Identity

Forest Girl (1894)
Eero Järnefelt (Finnish, 1863–1937)

1. Sitting on the Baltic
2. Stars of Ampumahiihto
3. Will-o'-the-Wisp
4. Untitled ❄

Tunrida (EP)

NOBODY KNEW

artwork: ali rose https://rh.com/us/en/catalog/category/products.jsp?categoryId=cat17010021&pgterm=category%3Acat17010021

free download: cuttermattock.bandcamp.com/album/landhaus

spotify: https://open.spotify.com/album/473Vce79m5S9XxqK5TRueU?si=2PdM6k_UROmYBONWkawXEQ

0750213231381

free download: cuttermattock.bandcamp.com/album/landhaus

0750322231427

0750123231093

0750123231747

0750220231763

0751029230666

Suzerain

Morbid Curiosity

Intrusive Thoughts

Amour Dure

The Holidays

Searching For Somebody To Haunt Me

Love Spells

Shut Up Angry Little Girl (Ft. Myka Bandy)

"Doubting Antiq̷̗͓́̈́͊̆̌̉̅̎͝uity"
Release Date: Nov. 3rd, 2023 

1. 古史辨派 
2. 截斷衆流
3. 我們為什麼要反共？
4. 图尔库天鹅

Doubting Antiquity School: 
https://en.wikipedia.org/wiki/Doubting_Antiquity_School#:~:text=The%20Doubting%20Antiquity%20School%20or,approach%20to%20Chinese%20historical%20sources.

Hu Shih:
https://www.hushihmemorialfoundation.org/infoenglish

Doubting Antiq̷̗͓́̈́͊̆̌̉̅̎͝uity (EP)

GAU (EP, 2024) (NOW ON ALL PLATFORMS!)

A1: Etern8l A2: Worms of the Earth B1: Gau B2: Angel Of Death B3: Phantosmia

“GAU” is intended to shove you into a caliginous abyss with grim, old-school Gabber infused with deep techno and will recover you with the power of Happy Hardcore. It was influenced by voices and otherworldly noises that have reached me through devices like fans, motors, vents, generators, lawn mowers, showers etc. This is a fairly common phenomenon that happens to certain people. Like white noise and red noise, the ongoing presence of such machinery has both the ability to drown out the commotion in the mind or arouse it. Let the decision be up to you. If your experience of these noises is uncontrolled and causes suffering, may the machine override the madness and sorrow, otherwise might you indulge in its sinister euphoria. You might also make the decision to control the noise yourself, and play around with it. Avoid spilling your deepest darkest secrets around these devices as you don’t know if anything else is tuning in.....

#occult #esoteric #hardcoretechno #gabber #hardstyle #techno #happyhardcore #underground

GAU (EP)

"I Was a Child Slut"

artwork: from the series of paintings "I was a Child Slut"  by Bradford Sharpe (Gibsonville, NC)

Check out his instagram: https://www.instagram.com/behavioral_spit_studio/

I Was a Child Slut

A1: U Did Such a Good Job (Part I)
A2: Ur Mean 
A3: Invocation 
B1: Primate Hypno 
B2: U Did Such a Good Job (Part II) 
B3: Dawn's Elixir 

Available on Bandcamp: 
https://cuttermattock.bandcamp.com/album/invocation-99

Vocals: Ruben Slikk 
Production: Cutter Mattock
Mixed by Cutter Mattock
Mastered by Joe Warlick
Art Direction: Cutter Mattock

Invocation 999

Invocation 99 (Ft. Ruben Slikk) (EP)

Campus

happenslikethat

Mrtyu

Always Here If U Need Sex (w/ Luca Gache)

Oral Fixation

Hickory Hill (Feat. THRASH PLAYA)

⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧
カッターマトック 75 
⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧

DEMORALIZING, DEHUMANIZING, & ENTIRELY CORRUPT  

⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧
カッターマトック 75 
⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧

“Cutter Mattock is a boundary-bending producer, vocalist, and multi-instrumentalist whose work blends the grit of underground electronic music with the emotional weight of alt-rock and modern industrial. Known for his razor-edged sound design and visceral live performances, Mattock crafts songs that feel both intimate and apocalyptic—haunting melodies carried by serrated rhythms and stark, metallic atmospheres.

Born from years of self-taught experimentation, his music sits at the intersection of analog imperfection and digital precision. Field recordings, broken synths, and distorted guitars form the backbone of his sonic palette, while his lyrics explore themes of dislocation, memory, and the tension between destruction and rebirth.

After gaining attention through a series of independently released singles and collaborations with visual artists and experimental filmmakers, Cutter Mattock has built a cult following that gravitates toward his raw honesty and cinematic world-building. His live sets—part performance art, part controlled chaos—translate his studio work into an immersive experience of light, texture, and emotional release.

With each new project, Cutter Mattock continues to evolve his singular sound, pushing into new territory while remaining rooted in the darker, more human corners of electronic music. He isn’t just making tracks—he’s creating a universe, one fractured frequency at a time.

Cutter Mattock moves through the music world like a coded signal—part prophet of distortion, part architect of atmosphere. His sound, forged in the space where abandoned machinery and whispered folklore meet, bends between electronic ritual and post-industrial trance. Every track feels like a transmission from a place just outside ordinary perception.

Mattock’s work draws on the esoteric and the unseen: cycles of decay and renewal, the alchemy of turning raw noise into emotional resonance, the soft pulse of something ancient beneath modern circuitry. Rather than relying on genre boundaries, he constructs sonic sigils—dense, immersive compositions that behave more like living entities than songs. His vocals drift between invocation and confession, grounding his spectral production in human vulnerability.

Cutter Mattock is less a musician than a cartographer of hidden territories—an artist who composes with shadows, machinery, and memory as if they were elements in an ancient, half-forgotten alphabet. His music rises like a signal from beneath the floorboards of the world: metallic, luminous, trembling with coded meaning. Each piece feels like the fragment of a larger ritual, a shard from a mirror built to reflect what language cannot hold.

In Cutter Mattock’s hands, sound becomes symbol. Synths hum like monastic drones; guitars crack open like fault lines; percussive pulses mimic the heartbeat of something vast turning slowly in the dark. His voice—sometimes a murmur, sometimes a flare of electricity—threads through the composition like a guide through a labyrinth, a flickering lantern showing both the way forward and the way deeper.

Influenced by the poetry of ruins, the mythology of abandoned places, and the quiet intelligence of broken machines, Cutter Mattock builds songs that behave like sigils: charged, layered, alive with intention. They invite the listener to read them not as tracks, but as omens—messages carried on the dust of dreams, speaking in metaphors of rust, water, bone, and light.”

formerly: @7nicholzon
@nicholzon
other accounts:
@depressedplayasunion
_______________________________________
COMMISSIONS--OPEN: seanknightnicholson@gmail.com
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"HATE YOUR ENEMIES WITH A WHOLE HEART"
-Anton LaVey

CUTTER MATTOCK

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