For more than thirty years, Kevin Drumm has developed a unique sonic language situated at the intersection of drone, electronics, improvisation and sound abstraction. Continuously evolving, his work has become one of the most distinctive voices in contemporary experimental music.
Comprising more than six hours of music, The Mild Temper presents an extensive collection of pieces built from gradual transformations, micro-acoustic events and frequency-based structures characteristic of Drumm's practice. Across six discs, the music explores varying states of density, resonance and spatiality, reflecting a sustained interest in the physical properties of sound and their perception over extended durations.
The title, The Mild Temper, suggests a quiet force rather than an overt gesture. Sonic materials often appear restrained, held in a delicate balance between stasis and motion. Small shifts gradually alter the acoustic landscape as layers of frequencies emerge, recede and recombine throughout the listening experience.
Avoiding narrative and dramatic development, these works offer immersion in highly detailed sonic environments where every element contributes to the construction of a deeply absorbing listening space. Attention to texture, depth and duration forms the connective thread throughout the collection.
With The Mild Temper, Kevin Drumm continues his exploration of sound as an autonomous phenomenon, presenting a body of work of remarkable coherence that reflects both the singularity and maturity of his artistic practice.
Mastering by Jim O'Rourke
Tracklisting :
1-1 01 Feb 1
1-2 Retina Check
1-3 Etc A
2-1 Eisegesis
2-2 Exegesis
2-3 New Old Card
3-1 The Blind Owl
3-2 Master Of Idealism
4-1 Achromic Pants
4-2 Odd Ways
5-1 Battles In The Snow I
5-2 Battles In The Snow II
6-1 Grey Screen
6-2 \&\\ : \
6-3 \&\\ : \\
Widely regarded as one of the most uncompromising works in experimental noise, Kevin Drumm’s Sheer Hellish Miasma is once again available on vinyl. First released on CD in 2002 on the original Mego label, the album remains a landmark in extreme electronic sound and is an essential and ferocious document of Drumm at his most inventive.
The history of Drumm’s Sheer Hellish Miasma is one of resilience to the twists of underground trends that have come and gone since its initial release. Using guitar, tape manipulation, microphones, pedals, analog synthesizers, and subtle computer processing, Sheer Hellish Miasma is an overwhelming experience: a sonic onslaught of storming feedback, fractured textures and an unrelenting energy. At once brutal and meticulously composed, the album offers a singular vision at the outermost edges of sound art.
For seasoned noise veterans, Sheer Hellish Miasma offers a bracing soundscape filled with exquisitely abrasive textures and more than enough hidden detail to warrant repeated listening – a distinct voice in the increasingly same-sounding world of abstract electronic noise. For everyone else, Drumm’s journey through the noisy underworld is likely to inspire fear or, in an optimistic case, fearful admiration.
Drumm’s Sheer Hellish Miasma is an abstract noise classic with this 2LP reissue being an artefact of eternal power.
Kevin Drumm Guitar, Tapes, Mics, Pedals, Analog Synthesizer, Computer Assistance
Greg Kelley trumpet on Inferno
Dedicated to Malachi Ritscher
Recorded in 2000-2001 Chicago
Mastered at Piethopraxis, Köln, December 2006
Cut at Clunk, Berlin 2025 by Rashad Becker
Kevin Drumm (b. 1970) is a Chicago-based composer of electronic music, and his works have been published by labels like iDEAL, Editions Mego, Erstwhile and lately he has been self publishing many of his recent works. This box set is compiling some of that, paired with some exclusive things aswell as new versions. It is moving from his harsher stuff to more ambient recordings. iDEAL is proud to release this massive 10xCD box set mastered by Lasse Marhaug.
Ever unpredictable, Drumm this time takes the fellow time-traveller through what sounds like an electronic field recording, a journey through an electronic soundscape of luminescent textures that invites immersive listening.
From the viscerally punishing and nerve wrecking, to the wistfully sublime, Kevin Drumm ‘s work often yield a ferocious intensity through the timbres of minute details. Now, throughout this series of archival works dating from 2000 to 2022, his mastery is once again on full display.
On »Battering Rams«, sinister forces interlope with sanguine glimmers of respite and contemplation, while recurring drones ceaselessly crescendo to near paralysing effect, only for the albums final moments to offer a lofty reprise of boundless oscillation, dispelling all the pent up tension into a sanguine state of bliss. Once again underpinning Drums’ genius of turning apparently trivial hums into elongated microtonal worlds that stay etched deeply in your conscious, often long after the works final resonances have already subsided.
Inexplicable Hours is the sequel of the successful six-CD boxset Elapsed Time, also released by Sonoris in 2017. The first LP documents a new direction in his music, with some of his last electroacoustic experimentations with audio generators, field recordings, and various electronic devices. The second one explores the same ambient/drone territories as the boxset, with tracks less static and more complex than it appears on the first listen. And as always with recent Kevin Drumm’s music there’s a sense of majesty, of mystery and a melancholic beauty that is uniquely his own. Some words about the boxset are also appropriate for this record: “Despite Drumm’s noisy reputation, his music can be overwhelmingly sensual even at its loudest, providing a form of minimalism replete with a delicate, melancholic motion. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide.” (Soundohm) “The vast array of styles and works to be had here makes it an engaging challenge, one that can differ widely from disc to disc, but never lacks the cohesion and touch of a master craftsman and composer working at the top of his game.” (Brainwashed) “These pieces, despiste their lenght, are like perfect miniatures, timeless puzzles that you try and unravel through close listening. And their sense of place, of home, of sanctuary, feels more important than ever right now.” (The Wire) Mastering by Giuseppe Ielasi. 2 LPs packaged in a deluxe 6-panel/double gatefold sleeve, with CD version in cardboard cover included. Limited to 700 copies.
