Friday, May 6, 2016



Bullshit Market is a two-piece noise powerhouse of Detroit, MI. Unrelenting, uncompromising, and unforgiving, Bullshit Market are a force to be reckoned with, or as Sean Beard would put it, "a real fucking noise act." I recently had a chance to interview these guys, and here is that exchange uncensored and in full.

GRVD: Give me the full history of Bullshit Market in relation to both of your guys' past projects.

BM: Patrick: Bullshit Market was a project I started back in possibly late '04/early '05 with a friend I had at the time. We mostly were just sitting in his room recording microkorg sounds with Windows Sound Recorder and a computer mic and stealing samples of other songs from slsk. Two very terrible EPs of crude teenage humor joke noise came from this and the project officially disbanded by 2006. Afterwards I occasionally brought the project out of retirement either by myself or remixing older material for compilation appearances but never took it seriously. When Caleb and I decided to restart this project in early 2015 it just sort of took the place of any previous projects we had done together in the past, of which there were plenty, but this time with a little more pride in quality control, and a purpose behind what we were trying to do.

Caleb: Yeah, I had moved back from a four year exile in Tennessee after being kicked from one house to the next. We had always worked together on projects, but none of them really well thought out or anything. We just dicked around, not trying very hard to be anything or say anything. Ashtray was the last project that we did before working on Bullshit Market. It was a satirical country project that we started when I was still living in Tennessee. We donned low-life redneck personas and said bullshit over nonsensical bass and guitar sounds. We played a few shows, mostly around the Detroit area, but also in New York and Wisconsin. There was only so much that we could do with it, though, so Patrick suggested that we bring back Bullshit Market. I loved the name and agreed. 


GRVD: How did you guys meet, and when did you both get the idea to make noise together? 

BM: C: I've known Patrick my whole life. I distinctly remember seeing him when he was in his early teens and I was in my early youth when he was banging my step sister (and allegedly my step mom). He was tall, lanky, and wearing a Star of David shirt. I didn't say anything, as I was too young to have anything worthwhile to say. A year or so later, when I was about 12, I found a few of his projects on Myspace, namely Tha Pantz (a nerdcore rap project) and DJ Redskeye (industrial beats mixed with trash noise). Of course, having never been exposed to noise before, I enjoyed his terrible rap project much more. But when I had messaged him about it, he was far more interested in talking about his noise than his hip hop. After he had explained everything and showed me more, I decided that this was something that I had to get involved in. So I downloaded Audacity, generated some white noise and tones, added way too much phaser and tremolo, then sent him the finished project. He thought that it was cool and wanted to get me on as much stuff as possible, as quickly as possible. So we started hanging out and jamming, making very lo-fi, cringe-worthy noise/"punk." We worked under the name SK028 for a while (a combination of my project's name, Insideout028, and his RedSK -- aren't we clever?). Played a few shows, got shut off by plenty of sound guys, and pissed off Naomi Elizabeth. A lot of people don't get what it was like to get a show back then. People did not like noise AT ALL. It's a very different environment now-a-days; everyone knows noise, or at least knows somebody who does it. The people that we played for didn't know a fucking thing beyond free jazz. 

