Jadis Mercado, formerly known as The Adjective Noun, is a name that’s been around in the noise scene for quite some time, though I must confess I’ve only seen it glimpse by until I received a massive package of CDrs in the mail (actually, two, but either way it was massive).
One of the most recent (2017) releases is called In the Late Stage of a Society. This is a term most likely lifted from Marxist theory, and it contains something quite different from the pure harsh noise my previous, hasty research had led me to expect. Semi-rhythmic abstract industrial with a wide range of noises, glitches and sampled ruckus, builds a rather appealing sonic scenery. It’s not extremely aggressive or harsh, but there are plenty of rougher soundwork to make sure this doesn’t become a pure artistic “study in sound” or whatever. There is at least one melody, if synthesized or sampled I don’t know, more than a few harsh and/or high-pitched noise segments, the occasional thundering bass distortion attack, and much else besides.
In case there is something to interpret here, I would assume that the sound represents the failure of “late stage capitalism”, as the rhythmic, industrial-electronic march towards progress collapses into two tracks of horrible high-pitched squeals with occasional outbursts of heavier noises and sounds. This may be overreaching, and I’m way too much of a “if you can’t see what it is it’s not a good goddamn painting” kind of guy to venture all too far into this particular field of music criticism. Maybe the album title is in fact a reference to Spengler, or maybe to the 2016 delayed theater construction in Jaffrey, New Hampshire (that must have come with at least one late stage)?
Regardless: on In the Late Stage of a Society Jadis Mercado takes a multi-faceted approach to noise. In fact, the silly number of “styles” listed for the album on discogs actually makes a whole lot of sense, since your mind will need to work overtime if you’re planning to sort the various points of this music into specific genres. The rhythmic aspect of the album never goes full EBM or party industrial, but it does add a pleasantly catchy element to the whole business. This may hum, fuzz and glitch more than “rock”, but it’s good stuff nevertheless.
Exactly how you are to go about procuring this release is somewhat of a mystery to me, but you can always contact Ms. Mercado through her Twitter or Youtube accounts, to see how you can have your very own copy. It’s definitely worth it.