As far as I'm concerned, any project name with less than ten syllables is not worth my time.
More seriously, I don't think the name alone ever meant squat. Rather it's the name in combination with the sounds that will elevate. That is, possibly elevate the sounds, or possibly elevate the name or more probably elevate both, the name and the sounds.
Take Swimming Behavior Of The Human Infant. I first heard Swimming Behavior Of The Human Infant on the RRRecords Testament comp (the LP, not to be confused with the CD of the same title, itself not to be confused with the 5x7" of the same title, itself is not to be confused with the VHS of the same title). Where was I? Oh yes. Swimming Behavior Of The Human Infant. First time I heard Swimming Behavior Of The Human Infant, it (Swimming Behavior Of The Human Infant) was just the most alien sounding shit I'd ever heard. Swimming Behavior Of The Human Infant was also my first encounter with locked grooves. In the middle of a fucking compilation. This very alien, alienating, spare and yet rather harsh sound, short snippets in fact, that three or so rotations later will morph into a locked groove. Not once but three times. I've literally chased that particular, very peculiar, and never to be heard from again, Swimming Behavior Of The Human Infant, sound. And not even to be heard again from Swimming Behavior Of The Human Fucking Infant. And indeed, with reference to the liner notes, the (tape) source materials are credited to the combined contributions of Arcane Device, Emil Beaulieau, Illusion Of Safety, Rik Rue. (And, presumably, to Swimming Behavior Of The Human Infant.)
So you take these names, these wonderful names, that alone could never really quite mean squat. Illusion Of Safety. Filthy Turd. Nurse With Wound. Filthy Turd. Zoviet France. Filthy Turd. Swimming Behavior Of The Human Infant. Filthy Turd. And you attach to them sounds that inject that name with massive in potentias of torque.
I mean. If Gerogerigegege were just some fucking grindcore band I would never have been even the slightest bit arsed to bother. But attach that name to something like Senzuri Champion and, well. Champion.
Track titles can go a distance, I'm Herpes, Yes I Am, as of course will artwork. But I want to zero in on the project name and the sound, for anyone who is still with me here. And I think the reason, at least for me, was how I first encountered a good chunk of these projects. That is, via radio. Typically, you'd hear the sounds, these wonderful alien sounds, first. Then, five tracks deep, the (college) radio DJ comes in and announces all the shit you've been listening to for the last forty some minutes. This sort of detachment from context that may cohere when the track title or project name is finally announced (though often missed completely, and thus to forever remain nameless if quite wonderful sounds floating through the airwaves, much of it destined to fade into the recesses of memory).
There are certain memorable ones. Incapacitants. Walking into the record shop every other weekend and seeing Feedback Of NMS. The title, the track titles, FLS Syndrome, the artwork. The project name. Looks...mysterious, alienating, possibly political. Finally, after months of just looking at this stupid disc, having no idear what it sounds like, buying it. Taking it home, pressing play, and, like. Well, fuck. Incapacitants. Naturally. What the hell else were you going to call it?
Filthy Turd. First encounter, split with The Rita. Kill The Women, Rape The Men. The Fish-Woman Has Her Finger In Your Arse-Hole. Press play and the 'turd is, actually, surprisingly, really really good. Couldn't believe I'd slept on the project to that point. See, the sounds need to attach themselves, right? Else, who gives a shit? Besides, the fish-woman has her finger in your arse-hole.