P: I used to see Caleb walking up and down the road past my parents' house when he was like 10 (he lived on the corner house half a block down from me) and I thought he looked like a faggot (although I was a scene kid at the time and looked like a faggot as well). I grew up actually friends with his older brother (whom I'm bitter towards these days) and never really thought Caleb and I would become friends, let alone best friends. I showed him some noise stuff I was into and stuff I was doing and he just clinged right onto it and became obsessed the same way I did when I got into this shit. We jammed a lot and had a lot of projects. Aside from SK028 there was also NB,PD! (Noise bagels punx donuts) that was like techno/hip-hop, with rapping and glitches, we had two projects with Don Johnson from teh soup rebellion; Blackgirlfriend (all of us freaking out in basement banging on stuff and yelling and generating feedback and preset drum machine beats) and HEROIN... ([Helpless Ethnic Refugees Out In Nigeria] a project where the three of us would just smoke a lot of weed in my bedroom at my parents' house and pretend we were a militant (guerrilla) group of gorillas hell-bent on destroying the human population and reclaiming the rainforests). We played shows as Caleb said and got kicked out of a lot of places, sometimes we'd play a show where him and I and also Scott would just change the project per song, and yeah we were really stupid, obnoxious, usually drunk under-age, and it was utterly shameful looking back on it all. Eventually all aforementioned projects were retired and never talked about again. We ended Ashtray as a standalone project and used it as an alias of Bullshit Market whenever we decided to get back into those characters (Rusty Acres and Yeah, Boy! aka Billy Bob, Bobby Ray, Ray John, Raybanns, Ray Joe Bob, Billy Boy Bob Ray). Caleb became the other always-member of Redsk after that became a group project, and then we sort of retired that too after kicking Zach Hill out for being a douchey fuckwad, as well as complications that came from just gathering a regular line-up to practice or record, let alone play shows.

GRVD: You put on a very intense and uninhibited live show. Is the live aspect of Bullshit Market just as important to you both as physical releases, or is that not a fair comparison? 

BM: P: As with most worthwhile noise performers/groups/projects, your live action will not be all too similar to your recordings and releases. A lot goes into our final cuts as far as mixing, recording, planning and writing. There's an energy that can't be matched on recordings that we deliver in a live setting. BsM is aggressive and contrarian queer power electronics influenced by everything we've learned, experimented with, and heard over our decade-plus long history of being noise-heads.

C: I think it's important to remember that a live performance is, at the end of the day, a performance. If somebody is bored during your set, then you simply aren't performing. Get off the stage, make way for the people who want to entertain the audience -- they should sleep after the show, not during it. With Bullshit Market, we try to impose on the audience quite a bit. A performance doesn't need to be fun, after all. We're interested in making people feel something, and that's it. That's something people have come to expect from our performance, especially when we used to get naked and hyper-aggressive on people. That became too much of a crutch, and it was expected of us. There's no fun in that for us. We want to entertain ourselves, also. As far as recording is concerned, I believe noise is the ultimate medium to convey the limits of audio expression. When we mix a track, we take a lot of care to ensure that it is of the utmost quality. People who press play on their laptop, record some shit guitar playing, and call it noise are the bane to noise as a genre. There is such thing as bad noise, and nobody can convince us otherwise. Why do we say this? Because we've heard good noise. If you can't tell the good from the bad, GTFO. 

P: #tru

GRVD: Tell us about the history of Trashfuck. 

BM: P: Where to fucking start... Before TRASHFUCK existed (in many forms) I found a label called Far From Showbiz to release my first DJ Redskeye net-albums. When I decided to start Non Quality Audio in 2004/5(?) they agreed to use their webspace to host my label. NQA lasted a few years before burning out in early 2007 after a little over a hundred releases, mostly digital but with a few cd-r releases as well. A year before the demise of NQA I had two labels, Piss Free Tapes (really shitty no-budget tapes and cd-r's) and Nerdcore Michigan (my attempt at running a rap label). TRASHFUCK NET started in 2007 after I decided I wanted to run a label still, so blam, netlabel, all releases hosted on and, additionally shared to other sites but mostly distributed through the Soulseek P2P client. Less than a year later I decided it was a good idea to start doing physical releases under the TF branding, so TRASHFUCK Records and Trash Tapes was born. Trash Tapes died after 5 releases, TRASHFUCK NET fizzled into non-existence as TRASHFUCK Records became a serious commitment, and that's where we're at now. Caleb agreed to be co-manager of TFR while he was still in TN and helped assemble and organize the never-ending backlog of releases that was set to come out. I had a nervous breakdown/existential crisis in early 2014 and quit music, noise, the label, sold most of my material possessions, got really spiritual and introspective and stupid, and had to be shaken out of that. Caleb moving back to Michigan is the best thing to have ever happened to my motivation and the label's future, not to mention my continued involvement in noise.

C: TRASHFUCK is such a staple in the DIY community that it's easy to forget where it came from. Patrick pretty much said it all. He's my brother. 

