Guttersnipe: A Xenofeminist Noise Rock Group

This interview explores Guttersnipe’s approach to music and ideology. The feature appears in The Quietus under the News category and was published on 2026-04-08.

The interview follows a dialogic format between guitarist and vocalist Uroceras Gigas and drummer and vocalist Tipula Confusa. The conversation foregrounds the band’s genre and their engagement with xenofeminist ideas.

Uroceras Gigas is based in Leeds, while Tipula Confusa was calling in from Berlin during the interview. The group references xenofeminism originally proposed by Laboria Cuboniks and expanded by Bogna M. Konoir. The article states that xenofeminism seeks to dismantle the discriminatory boundaries of constructed social identity and push toward social emancipation, with emphasis on gender-expansive futures.

The band discusses rhythms that are not linear and are inspired by cycles, ebb and flow, and expansion or contraction found in nature. An exchange in the dialog includes worms as part of their reflection on life forms.

Album and Links

An album titled Extinction Burst is associated with Guttersnipe and is linked via Bandcamp.

Additionally, you can view a related video on YouTube.

Guttersnipe are presented as a xenofeminist noise rock group and the interview in The Quietus centers on the perspectives of its two principal members. Uroceras Gigas is identified in the article as the group’s guitarist and vocalist and is based in Leeds. Tipula Confusa is identified as the band’s drummer and vocalist and was calling in from Berlin during the interview.

The piece adopts a dialogic format between Gigas and Confusa, and their exchange includes discussion of non-human life and non-linear rhythmic concepts as part of the interview.

Guttersnipe reference xenofeminism as a guiding ideological influence in the interview, explicitly naming Laboria Cuboniks and Bogna M. Konoir. The article states that xenofeminism was originally proposed by Laboria Cuboniks and expanded by Bogna M. Konoir. The band situates this theoretical reference within their musical identity as a xenofeminist noise rock group. The interview records this framing through a dialogic exchange between Uroceras Gigas and Tipula Confusa.

The piece describes xenofeminism’s goals as seeking to dismantle the discriminatory boundaries of constructed social identity and to push toward social emancipation, with an emphasised application on gender-expansive futures. The band invokes that description when discussing the ideological underpinnings of their practice. The interview connects these aims to Guttersnipe’s interest in non-human life and in rhythms that are not linear, drawn from cycles, ebb and flow, and expansion or contraction found in nature.

In the interview, Guttersnipe’s members discuss a deliberate move away from conventional metric frameworks toward what they describe as rhythms that do not follow linear counting. Uroceras Gigas articulates this contrast when they say, “In Western music, everything has to adhere to this system of measuring time that has been formalised in the conservatory standard of how we count rhythms. But we’re very interested in rhythms that are not linear that occur in nature – that sense of things going through a cycle, or an ebb and flow, or an expansion or contraction.”

The band frames these tendencies as sourced in cyclical patterns and shifts rather than in fixed, evenly measured beats. Their interest in non-linear timing is presented as a core aesthetic principle informing their sound and approach to composition.

Gigas connects this rhythmic orientation to a broader curiosity about non-human life and organisational systems, saying, “We both have a very deep interest in non-human life on Earth, and the movements and systems of organisation that occur in termite colonies or ants or shoals of fishes.”

The interview captures an exchange in which worms are mentioned as part of the band’s reflection on life forms, and Tipula Confusa adds, “But then every other lifeform on Earth that we know of is experiencing their existence in that state.” These remarks are presented as part of the band’s explanation of why they favour rhythms drawn from patterns of expansion, contraction and cyclical movement observed in nature.

The interview is presented as a dialog between Uroceras Gigas and Tipula Confusa, and several passages capture their shared focus on non-human life and timing. Uroceras Gigas says, “We both have a very deep interest in non-human life on Earth, and the movements and systems of organisation that occur in termite colonies or ants or shoals of fishes.”

Gigas also contrasts conventional timing with alternative patterns when they say, “In Western music, everything has to adhere to this system of measuring time that has been formalised in the conservatory standard of how we count rhythms. But we’re very interested in rhythms that are not linear that occur in nature – that sense of things going through a cycle, or an ebb and flow, or an expansion or contraction.”

A brief exchange records a probing prompt, “Do you have anything else to say about that?”, followed by a tentative response: “I had a few thoughts,” they begin. “When you were talking about…” They trail off into silence, and Gigas adds, “I was just thinking about worms.” Tipula Confusa responds, “But then every other lifeform on Earth that we know of is experiencing their existence in that state.”

The interview also records the description, “xenofeminism seeks to dismantle the discriminatory boundaries of constructed social identity, and push toward social emancipation, with an emphasised application on gender-expansive futures.”

CONCLUSION

This section concludes the interview feature. It marks the end of the article’s content. Refer to the preceding sections for the interview material and factual details.

The interview concludes by reaffirming Guttersnipe’s ideological framing as a xenofeminist noise rock group and by explicitly linking the band’s outlook to the work of Laboria Cuboniks and Bogna M. Konoir. The article restates the description of xenofeminism provided in the conversation, noting that it seeks to dismantle the discriminatory boundaries of constructed social identity and to push toward social emancipation with an emphasised application on gender-expansive futures. This framing is presented as integral to the band’s self-definition within the piece.

The closing exchanges underscore Guttersnipe’s musical priorities, reiterating their interest in rhythms that are not linear and that are drawn from cycles, ebb and flow, and expansion or contraction found in nature. The band’s remarks about non-human life and organisational systems are recorded again, including Gigas’s reference to termites, ants and shoals of fishes and the brief exchange that mentions worms. These points are presented as part of the interview’s final orientation toward the connections between ideology, non-human life and the band’s rhythmic approach.