The clattering, shrieking din that was Harry Pussy spent much of the '90s as one of the most acclaimed sounds in the extreme noise underground, stamped with a seal of approval from the likes of Thurston Moore and Lou Barlow. Their brief, spastic, atonal freak-outs sat somewhere in between noise rock and free jazz, though they were actually much more planned out than improvised, to the disbelief of many who heard them. In addition to the expected Sonic Youth influence, Harry Pussy also echoed New York no wave, hardcore punk, the avant jazz of Sonny Sharrock, Japanese noise bands (Merzbow, Boredoms), early British industrial (Throbbing Gristle, Nurse With Wound, Whitehouse), British free-noise improvisers like Skullflower and Ascension, and their Siltbreeze labelmates from New Zealand the Dead C. For much of their existence, they rarely ...
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