Anomalous Trackologies Split by Heavy Insect and Haggari Nakashe & gaop

 

We are extremely happy to announce this super interesting release, one of the first gems to hit RZR in 2025.

A split between Heavy Insect, an alternative noise rock, sludge, post-grunge, insanecore, weirdo indie one-man band from Chicago, doing some really inspiring work from his basement, and our very own Haggari Nakashe & gaop, with a painfully loud, raw, slow, and dirty take on noise rock.

This split will be released on streaming platforms around April, but as of last night, you can stream and purchase it via Heavy Insect's Bandcamp (see the embed below for easy access). We encourage you to do so. Make sure to check out his latest album "Out of Light", which was released last month.

Officially known as RZR release RZR25SS01,  we really hope that the Anomalous Trackologies Split will help to put us back on track with our split series. This pet project is something we try to promote hard every year but often underperform, given how sometimes life is just a series of random events that can hold you back from doing the things you love.

Now that we hopefully have you excited about this item, please make sure to follow Heavy Insect on Instagram as well because he definitely deserves your attention both to his music and to his visual art, which is on some primitive outsider next level. Don't forget to follow him on Bandcanp, Spotify, and wherever you get your music from. You won't regret it.

Another note about this release: You have to listen to the entirety of it in one go, or at least so we recommend. The tracks get increasingly more chaotic and heavy as they progress, so essentially, this release is meant to lure people in like a Siren and hit em like a Venus flytrap. Have to is obviously very strong wording, and we're not forcing you to do anything. If you have read this post so far, we're mostly grateful for your time and attention. 

What makes this split particularly effective is the dialogue between basement-born chaos and intentional sonic brutality. Heavy Insect's approach, lo-fi, unpredictable, genre-defying, feels like someone tearing apart the rulebook while Haggari Nakashe & gaop meticulously construct their assault with deliberate slowness and grime. It's the difference between wild improvisation and calculated devastation, yet both sides share a commitment to making noise rock feel genuinely unsettling again rather than just loud. The pairing works because neither artist is trying to be palatable or accessible; they're both committed to discomfort as an aesthetic choice, just arriving at it through different creative processes.

The DIY spirit runs deep through this release, and that extends beyond just the music itself. Heavy Insect's visual art deserves special mention here, his outsider aesthetic complements the sonic chaos perfectly, creating a complete artistic vision that reminds you why independent labels this matter. This is art made by people who need to make it, not because there's a market for it or because algorithms will reward it, but because the alternative is not making it at all. In an era where even "underground" music gets smoothed out for playlist compatibility, releases like Anomalous Trackologies feel genuinely countercultural, two artists from different far apart , connected by a label that's been championing this kind of uncompromising work for over two decades, creating something that exists entirely outside the usual music industry infrastructure.

BLOOD STAINED SOIL by SMEGMASMOG

 

SMEGMASMOG returns with another unrelenting descent into sonic despair with "BLOOD STAINED SOIL," released October 23, 2024, a release that doesn't just flirt with darkness, it marries it, consummates it, and leaves the wreckage smoldering. This latest offering doubles down on the project's signature fusion of depressive harsh noise wall aesthetics with haunting melodic undercurrents that cut deeper than pure aggression ever could. The title itself evokes imagery of war, trauma, and the earth itself bearing witness to violence, and the music delivers on that promise without a single word spoken. This is blackened noise as requiem, as monument to suffering that refuses the comfort of catharsis or resolution.

The duo's own words frame the album's intent with striking clarity: "THE TEARS OF OUR MOTHERS ARE TRANSFORMED INTO SIREN SCREAMS OF REMEMBERANCE. SEE THE PAIN OF OUR PEOPLE, HEAR OUR VOICE." This statement isn't mere promotional copy, it's a mission statement, a warning, and an invitation to witness. SMEGMASMOG transforms generational grief and collective trauma into sound, channeling the kind of pain that gets passed down through families, communities, and entire peoples who have been forced to watch their land violated and their stories erased. The "siren screams" they reference aren't abstract; they're embedded in every feedback shriek, every distorted wail that punctures through the dense walls of noise. This is mourning as resistance, memory as weapon, and sound as testimony that refuses to be silenced or sanitized for easier consumption.

What sets "BLOOD STAINED SOIL" apart in SMEGMASMOG's growing catalog is its patient brutality and its refusal to separate personal anguish from political reality. Where other harsh noise wall projects maintain relentless static consistency, SMEGMASMOG allows space for the horror to breathe, keyboard lines emerge like memories surfacing through mud, feedback shrieks become voices of the buried and forgotten, and the overall density shifts between suffocating walls of distortion and moments where the weight lifts just enough to reveal the full scope of desolation beneath. The production choices here are deliberate and sophisticated despite the raw aesthetic; each layer of noise serves a purpose, building an atmosphere that's less about sonic assault and more about psychological erosion. This is music for sitting alone in the dark, for confronting the parts of history and personal experience that polite society would rather forget. The duo demands that we see, that we hear, that we bear witness to what continues to stain the soil beneath our feet.

Available now on Bandcamp, Spotify, Apple Music, and documented on Discogs, "BLOOD STAINED SOIL" solidifies SMEGMASMOG's position as one of the most emotionally complex and politically conscious projects operating in the extreme experimental music underground. This isn't background music, and it's certainly not meant to be palatable, it's meant to leave a mark, to stain the listener the way its title suggests earth is stained by violence and watered by tears that have turned to screams. For those who found resonance in the depressive weight of "BETRAYAL" or who appreciate how projects like Pharmakon and The Body use noise as a vehicle for genuine emotional expression rather than mere sonic extremity, this release is essential. Stream it loud, sit with the discomfort, and let SMEGMASMOG guide you through territories that most artists are too afraid or too comfortable to explore. See the pain. Hear the voice. Remember.