NothingIstTrue

Bio

Real Name: Kyle Nonneman

Comprehensive Profile of the Harsh Noise Artist 'nothingisttrue'

Introduction The underground noise scene, particularly its harsh noise and power electronics subgenres, is defined by its extremity, transgression, and a persistent drive to challenge the boundaries of sound, art, and social acceptability. Among the myriad of artists who have contributed to this abrasive sonic landscape, nothingisttrue stands out as a figure both notorious and influential, albeit shrouded in controversy and relative obscurity. This report provides an exhaustive profile of nothingisttrue, delving into his discography, stylistic characteristics, artistic influences, recurring themes, collaborations, label affiliations, and his impact within the noise community. Drawing on underground sources such as Discogs, NoiseWiki, RateYourMusic, SoundClick, and label archives, as well as community discussions and archival records, this analysis aims to present a nuanced and comprehensive portrait of an artist whose work embodies the most uncompromising aspects of harsh noise and power electronics.

Artist Identity and Biography Real Name and Background nothingisttrue is the primary alias of Kyle Gregory Nonneman, born September 29, 1984, and hailing from Portland, Oregon. His project emerged in the early 2000s, quickly gaining notoriety for both its sonic extremity and the artist’s personal history. Nonneman’s biography is marked by a series of legal issues and violent incidents, which have become inextricably linked to his artistic persona. According to NoiseWiki and public records, Nonneman was sentenced to 12.5 years in prison in 2013 for a series of violent crimes, including aggravated harassment, assault, and attempted assault, with his earliest release date set for February 2026. His incarceration has significantly impacted his artistic output and public presence, yet his work continues to circulate and provoke discussion within the noise community. Online Presence and Contact Despite his incarceration, traces of nothingisttrue’s online presence remain accessible. His music and information can be found on platforms such as SoundClick, Facebook, and archival blogs, though most direct communication channels are inactive due to his imprisonment. His SoundClick page, for instance, describes the project as “harsh power noise/power electronics with screaming and shouted lyrics of hatred and misanthropy,” emphasizing the aggressive and misanthropic ethos that permeates his work.

Comprehensive Discography Overview nothingisttrue’s discography is extensive, encompassing solo albums, EPs, splits, and collaborations with other underground noise artists. His releases are characterized by limited physical editions—often on CDr, cassette, or recycled media—and affiliations with niche labels such as The Terrorists Win!, Phonetic Hex Records, RRRecords, Antihumanism Records, and Freak Animal Records. The following table summarizes his most notable releases, with further elaboration provided in subsequent paragraphs. Table 1: Selected Discography of nothingisttrue | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

Note: This table is not exhaustive but highlights key releases and collaborations based on available sources. Elaboration on Key Releases Death Is Purity (2004) is perhaps the most widely cited split, featuring ith/ist/ism and nothingisttrue. Released as a limited edition CDr (100 copies) by The Terrorists Win!, it consists of six untitled tracks, with electronics by Dennis Naslund and Kyle Nonneman, and vocals by Naslund. The liner notes indicate a process of mutual deconstruction and reassembly, emblematic of the collaborative ethos in harsh noise. Fascist State (2002), a collaboration with BaaL, was released on Phonetic Hex Records. The album comprises seven tracks with provocative titles such as "Screwheads," "JFK Is Dead On The Moon," and "Two Bombs For The Nips," reflecting the confrontational and politically charged themes that recur in nothingisttrue’s work. The Passion Of Misanthropy (2004), issued as a limited cassette by Antihumanism Records, features tracks like "Total War" (a Boyd Rice cover) and "Holocaust Denial," further cementing the project's reputation for courting controversy and exploring taboo subjects. Nothingisttrue (2004), a self-titled CDr on Freak Animal Records, is a single-track release (30:36) that exemplifies the artist’s penchant for long-form, immersive noise compositions. Ruby Ridge (2004), a mini CDr on Hello Keller, is dedicated to Vicki Weaver (a reference to the infamous Ruby Ridge standoff), indicating a fascination with violent and politically charged American history. Her Corpse Was Missing the Head (2004), a split with The Rita, has been praised for its "constantly changing and creative abrasiveness," with some listeners likening nothingisttrue’s side to a North American version of Masonna, a legendary Japanese noise artist. Other notable releases include "A-AFA (Anti Antifa)," "Sterilizatrion," "Once You've Killed Someone Life's Shit...," and a series of splits and collaborations with artists such as Dance Wounds, Camilla's Nightmare, and Âmes Sanglantes. Release Formats and Label Affiliations nothingisttrue’s releases are predominantly in limited-run physical formats—CDrs, cassettes, and occasionally recycled media—distributed through underground labels. Key label affiliations include: - The Terrorists Win!: Multiple releases, including "Death Is Purity," "Pheonix Asteroids Research Team," and "Brainwash Deluxe V 2.0". - Phonetic Hex Records: "Fascist State" (with BaaL). - RRRecords: "Recycled Music" (cassette album). - Antihumanism Records: "The Passion Of Misanthropy," "Sterilizatrion". - Freak Animal Records: Self-titled "Nothingisttrue" CDr. - VOID Rekordz, Samsa Records, AssassinMonk, Rape Art Productions, dollfullofrivets, and Hello Keller: Various limited releases and splits. This network of micro-labels is typical of the harsh noise scene, where physical scarcity and underground distribution are integral to the music’s ethos and community.

