Urban guerilla, sociopath, sexual deviant, blasphemer: these are the subversive personas that have dominated noise music since its outgrowth from industrial culture in the '80s. Yet none of them have ever found much resonance with Aaron Dilloway. His myriad projects, from The Beast People to (pre-Spykes) Wolf Eyes, have always reflected his fascination with the trickster, that folkloric rogue and saboteur of law and order.
According to French economist Jacques Attali, noise is a manifestation of violence. That is, he writes, because “it disturbs. To make noise is to interrupt a transmission, to disconnect, to kill.” Noise, however, is a term enveloped in multiple interpretations and increasingly a subject of discussion, both within circles of active participators and outside them.
It's been six years since Aaron Dilloway left Wolf Eyes, and he spent half that time making Modern Jester. That's not all he's done-- he's been involved in tons of other releases too, with my favorite being either 2007's rattling Chain Shot or 2008's The Squid, a collaboration with like-minded noise pal C. Spencer Yeh. But in terms of scope and ambition, Modern Jester is Dilloway's War and Peace.