Hidden within an old water-control structure along the Someș River, a massive concrete and steel passage cuts through the embankment.

I walked through it from one side to the other. For a moment, it felt less like a tunnel and more like a passage into somewhere else.

The Portal is that moment.

I guess this is something that everyone goes through at least once in this shitty timeline.

I have been accused of using artificial intelligence and this is just not true.

I don't know if it's about the music or the art but I'll explain both sides.

Art:

I make all the art for my own band. Blindgear I simply searched up CT Scan online trying to find burner artwork. I liked the format and reliability of the cover so much I decided to use it.

For Sicknesses I was highly inspired by Marilyn Manson. I heard he used old diagrams so I found one and used it. I gave it approval to my friends and told them if they liked it and I got told "What the fuck is happening with this cover" someone recommended me to do Jeffrey Dahmer but I didn't want to appeal to the Tiktok fan girls lol.

For Further into the Gear I used another photo I found during the Blindgear stages, same search.

For Obsolete there was a cool image of a mountain and a crater on Pinterest which sounds generic but it still looks cool.

For Melded what I did was add an image of a music studio console and multiple plugins and processors and then another photo but this time all blurred and distorted and layered them with static.

For Structural Integrity the upcoming album, I made all the artwork myself.

Music:

I make all the music by myself no A.I. I used the bandlab drum machines up until Further into the Gear where I got Ilan Rubin to do drums using a pack online and then another song which was some drum machines I found on the Internet Archive.

The Bandlab drum machines are still used a little bit but I mostly use the Boss Dr-660 and the Kawaii-R50e. I also use multiple Roland and other drums like the Oberheim DMX.

For guitars I use sample packs found on Bandlab and the virtual instruments. I occasionally sample guitars from legendary acts like Nine Inch Nails and Ministry. God I even think I sampled the Malcom in The Middle guitar lol.

So yeah, and for synths. I either got them off the Kurzweil K2000 or the Existing ones on Bandlab.

I usually distort all of these with effects ranging from loads of low-end EQ and boosted attack compression. Loads of noise gate for the drums and choppy guitars and a whole lot of bit crushing (Mostly on Melded and Obsolete) for Structural Integrity, I've advanced so much I sound like a 90's Industrial Rock band.

$100-250 range preferably. I'm new to music production in general, but I recently got an audio interface to connect my guitar to my computer and I want something decent to listen to the playback through. Everything I work on is inspired by (or just straight up stolen from) industrial music. I just want a decent set of studio quality speakers or headphones I can use to test my music, but I can't drop half a grand or anything. Specifically want to be sure my mixing is on point, if that makes a difference.

9 years ago, collaboration with the musical artist Tuolena from Australia, a fascination for producing a diffusion of sound from any source and always experimenting with ways of helping sound to give of what it can.

I SENT tuolena a very low and dragging orchestral timpani rolls and a abstract unfolding of bell tones and metallic delicacies. This is how he transformed the acoustic into a synthesizer like soundscape! Thank you Tuolena:)

Thumbnail is Original artwork!

Hi! I’ve been developing f11ter 0.1.5, an experimental multimode filter built around the idea that very different filtering techniques should live inside one consistent instrument-like workflow.

Instead of offering a single filter with a long mode selector, f11ter contains 42 independent DSP topologies and 141 source modes, organized into six families.

Filtering and tone shaping

• clean multimode, state-variable and morphing filters;
• ladder, acid-style, diode and other nonlinear circuit-inspired responses;
• dual and serial filters, peak/scoop shaping, wide band rejection and bass-focused processing;
• continuously variable cutoff, resonance and structural morphing.

Phase, feedback and spatial processing

• comb filters, flanging and multi-stage phasing;
• distorted comb feedback and diffusion networks;
• compact reverberant and resonator structures;
• stereo offsets, barber-pole phase movement and controlled feedback behavior.

Formant and experimental sound design

• vowel and multi-formant filters;
• dual-formant combinations and variable notch structures;
• ring modulation and sample-and-hold processing;
• Scatter resonator fields, Flutter pitch instability, Snarl and Howl feedback models.

Modulation and workflow

• three independent LFOs and an envelope follower;
• free-running or DAW-synchronized modulation;
• up to 16 bipolar modulation routes;
• precise route-depth entry and finer control around small modulation values;
• 45 categorized presets, including static sounds and deliberately programmed modulation;
• A/B states, topology-aware help, parameter automation and preset save/load;
• a true dry/wet control: 0% is the untouched input and 100% is the complete processed signal.

A little about the engineering

The filter families do not all reuse one generic response with different labels. They combine topology-preserving state-variable structures, cascaded filters, nonlinear feedback stages, resonator banks, fractional-delay networks, all-pass stages and time-varying algorithms.

Cutoff smoothing is performed in the logarithmic frequency domain, and topology changes use a short state-bank crossfade to reduce discontinuities. SAFE RES applies model-specific limits to high-Q and feedback structures, while COMPENSATE estimates level changes caused by resonance, drive and the selected model.

The graph displays the current and target responses, stereo differences, reachable modulation range and the actual output spectrum. For nonlinear and time-varying models it is intentionally treated as an estimate rather than pretending that one static frequency-response curve can describe distortion sidebands, moving delays or changing feedback.