Stylistic Characteristics and Sound Harsh Noise and Power Electronics nothingisttrue’s music is firmly rooted in the traditions of harsh noise and power electronics. These genres are characterized by their rejection of conventional musical structures—eschewing melody, rhythm, and harmony in favor of dense, abrasive textures, feedback, distortion, and confrontational vocal delivery. Power electronics, in particular, is known for its screamed or distorted vocals, analog synthesizers, and thematic focus on violence, taboo, and social critique. On SoundClick and other platforms, nothingisttrue describes his sound as “harsh power noise/power electronics with screaming and shouted lyrics of hatred and misanthropy,” highlighting the aggressive and misanthropic core of his work. Tracks such as "call to warriors," "Another mouth to fill," and "Stand up and wake up" exemplify this approach, combining relentless electronic noise with vitriolic vocal performances. Techniques and Production Methods According to artist statements and platform descriptions, nothingisttrue employs a variety of electronic instruments and noise-making techniques: - Effects pedals: Used to generate distortion, feedback, and other sonic manipulations. - Synthesizers: Both analog and digital, providing the foundation for dense, layered noise. - Power tools: Occasionally incorporated for their abrasive, industrial timbres. - Microphones: For capturing both vocal performances and environmental sounds. - Laptop noise: Early works were produced using laptops, later expanding to a broader range of hardware and junk noise sources. This toolkit aligns with the broader harsh noise tradition, where improvisation, DIY electronics, and unconventional sound sources are commonplace. Sonic Aesthetics nothingisttrue’s recordings are marked by: - Dense, unrelenting walls of sound: Layers of static, screeching feedback, and electronic bursts. - Dynamic shifts: While some tracks maintain a monolithic texture (akin to harsh noise wall), others feature abrupt changes, cut-ups, and moments of relative silence, creating a sense of unpredictability and tension. - Vocals: Screamed, shouted, or heavily processed, often buried within the mix but occasionally surfacing with confrontational clarity. - Lo-fi production: Many releases embrace a raw, unpolished aesthetic, emphasizing the physicality and immediacy of the sound. Listeners and reviewers have compared nothingisttrue’s style to Masonna (for its creative abrasiveness and dynamic shifts) and The Rita (for its static, immersive textures), situating him within the lineage of both Japanese and North American noise traditions.

Artistic Influences Musical Influences nothingisttrue’s stated influences, as listed on SoundClick and other platforms, include a range of seminal noise, industrial, and power electronics acts: - SPK - Whitehouse - Cloister - Crime - Consumer Electronics - Grey Wolves - Con-Dom - Absolute Body Control - Genocide Organ - Death in June - Sutcliffe Jügend - Government Alpha - Revolting Cocks These artists are renowned for their uncompromising sound, provocative themes, and, in many cases, controversial imagery. For example, Whitehouse and Genocide Organ are credited with pioneering power electronics and pushing the boundaries of sonic and thematic extremity. Masonna and Government Alpha represent the Japanese "Japanoise" tradition, known for its intensity and innovation. Conceptual and Literary Influences While direct statements from nothingisttrue regarding conceptual or literary influences are scarce, the thematic content of his work—obsession with violence, misanthropy, and social transgression—echoes the influence of transgressive literature and philosophical nihilism. The use of titles referencing political violence ("Ruby Ridge," "Fascist State," "A-AFA (Anti Antifa)"), as well as covers of Boyd Rice (NON), suggest an engagement with the provocative and often ambiguous politics of early industrial and power electronics scenes.

