On “I Wish I Had A Basement” (Live at the International Noise Conference in 2026), IANANA arrive fully formed in spirit, though certainly not yet in structure. Emerging from Miami’s deeply unstable but stubbornly resilient underground scene, the project channels the hostility and emotional scale of experimental metal without relying on the genre’s usual machinery. Instead of guitars carrying the weight, the music is built from sample manipulation, granular synthesis, and dense Ableton processing, producing something that feels simultaneously mechanical and wounded.
The live recording unfolds as its collapsing environment collides and decayed through sonic annilation. Harsh textures scrape against low-end pressure while fragments of sound appear and dissolve before they can stabilize. Despite the chaos, here is a surprising degree of articulation in the arrangement. Bandleader Yeats Goodwin approaches electronic tools with the mindset of an extreme metal guitarist, shaping timbre and dynamics with an attention to tension and release that recalls the emotional violence of black metal as much as the abstraction of noise music. Echoes of artists like Tim Hecker, Uboa, and Kayo Dot are detectable, but IANANA’s identity already feels distinct.
One of the project’s most compelling dimensions is its source material. Many of the samples are derived from unreleased jazz recordings made by Goodwin’s father, giving the performance an uncanny sense of inherited memory. Those fragments haunt the track without announcing themselves directly, creating the impression that another piece of music is buried beneath the distortion, trying and failing to return intact. That tension between intimacy and obliteration becomes the emotional center of the performance.
Thematically, IANANA works in abstraction, but recurring motifs emerge: childhood trauma, suicide, Floridiana decay, hauntology, and the uneasy pull of home. The music does not narrate these ideas so much as embody them. Listening feels like wandering through flooded hallways of memory where every recognizable shape has been stretched into something alien.
There is also something fitting about this recording being captured at the International Noise Conference’s return to the reopened Churchill’s Pub. Miami’s experimental scene has long existed under threat from disappearing venues and rising costs, and IANANA sound inseparable from that instability. “I Wish I Had A Basement” carries the desperation of artists building uncompromising work in a city that rarely makes space for it.
As a first public release, the track is rough-edged, volatile, and sometimes overwhelming, but those qualities are inseparable from its power. Rather than presenting a polished debut, IANANA document a process of transformation in real time: noise becoming emotion, debris becoming structure, memory becoming attack. With a full-length reportedly in progress, this live recording already suggests a project capable of pushing experimental metal into stranger and more affecting territory.
