Dreamcrusher Has Arrived in a Fury of Noise with 'Hackers All of Them Hackers'
Their new EP could be the most important noise record of the year.
It's time to finally accept queer nihilist revolt musik as the new gospel.
For the past few years, Dreamcrusher has been bent on making noise music more queer and inclusive, dividing itself from the neo-nazi cliche the genre gets pigeonholed to. They started their career playing in shitty clubs in Wichita, Kansas and have made the move to Brooklyn in the past year. Each performance is a storm of rage excitement and sweat; it's rare that Dreamcrusher won't be in your face by the end of it. Today, Dreamcrusher has released a record worthy of those performances, and of their message.
Hackers All of Them Hackers is a five-track journey of sound and power. Each song is a force of sonic thickness save for a few moments of breath. "Fear and No Feeling" immediately opens up the feeling of the record record by mixing a head bobbing rhythm in with ear melting noise. Dreamcrusher uses the sharp abrasiveness in tandem with bassy beats, guiding the listener in and out of the textures through the record. You can dance, get upset, run into someone, contemplate, anything along with the record. Hackers All of Them Hackers takes everything we fear or praise in technology, and turned it into a weapon.
Listen to the EP below, read our interview with Dreamcrusher, and pick up your copy of Hackers All of Them Hackers right here.
Noisey: Tell me about Wichita.
Dreamcrusher: Okay. I did an interview the other day, and I told the interviewer Wichita is cool, but it’s a place you have to make up your own fun, like any small town. And I said that there’s “a lot of white people with dreadlocks,” which is true, and they make really bad music. But people support that shit. I got to the point where I was done playing shows with these people, cause it’s cool to have a genre diverse bill, but it was diverse to a point where there was music that’s interesting and music that’s clearly made to get on the radio and I can’t really fuck with it. It’s weird, the first show I played outside of Kansas was in Lawrence, noted mostly because they were high as shit and you can tell. They were jumping up and down, everything, it was just a lot of fun. The next night, I played a show in town and there three people there. Two people left because it was loud, and the one person that was left started yelling “encore, encore!” It’s kind of like being a stripper and dancing to a song to you hate, to the one person in the crowd who thinks you’re attractive. Like, you gotta get the fuck out of there. But on one hand, I say that but I wouldn’t be here without that. [laughs] The people that even got me to preform it was like, it’s Kansas and you need to show that there’s more cool shit out there.
How do you come across noise and stuff in a small town?
Dreamcrusher: Corny as shit, but the internet. Up until I was ten we didn’t have cable, and when we got it I was kind of raised by television. So I’d watch a whole bunch of MTV where they’d play the weird videos at night. And they did the same thing on BBC America, they’d have the regular programming and then they’d have like live clips of weird shit at night compiled together. Other than that, everybody thought I was weird. Everybody. I mean, you’ve seen me out, I’m a dumbass when I’m out. So it’s that on top of I liked Einstürzende Neubauten. A lot of that stuff I looked for weird shit cause I hated my surroundings.
Do you remember the first really weird artist you got into?
GG Allin. I don’t like his music, but it’s like Anal Cunt. You just remember like the one picture, his personality doesn’t match everything else. I kind of lumped, like popular music was one thing and then everything else was everything else. So like grunge and shoegaze and all that shit was the “other” stuff. Prodigy was my shit. First album I bought was Fat of the Land. I was cutting grass and I used all my money to buy that and Janet Jackson’s The Velvet Rope. Cause I wanted to be a dick and show my parents I was kind of normal. I endorse Janet’s goth phase. However that works [laughs].
You mentioned if it wasn’t for Kansas you wouldn’t be making music. Do you think the emptiness of Kansas fueled the abrasiveness?
Yeah. You kind of felt like you were in a cage. I would try to get people to play in Kansas, but every time I asked like Nurse With Wound or Torturing Nurse or any of those people, they knew who I was and were like “oh yeah, that’d be a cool thing to do.” But in the back of my mind I’d be thinking “what if nobody shows up?” Because people have this weird, people in Kansas kind of like being boring...I shouldn’t say that. [laughs] There’s a percentage of people that like being boring, maybe 60%. They like stability, knowing what’s going to happen the next day.
Yeah. They like to assimilate and shit. So if I invite an electronic or experimental musician who has a lot of clout to come here, and there’s only like five people there they’re not going to want to come back. Acid Mothers Temples played in Kansas once, it was so lit. It was so loud, they were playing in a tiny bar, and the sound guy fucked up the microphone and it wasn’t on at all. They’re all japanese and they don’t speak english at all, and the sound guy isn’t doing anything and jumped off the stage. I don’t know if they got in a fight, but he kicked a hole in the soundbooth and jumped back up, and the sound was magically working again. It was like “oh god, they’re never coming back here again.”
So you saw a lot of weirdness in people come out in off ways?
Oh yeah. The people I really collaborated with, like Flower Flesh and Blood and Living Ghost, they’re all from Kansas and weird as shit. They have kids, and have a sense of normalcy but rebel by making this creepy, weird, abrasive raw shit. There’s that, and a lot of the other ones, like I started performing and doing shows in 2012 and people kept telling me “I thought the noise scene was dead here, oh I haven’t seen a noise show in so long.” And that’s insane to me. Cause I didn’t think Kansas had a noise scene at all, and that it was a big thing in the 90s. I kind of had to make other artists in Kansas preform and do shit. I’d have to be like, if you do a show with me you might be able to do something cool. But they were so over it, like “eh I’m 40. Whatever.”
What was it like being in Brooklyn for the first time?
So I did that Gofundme thing, and I thought to myself if I can get to like halfway I can buy a plane ticket and found myself. I got to like $700, and $600 went to my mom’s medical bills. MP Lockwood, the guy that does Radio Shock hit me up and was like “hey I know what it’s like being in a small town and make weird shit and have no way to expand on it. But I think you should go on tour with me, but if you need to be at home with your mom, whatever.” And my mom told me “do it, there’s nothing in Kansas. Just fucking go to Brooklyn, what’s wrong with you?” She was like pissed that I asked if I should go. [laughs] And to this day, she’s like one of those moms that won’t tell you how she’s actually doing.
So the night I got here was the night I played at Silent Barn for the first time. I couldn’t eat all day, I was scared shitless. I looked into the audience and Chris Hansel was in the audience. And I was like “oh my god.” And then I saw like two Tumblr people there, and I was like “first I had to pee, now I have to shit, what the fuck.” I’m already scared too, like “oh god it’s Brooklyn” cause in my mind Brooklyn was Foxy Brown and Biggie and Jay Z. Like “oh fuck I’m gonna get shot” cause I have all this shit, and my equipment and I thought I looked like a target. Just gonna die the first night, I’m a pussy whatever. But it was cool, everyone kept telling me Brooklyn is “sooooooo” much different than before. And I’ve heard the word “papi” more than any other time in my life. I called my mom and was like “everyone calls me papi here, it’s awesome!” Which is misgendering, but it’s okay, ha ha ha.
Yeah it’s weird. But you thought Brooklyn would be—
Basically how East New York is, I imagined Brooklyn. Right before I came here, I watched the video where Charlemagne interviews Onyx. They’re from Canarsie, and I thought that’s what everywhere was like. And my pants are tight, oh god. I dress like Robert Smith, oh fuck oh fuck. But I’ve never felt unsafe here. I’ve felt unsafe in Kansas. There’s dude bros, there’s Juggalos, business people. Even the gay people are like boring. I don’t really want to hang around people that put on the same True Religion outfit every time they go out. That’s creepy.
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