Recurring Themes, Aesthetics, and Motifs Lyrical and Thematic Content nothingisttrue’s work is saturated with themes of misanthropy, violence, political extremism, and social decay. Track and album titles such as "The Passion Of Misanthropy," "Fascist State," "Holocaust Denial," and "Once You've Killed Someone Life's Shit..." leave little doubt as to the confrontational and transgressive intent of the project. Lyrics, where discernible, are typically screamed or shouted, expressing hatred, nihilism, and a rejection of social norms. The SoundClick page explicitly mentions "screaming and shouted lyrics of hatred and misanthropy," reinforcing the project's alignment with the most abrasive traditions of power electronics. Visual Motifs and Aesthetics The visual presentation of nothingisttrue’s releases often employs minimalist, stark, or provocative imagery. For example: - Death Is Purity: Released in a DVD case, the artwork is minimal, focusing attention on the title and the collaborative process described in the liner notes. - Ruby Ridge: Dedicated to Vicki Weaver, referencing a notorious incident of political violence in American history, suggesting a fascination with the intersection of personal tragedy and state power. - The Passion Of Misanthropy: Limited to 49 hand-numbered copies, with track titles referencing war, denial, and dedication to William Burroughs, a writer associated with cut-up techniques and literary transgression. The use of limited editions, hand-numbered copies, and recycled materials further reinforces the underground, anti-commercial ethos of the project. Philosophical and Political Underpinnings nothingisttrue’s work frequently engages with extreme political themes, often in a manner that is ambiguous or deliberately provocative. Releases such as "Fascist State," "A-AFA (Anti Antifa)," and "Holocaust Denial" suggest a willingness to confront taboo subjects, though it is not always clear whether these references are intended as critique, provocation, or nihilistic embrace. This ambiguity is characteristic of much power electronics and harsh noise, where the boundary between critique and complicity is often blurred. The artist’s personal history—marked by violence, legal troubles, and incarceration—further complicates the relationship between art and life, raising questions about the ethics and politics of transgressive art.

Collaborations, Splits, and Associated Acts Notable Collaborations and Splits nothingisttrue has participated in numerous splits and collaborations, a common practice in the noise scene that fosters community and cross-pollination of styles. Key collaborations include: - ith/ist/ism: Split album "Death Is Purity" (2004), a significant release in both artists’ discographies. - BaaL: Collaborative album "Fascist State" (2002), released on Phonetic Hex Records. - The Rita: Split "Her Corpse Was Missing the Head" (2004), praised for its creative abrasiveness and dynamic sound. - Dance Wounds: Split cassette, featuring tracks with provocative titles such as "Bob Larsen Should Be Shot And Killed And Raped In The Ass" and "Cunt Envy". - Camilla's Nightmare: Collaboration on "Brainwash Deluxe v 2.0" (2006). - Âmes Sanglantes: Split "Elimination Of The Inadequate And Unfit". - Nkondi: Split "Lofihifi" (2005). These collaborations often involve mutual deconstruction and reassembly of source material, reflecting the improvisational and dialogic nature of the noise scene. Associated Acts and Scene Context nothingisttrue’s network of collaborators situates him within a broader constellation of harsh noise and power electronics artists, including The Rita, BaaL, ith/ist/ism, Dance Wounds, and others. These associations reinforce his status as a participant in the international noise underground, with connections to both North American and European scenes.

