interview on NYTimes.com

This weekend, the Italian label Coda Lunga presents a festival it calls "Three Days of Struggle". Michigan noise-hounds Wolf Eyes were chosen to headline, and they're going all-out. Each night they'll offer not only a closing set, but also a performance by one of three side projects: John Olson's Henry & Hazel Slaughter, Nate Young's Regression, and Mike Connelly's Failing Lights.

This hyper-active approach is typical of a group who've been extraordinarily prolific in creating new sounds, new projects, and new releases ever since Young started Wolf Eyes as a solo pursuit in 1996. Their workman-like devotion caught lots of ears during the 2000s, when they became the least likely members of the Sub Pop roster and the most visible band in the international noise scene. But even though their last Sub Pop album, Human Animal, came out six years ago, Wolf Eyes have stayed extremely busy. Their musical appetite remains insatiable no matter who's paying attention, and though they were perhaps the face of noise for a generation, they've refused to let that oft-disputed term shackle their search for new sounds. 
Which means that everything is fair game-- take the broken beats of Henry & Hazel Slaughter, the dark sparseness of Regression, the near-classical minimalism of Failing Lights, the hypnotic loops of former member and still tight band-buddy Aaron Dilloway. As John Olson puts it, "If you tune yourself into possibilities, then everything is a possibility, good or bad." By sticking to that philosophy, Wolf Eyes remain one of the most important experimental bands in the world. So we've devoted this edition of the Out Door to them, talking to all four current and past members about where they've been, and where they're headed. --Marc Masters

KPCC 89.3 interview of Wendy Cheng and Laura Polido on May 26, 2012.