusion). That said, it was well done and may simply be a matter of personal taste. This album weighs in at around 40 minutes.