Label Affiliations and Release Formats Underground Labels nothingisttrue’s releases have appeared on a variety of underground labels, each with its own niche within the noise community: - The Terrorists Win!: A prolific label for harsh noise and power electronics, responsible for several of nothingisttrue’s key releases. - Phonetic Hex Records: Known for its focus on noise and experimental music, released "Fascist State" with BaaL. - RRRecords: A legendary American noise label, released "Recycled Music". - Antihumanism Records: Belgian label specializing in power electronics, released "The Passion Of Misanthropy" and "Sterilizatrion". - Freak Animal Records: Finnish label with a strong reputation in the noise and industrial scenes, released the self-titled "Nothingisttrue" CDr. - VOID Rekordz, Samsa Records, AssassinMonk, Rape Art Productions, dollfullofrivets, Hello Keller, and SRR: Various limited releases and splits. Physical Formats and Distribution The majority of nothingisttrue’s releases are in limited physical formats—CDrs, cassettes, and occasionally recycled or repurposed media. Editions are often limited to fewer than 100 copies, with some as low as 38 or 49, emphasizing scarcity and collectibility. This approach is typical of the harsh noise scene, where physical artifacts and underground distribution networks are central to the music’s identity and community.

Reception and Impact within the Underground Noise Scene Community Reception nothingisttrue’s work has been met with a mixture of admiration, fascination, and controversy within the noise community. Reviews and forum discussions highlight the following aspects: - Creative abrasiveness: His side of the split with The Rita was praised for its dynamic and inventive approach to harsh noise, drawing comparisons to Masonna and other innovators in the genre. - Transgressive themes: The project’s willingness to confront taboo subjects and embrace misanthropy has garnered both acclaim and criticism, reflecting the broader debates within power electronics about the ethics and politics of provocation. - Cult status: Limited editions and underground distribution have contributed to a sense of exclusivity and cult appeal, with collectors and enthusiasts seeking out rare releases on platforms like Discogs and RateYourMusic. Influence and Legacy While not as widely recognized as figures like Merzbow or Whitehouse, nothingisttrue occupies a respected niche within the harsh noise and power electronics underground. His collaborations with artists such as The Rita and BaaL, as well as his association with respected labels, have cemented his status as a significant, if controversial, contributor to the scene. His approach—combining dynamic noise textures, screamed vocals, and provocative themes—has influenced a generation of noise artists seeking to push the boundaries of sound and social acceptability. The project’s alignment with both North American and European traditions situates it at the intersection of multiple currents within the global noise underground.

Interviews, Statements, and Primary Sources Direct interviews with nothingisttrue are scarce, likely due to his incarceration and the underground nature of his work. However, artist statements on platforms like SoundClick provide insight into his methods and influences: - On musical influences: “spk whitehouse cloister crime consumer electronics grey wolves con-dom absolute body control genocide organ death in june sutcliffe jugend government alpha revolting cocks”. - On equipment: “effects pedals, synthesizer, power tools, microphone”. - On artistic history: “started in 2000 doing laptop noise now in 2004 is a broad range of extreme noise and sonic hatred ranging from metal n pedals junk noise to screaming vocal diatribes of misanthropy”. - On live performance: “no i dont play live yet” (as of 2004). These statements reinforce the project’s commitment to sonic extremity, misanthropy, and a DIY ethos.

Online Presence and Archival Sources Bandcamp and Streaming nothingisttrue’s music is not widely available on mainstream streaming platforms. Some tracks and releases can be found on SoundClick, Last.fm, and archival blogs, but the majority of his discography circulates through physical media and underground trading networks. A Bandcamp page exists, but it appears to be a user collection rather than an official artist page, reflecting the challenges of digital distribution for underground noise artists. Archival and Community Resources Key sources of information and discussion include: - Discogs: Comprehensive discography, release details, and marketplace listings. - NoiseWiki: Artist biography, legal history, and discography overview. - RateYourMusic: User ratings, reviews, and release chronology. - SoundClick: Streaming tracks and artist statements. - Reddit and Forums: Community discussions, recommendations, and reviews (e.g., Special Interests forum, r/noisemusic, r/harshnoise). These platforms serve as vital repositories of information and community engagement for artists operating outside the mainstream.

Controversies, Legal History, and Public Records Legal Issues and Incarceration nothingisttrue’s biography is marked by a series of violent incidents and legal troubles, which have become a significant part of his public persona. According to NoiseWiki and public records: - In 2013, Kyle Nonneman was sentenced to 12.5 years in prison for crimes including aggravated harassment, assault, and attempted assault. The charges stemmed from incidents involving sexual violence, coercion, and assault on law enforcement officers. - He has a documented history of violent behavior in custody, including biting and spitting on corrections deputies. - His earliest release date is February 2026, and he is required to register as a sex offender for life. These events have cast a long shadow over his artistic legacy, raising complex questions about the relationship between art, ethics, and personal conduct. Community Response The noise community is no stranger to controversy, with many artists courting outrage through provocative themes and imagery. However, the severity of Nonneman’s crimes has led to significant debate about the ethics of supporting or engaging with his work. Some collectors and listeners continue to seek out his releases, while others have distanced themselves, reflecting broader tensions within the scene regarding the limits of transgression and the responsibilities of artists and audiences.

