YOUR MOTHERS DISGUSTING WINDOW- " the rhythmic elements will still shine while delivering our usual amplifier worship assault "

YOUR MOTHERS DISGUSTING WINDOW- "The rhythmic elements will still shine while delivering our usual amplifier worship assault "




AS PART OF:

BLACK PLANET
25TH JULY TWO VENUES THREE STAGES 21 BANDS




O come, creatures of the night!
Bear witness to BLACK PLANET: A Celebration of Australian Dark Music.



Descending for the first time as a full-spectrum gathering of darkness, Black Planet hosts 3 stages across two iconic venues: The Bendigo Hotel & Nighthawks. Built for devotees of sonic extremity and shadow culture, this inaugural edition transforms the night into a living cathedral of sound, atmosphere, and chaos.

The night will be separated into 3 spaces:

The Ossuary (Bendi Main Room) - A shrine to brutality and all things heavy
The Void (Bendi Upstairs) - A chamber devoted to noise, ambient, drone and experimental
The Black Hearts Lodge (Nighthawks) - A sanctuary of goth, darkwave, post-punk and nocturnal romance


Headlining Black Planet 2026 is THE AMENTA - One of metal's most uncategorizable acts, THE AMENTA have been synthesising the ugliest aspects of death, black, and noise into a unique maelstrom for over 25 years. Well-known across the world for their intense live shows, THE AMENTA combine speed, anger, and a weird sound with smoke and strobes to create a brutal, overwhelming experience.



Joining them across the 3 stages are: Mammon’s Throne, Hybrid Nightmares, Victoria K, Küntsquäd, Bentham’s Head, Knife, Npcede, Živa, Inaugural, Chiffon Magnifique, Blood In The Champagne, Dystropolis, Palliative, Blood of a Pomegranate, Military Position, Anocht, AnnaBortionist, Serene Ailment, Angellis Taliuu, and Koolooz.

Line-up changes are part of any bill this size, and Black Planet's Void was always the room built to absorb exactly this kind of shift — noise, ambient, drone and experimental was never about one fixed sound to begin with. Slotting an act like this into the late Void run doesn't disrupt the room's logic; it doubles down on it.



ARTIST: YOUR MOTHERS DISGUSTING WINDOW 

is misanthropic industrial sludge borne of a deep loathing of the self and others. It is the sound of spiralling, of misery and irreconcilable depression and frustration, an expression of pure resentment towards life and being alive.

Artist intro: Your Mother's Disgusting Window is the Naarm solo project of Darlene Aaron, built around a revolving live "band" whose only job is to generate walls of feedback for Aaron to play sternum-dissolving sludge over. The sound fuses drone, doom, black metal, noise, sludge, stoner and industrial into something reviewers have pointed toward SUNN O))), Corrupted, EYEHATEGOD and Swans as reference points — hypnotic, down-tuned bass and drum machine buried under layers of droning, feedbacking guitar, with space-echo-drowned vocals relaying total hopelessness. Lyrically, the project works through abandonment, body dysmorphia, gender dysphoria, suicidal ideation and homicidal fantasy, drawn from neurodivergent and PTSD experience. Their self-titled debut landed in 2025 on Marfa Lights Records. A genuinely confrontational, singular addition to the Void's late-night stretch.



INTERVIEW:

1. You're stepping into the Void on short notice, replacing Military Position, who're out
through illness unfortunately. What does it mean to walk into someone else's slot at an event like this — does
it change how you think about the set at all? Or will your legendary bass tone crush most buildings in the area?

I guess I always feel pretty insecure about playing regardless of the situation and if we'll fit in or if people will use our set as a smoke break haha. I haven't thought too deeply about what it means to replace Military Position; I think spiritually we're a good fit as we share probably a similar outlook on this shitty world and express that through volume and repetition. As far as thinking about the sonic elements of the set, it's less about replacing someone and more that I know it will be a slightly smaller PA than we usually work with, so the challenge will be to adapt and find balance where




2. The Void's billed as a chamber devoted to noise, ambient, drone and experimental work —
your own sound moves through drone, doom, black metal, noise, sludge, stoner and industrial in
one project. How do you think about the difference between playing to a room and playing
inside one?

I did think about how we will work, even entertaining for a minute that maybe we might have longer improvisational segments, or that maybe I should even play solo, but I think we have shared bills with almost all of the people playing the room and would consider a lot of these people friends and line-ups that have looked similar before have worked really well. There's definitely a big part of my music that is experimental, improvised and conceptual, so I think we won't be too far removed from what has been conceived for the atmosphere of the room.




