by JOHNSON CUMMINS

The most aptly-titled “noisemaker” this year would be AIDS Wolf. You may recognize AIDS Wolf screamer Chloe Lum and drummer Yannick Desranleau from their tenure with 2001 Noisemakers Da Bloody Gashes, but more likely you’ll peg them as the artists behind the graphic designs of Serigraphie Populaire, better known as Seripop.

Da Bloody Gashes seem almost conventional compared to their newest musical effort. AIDS Wolf’s prime directive is to pulverize the senses. Recent shows saw them opening for underground darlings like An Albatross, whom they gave a serious run for the money, and, in the case of their opening gig for Daughters at El Salon, they easily pulled the rug out from the Providence headliners.

AIDS Wolf will describe themselves as noise rock, but their penchant for free, improvized sound is sure to confuse your garden-variety rock fan, while their forays into actual composition with a heavy element of rock is sure to rattle your typical Victoriaville free-jazz snob or Wolf Eyes fan.

“When Yannick and I started the Gashes,” says Lum, “we didn’t even know other bands like us existed. We felt like we just fell out of the sky. Underground music goes through all of these movements of what is cool and what is not cool, and we just don’t pay any attention to that. I’ve been interested in noisy rock music ever since I first heard the Boredoms when I was 13 years old.”

Although Lum and Desranleau are known outside of Montreal as much if not more for their graphic work as for their band, there is a definite cross-pollination going on between the two. “Actually, I think that, as of recently, AIDS Wolf has kind of eclipsed Seripop. The two go together hand in hand and definitely help each other. I think a lot of people found out about the band through our art. At first, we were kind of bummed about people mentioning Seripop and AIDS Wolf in the same sentence, because there are two other people in the band that aren’t part of Seripop, but if that is one way for a kid to find a band like us, you can’t really complain.”

This year should be a busy one for AIDS Wolf. Their first full-length The Lovvers (produced by Wolf Parade’s Arlen Thompson) is coming out on Skin Graft, and they’re looking at a two-week tour of Europe in February, with a month-long follow-up tour in Europe and a full U.S. tour in July. Also in the cards is a collaboration with Athletic Automation that they will be recording on their upcoming short U.S. tour.

Despite a lot of bulletin boards and Web sites singing their praises, Lum believes they have a long way to go to reach their select underground audience.

“When I was growing up in Ottawa, you never had cool bands coming to town, only shitty, straight-edge hardcore bands. You had to really go out and find stuff through mail-order catalogues to find out about cool shit. Nowadays, I figured people would be able to educate themselves more because of the Internet, but I think a lot of kids just have a lack of curiosity. I still can’t figure out why people are touting adult-contemporary music as indie rock. Bright Eyes is just like Bryan Adams or something. In the U.S., there are tons of bands that combine noise and rock, but when we play in Montreal, we’re always the bridesmaids.”

AIDS Wolf launch The Lovvers at la Sala Rossa on Saturday, Jan. 7 with guests Athletic Automaton, Cobra Noir and the American Devices.