25. Wolf Eyes - Burned Mind (2004)

Michigan, Detroit has a glorious history of groups who went more noisy, more out there than the competition. Barrel-house R&B groups, MC5, Stooges, Funkadelic & Destroy All Monsters. The often cited industrial crunching of the car factory may be an influence, but more recently as the car factories have closed and been replaced by boredom, unemployment and white flight; bleak landscapes of pain and madness may be the primary reference. Those who stay continue to seek to kick out the jams.
Wolf Eyes emerged from the punk noise cassette sub-underground, taking influence from a massive array of non mainstream maneuvers like local punk house gigs, free jazz, horror b-movies, skateboarding & D.I.Y. electronics.
The refreshing thing about Wolf Eyes was their openness and attitude. Whereas a lot of noise acts can keep the audience at arms length, with their seriousness and anonymity; Wolf Eyes, in common with the aforementioned Detroit acts, came to have a good time, make some noise and party. It made sense that their pal was 'Party 'til you punk' mentalist Andrew WK. Therefore, in being approachable and inclusive Wolf Eyes have probably done more to introduce the appeal of noise, and free music into alternative culture than any other act in the last 15 years.
Wolf Eyes are John Olson: expert on all things sub-underground, insatiable appetite for all things rad, he often changes noise making machinery, have seen him use a variety of jerry made electronic devices, a homemade guitar, clarinet and saxophone all played through heavily distorting effects boxes.
Nate Young: Brings the party, kicks out the jams etc, often triggers headbanging electronic stomps.
Aaron Dilloway: Left shortly after this, performed on electronic circuitry, first time I saw him live the electronic noise he made seemed to stem from a bulldog clip he had attached in his mouth.

Wolf eyes aim for otherworldly, liberating noise, but never water down their sound for a mainstream audience. Following a brace of self-released underground CD-R's and cassettes, and a growing live reputation, they arranged an unlikely team up with major label Sub-Pop for this release.
The cover which depicts a crow pecking a two decaying human skulls are a good analogy to the music contained within. Swathes of circuit bent analogue distortion, creeping non rhythms and instruments twisted out of any recognizable shape dominate proceedings. Dead In A Boat and Stabbed In The Face include the machine driven giant thumps that send audiences mad, and provoke fist pumps and whoops from the group. Rattlesnake Shake, has a nauseating bass-tone, a windy effect, oscillations, an ominous rattlesnake sound surrounding big echoed steps. Burned Mind pulls out the axe and makes it sound like the Id in Forbidden Planet traversing the force field. Black Vomit clatters like Metal Mickey trampolining.

Wolf Eyes have the distinction of being the only group I have seen with people who have walked out in disgust, and this has happened twice!
The first time was in 2004 at All Tomorrow's Parties festival at Camber Sands curated by Sonic Youth. The stoner guy I was with was certain that Wolf Eyes were spreading bad vibes, and got the fear, walked out. Damn right man.
The second time was again at ATP festival, one of the last at Prestatyn, Wales 2014. This friend felt that Wolf Eyes were taking the piss, and had no discernible structure or tunes. Walked out.

It's true that free music or noise is never gonna appeal to a wide audience. But the overall vibe of Wolf Eyes, though based in horror, is freedom, community and thrill seeking joy.
Those guys kick ass, and still do. Saw them last year at Bristol's Exchange, and they get better with age. They are always approachable, and mix with the audience at shows. Living the D.I.Y. punk dream.