3. Your Mother's Disgusting Window works through some genuinely heavy territory — abandonment,
body dysmorphia, gender dysphoria, suicidal ideation. What does it mean to put material like that
into a live set built around walls of feedback rather than straight songwriting?

 I've done it both ways; I've explored these themes in a very stripped-back, almost country music project called AA Matheson where everything is laid very bare, and extremely vulnerable, and the words are heard clearly and chosen carefully for impact. It's been similarly focused on slowness and a heavy, crushing feeling, but has been achieved through almost the absence of playing and sound and required intense command of the audience to a point that can be quite exhausting. The approach to this project is spiritually the same, but deliberately inverted in its approach; it's less careful and does less emotional damage to me when I play, and I feel safer communicating these themes in this context. I still have to be careful and deliberate in the approach, but the goal is the same: to try to make people feel and understand my experience of reality through sound, not my entire experience, but the experience that preoccupies and distracts me from enjoying being alive. 



4. Black Planet's billed as a celebration of Australian dark music specifically. What does
that qualifier — Australian — actually mean to what you do, if anything? And why does this
underground still matter to you, this far in?

It's a difficult question to answer, firstly because I don't necessarily acknowledge that "Australia" exists- it is a fake, illegal colonial settler project, and no treaty has ever been signed with the custodians of this land. On the other hand, I acknowledge and accept that I am a white colonial settler on stolen land, so to me, being "Australian" is making sure I own up to what that means and don't recuse myself from being criticised, and operate in this place in a way that is always self-critical and always working to contribute towards decolonisation. I guess in terms of what that means relating to dark music existing in this location we call "Australia", what I look for is music that is raw and responds to the fascistic climate we exist in, and the oppression and genocide that we are complicit in, not necessarily outwardly or obviously political, but that it is passionate, and can I see the hard work, and see who you are in your work, that it is it violent or responding to some kind of violence in a way that is palpable and moves me. Thankfully, there are quite a few artists in "Australian Dark Music" that fulfil this, particularly on the line-up. There's also a lot of pathetic and worthless shit too (in the "Australian" underground), but that obviously comes with existing in a pathetic, fake coloniser state filled with bootlickers and fence sitters who just like the aesthetic. 



5. What are you actually trying to do to a room when you play it — what's the physical or
psychic effect you're chasing, especially with a set built this heavy on feedback and drone?

I'm really interested in the ways that frequency and acoustics can communicate emotion, memory and trauma, and the way that we utilise feedback and volume is intended to replicate and impose the daily somatic experience of people who experience the symptoms of post-traumatic stress and neurodivergence. The enormous bass, while still also being overwhelming and violent, is almost like respite, like the best of a bad situation, the sonic representation of Sisyphean struggle through the shit, the little bit of energy needed for resilience against the pain, but it's never enough to allow you to really feel at ease or comfortable haha. People have occasionally had to leave the room during our sets due to feeling physically nauseous and having panic attacks from the frequencies we create- I don't know yet if this is the ideal response, as I would still like for people to be able to actually watch our sets, but it kind of rules... maybe it's working too well haha.




6. YMDW is a fucking brilliant act on the live front where you consistently dismantle each punter's hearing and psyche, and your self-titled masterpiece of a release reached cvlt status immediately due to its sheer power and originality. Are you surprised at the fondness people have for this body of work? And what is the key goal or aim for this act? 

I am really surprised but heartened, particularly when trans and neurodivergent people approach me or talk to me about enjoying the music and feeling seen - especially when I'm often insecure about not feeling confident enough to try to pass a lot of the time because of body image stuff that exacerbates gender dysphoria or whatever so its nice that people that come to see us recognise that this is very queercoded and very transcoded outsider music for people with fucked brains and feel an affinity towards those things in particular. I have a lot of difficulty communicating with people through means other than music, so when people connect with my music it's really satisfying and gives me a feeling I rarely get elsewhere. I guess my main goal for this band, like any other music I make is to keep it raw, interesting and authentic, try not to get complacent, treat everyone that gets involved with it with respect, hopefully just keep playing to more people every gig, have more people reach out asking us to play shows, and come away from everything always feeling excited about what I've done!




LINKS:




---------------------------------------------------------------------------------------------------------------

SO GRAB A TICKET ASAP AND START WORKING OUT HOW YOU CAN SEE EVERY BAND...SOMEHOW





KILLER PRICES TO BE HONEST;
Both venues: $75+BF
The Bendigo Hotel Only: $45+BF
Nighthawks Only: $35+BF






ALL PICS ARE FROM THE ARTIST OR BAND'S SOCIAL MEDIA PAGES

Comments

Post a Comment

Feel free to comment, but anything racist or sexist goes in the bin, as you should also.