Prurient: Cocaine Daughter
Hospital Productions (2015)
I am in love with this old school Noise cassette right now.
Noise nerds will be familiar with Dominick Fernow and his Prurient project. Newbies should imagine a pale geeky kid in America’s midwest making ears bleed with only his voice, an amp and a microphone. He moves to NYC where he adds creepy synths and industrial drums to his mix, before settling in LA to produce a unique hybrid of goth, new wave and harsh noise. Dave and I talk about him a lot on the Antidote Podcast. Fernow has myriad fantastic side projects, too.
Cocaine Daughter was recorded back in 2011, in a Kansas City hotel. Its gritty textures paint a picture of Fernow alone in a dingy room at 3am still wearing his leather jacket, surrounded by pedals, wires and digital paraphernalia while paying tribute to Merzbow, Whitehouse and Cabaret Voltaire.
The emphasis is on dark waves of sound that swell towards synth driven miasma. Fernow expertly combines white hot static with sci-fi whirs, metallic clangour and walls of digital abrasion. It’s like your head inside a jet engine, immense layers of sound sucked through a gash in the hull and spat into your ears. Analogue tape and computers smash together and crumble into the void.
The overall vibe is gothic in nature, largely due to the damaged keyboards that constantly shift speeds and whine like klaxons in the murk. Occasionally some semblance of melody picks itself up out of the rubble to stop Cocaine Daughter from boiling over into aggression – this is no Harsh Wall Noise recording. Instead, the tension simmers in your speakers, thickening the air and hazing your vision. There’s none of Fernow’s spoken-word-slash-tortured vocals or industrial drumming on here, which is unusual for a Prurient release.
When this was recorded in 2011 the noise scene had peaked. The sun was setting on its entrails. Cocaine Daughter is a glorious reminder of how thrilling the sound was, and hopefully a reminder of what it could be again. I miss these sorts of Noise recordings, when things felt dangerous, anarchic and nihilistic. I’m having lots of fun listening to it.
The greatest thing about ‘Noise’ is that it’s void of meaning. Sure, much has been written about anti-capitalism and anti-authoritarian stances in relation to Noise, but the reality is you can project whatever you want to on it. Adolescent weirdos see it as aggressive; nerds try and force social politics on to it; but I’ve always appreciated the purity of its ‘nothingness’. It’s just white hot static that smudges all thought from your mind. If you’re willing to give in, you can have a transcendent experience.
Cocaine Daughter was released in a run of 150 copies. I hope for your sake Fernow reissues it sometime soon.