Born in Baltimore, MD, artist Marlo De Lara received a PhD in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds. Her artistic practice works within the realms of sound performance, visual distraction, and film. Working under the moniker ‘marlo eggplant’, her sound art is a production of textural compositions which develop from microscopic tone landscapes into dense and expansive states of noise and drone. Her works aim to blur the definitions of (un)intentional sound and music. As curator and organizer of the Ladyz in Noyz (LIN) international compilation series/collective, an ongoing project from 2008 to the present, she continues to promote emerging artists and musicians who are women.

She has toured the United States extensively including the Victoria Noise fest (BC) , Norcal Noisefest, Denver Noise Festival, Outsound Series, Titwrench Festival, and various locally curated satellite International Noise Conferences.

noise-industrial-experimental 
Rictus first album available here (free download):
https://rictus1.bandcamp.com/album/tulpa

Velvety white smoke filling the room.
Rusted wire intertwined.
Feral cats purring to the moon.

Tanky & Cobra

RareNoise’s mission is to detect and amplify contemporary trends in progressive music, by highlighting their relation to the history of the art-form, while choosing not to be bound by pre-conceptions of genre. It seeks to become a guiding light for all those enamoured by exciting, adventurous and progressive sounds.

"Darja Kazimira" is a project of the Latvian/Georgian experimental improviser, vocalist, multi-instrumentalist, and artist Darja Kazimira Zimina. The ideological core of the project is based on the idea of ​​a regular search for a dynamic object-center of the ritual, through the construction and study of the principles of sacred space erection. The search is carried out through self-initiated rites of burial, funeral, sacred violence, fertility (cults of the ground), as the embodiment of the idea of ​​transformation and its irreversibility. For this, the author also uses bodily practices, many of which are of an authentic masochistic nature. The genealogy of the tragic and ancient tragedy also has a great influence here. The main form of the musician's expression is long improvisational cycles of a pseudo-storytelling nature, for which the author uses they own asemiotical, idiosyncratic language, generating semantic keys that cannot be deciphered by the listener, thus supporting the idea of ​​realizable meaning, as well as its complete absence.

https://rojinsharafi.studio
https://rojinsharafi.bandcamp.com/

RICTUS is following