The term “noisecore” is a case-in-point for the futility of genre specificity. Sometimes it refers to the harsh, spastic, often comedic blast miniatures of bands like The Gerogerigegege or Nikudorei, other times I’ve seen it applied to more structured noisegrind releases, and people even try to tack it on to records with a raucous, abrasive brand of hardcore punk… not exactly a well-defined moniker. But what the hell else am I supposed to call something like Insane, a razor-sharp release that (allegedly) blazes through 22 tracks in less than six minutes, all distorted explosions of electronic blast beats, fractured shrieks, and waves of screeching, chunky noise. Like some of my favorite albums in this musical grey area—Sissy Spacek, Unyoga, The Hermeneutics of Fear of God, etc.—Insane uses the warped, blurred grind segments as elements in a twisted collage, constructing a nightmarish sound environment that draws its formidable presence from the unnerving blends of speeds, palettes, and genres. Despite the release having 22 tracks, it’s essentially a single Instruments Disorder-esque maelstrom full of noise in every form. If I had to argue, this is what “noisecore” should really be.
Noise Not Music 