It'd be accurate to say that Weasel Walter's music belongs to today's metal, noise, and free jazz scenes. It'd be more accurate to say he isn't welcome in any of those scenes.Weasel's angst-ridden, gloomy musical outlook is less like an embracing of his huge variety of musical influences and more like a rejection of all music and musicians. Always challenging and unrelenting, Weasel Walter has released collaborations with musical geniuses from all different musical fringes. In his own words, Weasel is "a rock in a sea of bullshit, continuing to issue forth more iconoclasm in this, the final year of mankind."I got my first Weasel Walter record at Disney World. I’d picked up Glenn Branca's Ascension at Tower Records there and noticed in the liner notes that Weasel had remastering credit. I'd heard Weasel's name in association with his solo project Flying Luttenbachers, but was surprised to see the name out of context. In hindsight, there was no better person to master that album—Weasel is one of the musicians today most faithful to no-wave's roots. His various projects are always caustic and aggressive and his label ugEXPLODE! has released forgotten no-wave geniuses like Jack Ruby, current audio assaulters like White Suns, and Weasel's own projects like Cellular Chaos.My first time seeing Weasel live was on drums in a duo with Mary Halvorson at Zebulon. Mary Halvorson is best known for her duo with Jessica Pavone, an off-kilter string pop band with new-musicky underpinnings—in fact, Halvorson studied under the king of new music himself, Anthony Braxton. But Weasel Walter's erratic drumming, which often felt like blast-beats repurposed for jazz, brought out a completely different side of Halvorson. The duo released an amazing record together called Opulence, a track of which is above.Since then, Weasel moved from Oakland to New York. He’s been primarily playing bass, often with Marc Edwards, a drummer who got his start playing with the legendary pianist Cecil Taylor. You know that rock cliché where at the end of a song, the drummer just hits all the drums really fast to make a big finale? That finale is the ENTIRE SONG when Marc is machine-gun drumming. Weasel's feedback drenched, atonal bass bring Marc's rhythmic waves into a harsh zone. Cellular Chaos, which features the two with Ceci Moss, is recommended for fans of AIDS Wolf.