Comparative Context: Peers in Harsh Noise and Power Electronics Position within the Genre nothingisttrue’s work is situated within a lineage of harsh noise and power electronics artists known for their extremity and transgression. Key points of comparison include: - Merzbow: The most prolific and internationally recognized harsh noise artist, known for his relentless output and sonic innovation. - Whitehouse: Pioneers of power electronics, infamous for their confrontational themes and abrasive sound. - The Rita: Renowned for his work in harsh noise wall, with whom nothingisttrue has collaborated. - Masonna: Japanese noise legend, cited as a stylistic reference point for nothingisttrue’s dynamic and abrasive approach. - Genocide Organ, Consumer Electronics, Sutcliffe Jügend: Other key figures in power electronics, known for their provocative themes and uncompromising sound. While not as widely recognized as these figures, nothingisttrue’s work is respected within the underground for its intensity, creativity, and willingness to confront the darkest aspects of human experience. Influence and Legacy nothingisttrue’s influence is most evident among collectors, enthusiasts, and fellow artists operating at the fringes of the noise underground. His collaborations, limited releases, and alignment with both North American and European scenes have contributed to a legacy of sonic and thematic extremity that continues to resonate within the community.

Conclusion nothingisttrue occupies a unique and controversial position within the harsh noise and power electronics underground. His work is characterized by sonic extremity, misanthropic themes, and a commitment to transgression—both artistic and personal. Through a prolific series of limited releases, collaborations, and affiliations with key underground labels, he has left an indelible mark on the noise community, even as his legal troubles and incarceration have complicated his legacy. The project’s stylistic characteristics—dynamic noise textures, screamed vocals, and provocative themes—situate it within the lineage of both Japanese and North American noise traditions, drawing on influences ranging from Merzbow and Masonna to Whitehouse and Genocide Organ. His collaborations with artists such as The Rita and BaaL, as well as his association with respected labels like The Terrorists Win! and Freak Animal Records, underscore his relevance within the scene. At the same time, the severity of his personal conduct and legal history has sparked debate about the ethics of transgressive art and the responsibilities of artists and audiences. As the noise community continues to grapple with these questions, nothingisttrue’s work remains a potent—and polarizing—example of the power and peril of artistic extremity.

In summary, nothingisttrue is a figure who encapsulates both the creative possibilities and the ethical dilemmas of the harsh noise and power electronics underground. His work remains a touchstone for those seeking the outer limits of sonic and social transgression, even as it challenges listeners to confront the boundaries between art, life, and responsibility.

Discography

Releases:
Death Is Purity (CDr) The Terrorists Win!
Elimination Of The Inadequate And Unfit (Cass) :VENE: (Voor Een Nieuw Europa)
Fascist State (CDr) Phonetic Hex Records
Recycled Music (Cass, Album) RRRecords
Ruby Ridge (CDr, Mini) Hello Keller
Split (Cass, Ltd) SRR
Sterilizatrion (CDr) Antihumanism Records
The Passion Of Misanthropy (Cass, Ltd) Antihumanism Records
Nothingisttrue (CDr) Freak Animal Records 2004
Once You've Killed Someone Life's Shit. Its A Few Rules And You've Already Broken The Best. (CDr) Samsa Records 2004
There Comes A Point When The Only Way You Can Make A Statement Is To Pick Up A Gun (CDr, Mini) AssassinMonk 2004
A-AFA (Anti Antifa) (CDr) VOID Rekordz 2005
Lofihifi (Cass, Ltd) dollfullofrivets 2005
Pheonix Asteroids Research Team (CDr) The Terrorists Win! 2005
The Stand Against Humanity (CDr, Ltd) Rape Art Productions 2005
Brainwash Deluxe V 2.0 (CDr, Ltd) The Terrorists Win! 2006
Felines, Felonies, Drunks, And Junkies (CDr) The Terrorists Win! 2006