GRVD: Noise is a genre of strong opinions, sounds, and expressions. Is this something that has always drawn you to the genre, or is the interest and passion purely on a sonic level? 

BM: C: Initially, I think I was attracted to the strongly opinionated stuff -- Boyd Rice, Whitehouse, etc. That's what I was drawn to with them. They had strong values that I recognized with at the time (excluding any affiliations to Nazis). Now, while I still love those projects, I'm more interested in hearing finely crafted noise. That's personally what I like listening to on the daily. In a live setting, however, I want the more abrasive, opinionated stuff because that gets me going. It's intense.  

P: I will fight everyone, ever, anywhere, for the most trivial reasons. Fuck the idea of "music" and the music industry as a whole. I view everything through very judgmentally tinted lenses. If there's anything I can praise, in the slightest bit, it's integrity, and honesty. The same issues I have with conventional unchallenging music, I have with noise and noise-culture as well. I can honestly say there's almost twice as many noise acts I'm aware of that I refuse to support or get behind, opposed to the amount I'd back-up no matter what. There's very little middle ground as far as I'm concerned. Anyone who really truly relates to and loves what noise does to fulfill their lives, they should be able to sit through a bad performance or hear a shitty tape and recognize it as bullshit, even if it's their friend doing it. We all have room to grow. For fuck's sake, I spent about 8 years making noise and loving noise and being obsessed with it, and just churning out utter garbage that I'm embarrassed by now. If you can't challenge yourself, you're not going to challenge the listener. Fuck the sentiment that "noise is noise, anyone can do it, there's good noise?" Fuck that and fuck you. (Caleb wanted me to throw in a #tru) All I'm saying is noise is a life choice. There's no room for your fragile sensibilities. You're going to be challenged by this if your taste is worth half a fuck. 

C: Tru

GRVD: Any projects in the works we can look forward to soon? 

BM: Bullshit Market x Kearne 
Cock E.S.P. / Bullshit Market 
Waves Crashing Piano Chords / Bullshit Market 
Torturing Nurse / Bullshit Market
Bullshit Market / Critic 
Bullshit Market / Hypnic Jerk 
Andrew Coltrane / Bullshit Market 
Macronympha / Armenia / Bullshit Market (split/collab)
Sete Star Sept / Bullshit Market


This is the most important noise event in the midwest. Be there or you're a fucking wuss. 

GRVD: Any last shout-outs? 

BM: Natty from Cult Love Sound Tapes
Farting Corpse 
Hypnic Jerk
Methlab Explosion 
Kearne (Bring it back, Cody. Fuck.)
Maxx and The Sanctuary
The Precinct 
Alex from Boar (FUCKING BOAR!)
Eric (Take a fucking shower)
Jason Covelli 
Gorgonized Dorks
Boyd Rice
John Wiese and Sissy Spacek
Leah Peah
Wu-Tang Clan
Farting Corpse
Fuck a Job
Brian Weisserman
Farting Corpse
Aaron Midcalf
Fuck Jay Watson, Dental Work, Placenta Recordings
Fuck a job
Looking at another man's balls won't make Jesus hate you
Spunky Smith
Casper @ Spider House
Polite Dominick aka Izfernor
Don Johnson good job on getting married
RIP Chris Marker and Jaime Carrera and everyone else that keeps dying
Fuck the new Red Wings arena
Fuck New Detroit
Ted Cruz is the Zodiac Killer
Ben from See Through Buildings
Cock E.S.P.
Sete Star Sept
Captain Three Leg
Pory Nog
endometrium cuntplow
Farting Corpse
Brent Gunn (stay with us this time homie)
Papa Chinn
Ryan Opperman is a fucking asshole, Justin Lakes is a fucking pussy
Fred, Worlockk, Xavier from Lunicy
Qon Vince
Levi from h.a.sp
Remi Gawin
Rosemary Malign 
Kylie Damnyou
if we didn't mention you we either forgot because we drink our pain away or you're an asshole, the list is long enough, get over it, wuss.


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