The plug-in adds no look-ahead or audio delay buffer and reports 0 samples of added latency. Individual IIR, all-pass, comb and reverberant structures naturally retain their own phase and time behavior.

What makes it different

The main distinction is not simply the number of modes. Every topology keeps the same core workflow—cutoff, resonance, morph, four contextual controls and the shared modulation system—while the meaning of those controls changes to match the actual algorithm.

This makes it possible to move from precise filtering to unstable industrial textures, tuned resonances, formant motion or feedback effects without rebuilding the modulation setup from separate plug-ins.

The compatibility-style names in the internal mode catalog do not claim bit-identical emulation of other products, and no proprietary DSP code is used.

The current build is AUv2 for Apple Silicon, requires macOS 11 or newer, and has additional lifecycle work aimed at safer UI closing, disabling and removing the plug-in from a project.

I’m especially interested in feedback from Logic Pro and other AU hosts regarding sound, CPU use, automation, synchronized LFOs, offline rendering, UI responsiveness and disable/remove stability. If something breaks, please include your Mac model, macOS and DAW versions, sample rate, buffer size and reproduction steps.

Download and full EN manual

Thought I'd drop the stuff I've been working on, since I'm starting to take the artwork and executions more setiously. The linked image goes to the first album of my latest HNW project, 'Psychotic Psychedelic', that I want to stick to textured walls with dynamic range. They'll be walls! But, with some hallucinatory hidden sounds and "did I hear that?" - type of cuts buried in the frequencies/automation/programming, or just strategic overdubbing and layering.

My other project, 'Mutinist' (the majority of my bandcamp, for now), on the other hand I've been wanting to take into more Cut-up/Sound Collage/Epic Collage directions whilst still being Noise, and Harsh Noise at times.

Since the release, 'Cut-Up Life' -- which is 6 hours btw -- I've been trying new things:

Rockstar Burnout (lol, I've always liked that rolling stones album cover) - This has manipulated samples of a Sonic Youth cover of 'Kill Yr Idols', hints of guitars, ambiance, and melody. But, unbalanced.

By An Occult Hand - this one is my loveletter to spooky old journalism and Roger Watkins, since I accidentally made sounds that would fit right in with the 'Last House on Dead End Street' soundtrack. His track on there also has some nice surprises and noise that might recall Taint/Keith Brewer's (rip) stuff. This album is spotting. But, I think you'll be surprised what you find if you skim it. I think it feels like a Ramirez record but idk.

And 90/'79s is basically an inside joke to myself. But the contents of the album are my most solid as of late imo. That first track is 30mins, but if that doesn't sound like Godspeed You! Black Emperor making a noise track... small Punk track excerpts, an alternative rock section, synth-dustrial wall, Industrial drags, thuds, loops and clangs. This one is fun, playful and weird and a good step forward for it imo

And all this is built from around 10-12ish years of recordings from when I was younger, field recordings, samples, or just sine manipulation on Renoise. I'm working on amping up the art styles though AND I have a Power Electronics / Death Industrial somethin-somethin cookin' too. Don't enjoy!😎👍🎶

Min experience nouvelle

So I've been spending around 10 minutes hitting metal poles against each other before recording and sampling it.

Due to the vibrations, putting the clips together makes a continuous low hum. For a second I was tempted to embrace having a tinnitus bassline, but that's probably not the best idea. Does anyone know how to remove the humming without drastically changing the sound?

Hatefiles #2

Spreading the word far and wide to the rivetheads with interest in the visual aesthetics of the movement!

planning to make a song with tts lyrics and some kewl electric guitar but i'm trying to make something strange first as the intro lmk what you think so far!!

I’ve been drumming and recording/mixing our psychedelic instrumental rock jams for nearly 2 years now (around 150 jams and 30+ mixed tracks).

​I’d love your honest thoughts on my progress:

​Latest Jam: https://youtu.be/r01aGLIqMx8?is=mjznXifTBGMqWtjp

​Very First Jam: https://youtu.be/RBFllFTpLFY?is=RK63RAmXzCWDxBek

I’m currently searching for someone interested in putting some vocals/collab on a demo/ep I’m working on about the satanic panic of the 1980s.

Long story short…I started learning/writing/producing/whatever earlier this year and finally have a couple tracks I’m putting together for a demo/ep. I’m mostly learning on the fly and making music as a hobby after years of wanting to learn how to make electro/industrial/aggro whatever you wanna call it.

Shoot me a message if you’re interested. Im leaning toward doing vocals in a Suicide Commando/God Module/Psyclon Nine type of style, but open to ideas for sure. Thanks!

Cipher/Hexed - Black Mass Hysteria

Ps, sorry if I screwed this post up. It’s legit like my second Reddit post I think 🤷‍♂️

Live Dawless Industrial

Can anyone guide me on some effects I could be using to get my drums to get that badass early electro industrial sound? Im talking Remission, Bites and Mind TPI sounds. I know later they sampled a lot but I’m more curious on different ways I could process my hardware drum machines without sampling them.

V1 leak provided by ex guitarist

So Im getting kinda bored of just VST synths. I have the microfreak, but it just doesnt hit that feel. I enjoy making aggrotech style beats but i just dont know what is modern that fits thats style like the old access virus.