Inexplicable Hours is the sequel of the successful six-CD boxset Elapsed Time, also released by Sonoris in 2017. The first LP documents a new direction in his music, with some of his last electroacoustic experimentations with audio generators, field recordings, and various electronic devices. The second one explores the same ambient/drone territories as the boxset, with tracks less static and more complex than it appears on the first listen. And as always with recent Kevin Drumm’s music there’s a sense of majesty, of mystery and a melancholic beauty that is uniquely his own. Some words about the boxset are also appropriate for this record: “Despite Drumm’s noisy reputation, his music can be overwhelmingly sensual even at its loudest, providing a form of minimalism replete with a delicate, melancholic motion. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide.” (Soundohm) “The vast array of styles and works to be had here makes it an engaging challenge, one that can differ widely from disc to disc, but never lacks the cohesion and touch of a master craftsman and composer working at the top of his game.” (Brainwashed) “These pieces, despiste their lenght, are like perfect miniatures, timeless puzzles that you try and unravel through close listening. And their sense of place, of home, of sanctuary, feels more important than ever right now.” (The Wire) Mastering by Giuseppe Ielasi. CD version. Limited to 300.
Since his emergence in the experimental music scene, about 20 years ago now, Kevin Drumm has perpetually shaken up conventions of various sub-genres with his major albums, for example, shifting from the tabletop/prepared guitar with his first self-titled album, to noise with Sheer Hell Miasma, to ambient/drone with Imperial Distortion. He has been notably prolific recently, with numerous self-released cdr and digital releases.
Elapsed Time is a collection of some of these recent works, dating from 2012 to 2016: desolate ambient drone (Middle Of Nothing, February), "cassette tape music" or raw musique concrete (Earrach, The Whole House), computer assisted live electronics and rough spectral music (Crooked Abode, Bolero Muter), with additional tracks from Tannenbaum and Shut-In.
This boxset documents one of the key figures of today american avant-garde at his peak of creativity.
Nicely remastered by Giuseppe Ielasi for an optimal listening experience (hifi system recommended).
Recorded Winter 2013-2014 at Frostbite, Chicago, IL. Mastered by Russell Haswell. “Trouble” is the brand new dispatch from the assorted output of Kevin Drumm and sits as one of the quietest in his entire catalogue. A single continuous 54 minute excursion into the netherworld of the audio spectrum, “Trouble” is neither ambient nor drone but a more complex investigation into the deep recesses of sound. One which discreetly works itself into the mind of a listener willing to invest in the path laid out in this extremely subtle, beautiful and exceptional release.
Vinyl edition. There was a mistake in the previous listing !
Pulse generator, reverb, big muff.
One of the most interesting outsiders, icon of experimental electronic noise music first released this collection of intensive sounds on his own label, on CD-r limited to 60 copies. Now, three years after that premiere we’re glad to present you an LP.
Recorded, mixed, edited at Pathetic Bubble Studio 2009-2012. Source material for Repetitive Algae recorded in 2007. Spectral editing and time domain consultation on Repetitive Algae by Russell Haswell. “[…] The two side long pieces here seem to be two different sides of the same coin. ’Rediki’ is a piece of electronics, loud at times, swirling-beating-oscillating most of the times and piercing right through your ears, without mercy, but it’s also, at the same time, not y’r typical noise record. The deep end has a menacing/treating/oppressing sound that adds a lot of tension to the piece. Here is where the true power of the piece lies, and what sets the great composer aside from those who try their hands at noise. But alright it’s a noise indeed, and for me the really great/even better piece of music is on the other side, ’Reptitive Algae’, which seems to me all acoustic, and perhaps if not all, then at least for a greater part. Maybe it’s here where Drumm got the idea for the title of the record. One side is crowded with buzzing and ringing of tones and on the other it’s just crowded with sounds. Multi-layered with tons and tons (it seems) of acoustic sounds, rubbing against each other. Sound source: unknown. There is a bit of electronica in there, but don’t ask me how this works. Well, perhaps I could guess: lots of loops of different lengths playing at the same time, so that they hardly make the same connection very soon again. Music with a great deal of tension, like a horror movie soundtrack. The graveyard shakes and all the bodies rise like one man, rattling their cages. This record is reminder I should play some Kevin Drumm soon again.” (-) Frans de Waard, Vital Weekly.
6 oscillators recorded July 2013 at Single Room Occupancy, Chicago IL. Vinyl issue of his 2013 CDr release, “Phantom Jerk”. In the tradition of “Imperial Distortion”. Black vinyl.
Kevin Drumm’s 2007 cassette “Purge” on iDEAL went out of stock in less than a week. This is the CD version of that killer thing. Intense listening taking you deep into the known unknown, or perhaps the unknown known. Drumm’s noise is extremely powerful and dynamic.; travelling frequencies, rich with details, with very little hope, with guaranteed exhaustion after frequent listening. I always think about Black Metal when I am listening to Drumm’s works, they share the same cold and darkness. “Purge” is no exception. This is a dark composition with fucked feedback and comfortably stuck in the deepest underworld. - Joachim Nordwall, Stockholm, March 2013. Released in a b/w digipack in a limited edition of 500 copies.