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Veronica Vern' Avola, also known as Trigger Object, likes to surprise us with each album, sketching the dark corners of a world more terrifying than ever. With this new sonic creation, built around field recordings and electronic arrangements, the artist composes apocalyptic music haunted by ghosts fleeing lethal weapon blasts, traversing the cerebral layers of our slumbering minds. Kicks crash against walls of molten metal, while the crackling of dead souls hangs from horizons erased from the map of time.
This album is available as an LP, CD and digital album.

RT | EX! Zine Edition 6

Trigger Object aka Veronica ‘Vern’ Avola fait partie de ces artistes qui n’en font qu’à leur tête pour exprimer les différentes émotions qui les animent, que ce soit de la colère, du dégoût, du cynisme ou de l’amour. Avec Chocking On A Crunchwrap As The World Burns, l’artiste explose les capacités des machines, explore la face cachée de l’Humain, prêt aux pires absurdités pour continuer de mener sa vie avec des oeillères, sans vraiment se soucier des conséquences.

Alternant intensité expérimentale et poésie urbaine, noise et nappes éthérées, agressivité et sensibilité, Trigger Object nous captive avec ses propositions en équilibre, instants déchirants où la poésie s’habille de poussière d’étoile et de soie de verre.

Les effluves hardcore ne sont jamais très loin, prêtes à jaillir de leur espace pour inonder de leur vitalité les recoins dévitalisés de nos intentions belliqueuses. Choking On A Crunchwrap Supreme As The World Burns est une oeuvre engagée, qui dénonce avec cynisme les travers de notre espèce qui se dit civilisée, mais qui se comporte comme une bande d’abrutis.

La production minimaliste et incisive, confère à l’ensemble une dynamique constante, même lors des moments les plus aériens. Il y a un côté Martin Rev dans son approche, amas de rythmiques en roues libres et de synthés lâchés dans le vide. Ode à un Alan Vega devenu muet habité d’une gestuelles frénétique. Jouissif.

Roland Torres | SilenceAndSound, July 2026

"I can’t think of a more fitting album title for the collective futility that our planet is experiencing at present than Trigger Object’s latest effort, Choking on a Crunchwrap Supreme as the World Burns. We’ve all been there, but what does that particular plight sound like?


Helmed by Portland multimedia artist and composer Vern Avola, Trigger Object is the sound of a trillion byte death wobble of algorithmic static. Akin to the thousand-yard stare most of us unwittingly don in the wake of receiving a nonstop torrent of bullshit every day, the album’s messy beauty is a kind of acknowledgement that we are not alone. The world is currently every shade of screwed, but it’s also occasionally capable of uniting us under the emotional minutiae of comforting possibilities—just like Crunchwrap Supremes.

Earth-shaking beats abound, flanked by twisted symphonies of frequency noise, walls of sordid discordance, and an ever-present sound bath of chaos that feels like you’re being led into the abyss of a synthesized fever dream. Harshness is its superpower, and even at its most grating, as heard on “Mechanical Bull Party Rental (Apocalyptic Remix),” the sheer presence it exudes alludes to a collective pulse of pissed-off slackers. It’s the kind of album that’s near-perfect for grimy, sweaty dance floors in the subspaces of a flailing metropolis. It can feel like a straight-up assault at times, as with the unflinching banger “Cloud of Daggers,” but a sly sense of humor writhes just beneath the surface, too.

Prepare for involuntary stank face.


Choking on a Crunchwrap Supreme as the World Burns released March 6 on Vern Avola's own Eat My Shit Records, and is available in vinyl, CD, cassette, and digital download formats on Bandcamp.

Ryan J. Prado | Portland Mercury, March 2026

Whether it be through collaboration, under the guises of Avola and EMS or through the lens of Trigger Object, Vern Avola’s body of work is a trove of sonic delight.
The Portland, Oregon artist is the exponent of cerebral noise music that you can dance to. A subtle hedonism, the vital undercurrent in her work that dispels any notion of experimental music being likened to an intellectual exercise. Not in Vern’s World.
While there are nuances under each of her aliases, what interconnects Avola’s body of work is civic vitality. A fragmented soundtrack to life, as she smashes darkness into absurdity. It’s untethered, real-life commentary through sound that unlocks the mind.
Pummelling as much as it is an endorphin rush, while Avola travelled through new portals on 2023’s Psykor, pivoting from the Avola moniker to Trigger Object on 2024’s Ghost Bros OST, her glorious ascent continues on Choking on a Crunchwrap Supreme as the World Burns. Her most most compelling work so far.
The civic vitality shines through even brighter on Choking on a Crunchwrap Supreme as the World Burns. Led by field recordings, Avola illuminates everyday realities. From taped-off crime scenes and the rumble of motorcycles filling the streets to alarms being triggered in Best Buy, these are just some of the threads that form this unique patchwork.
Starting with the title track and latter on Cloud of Daggers which both underline Avola’s maximalist, hyper world. All-consuming, multi-layered noisescapes designed to fry your senses. And there’s more. The screaming synths of Mechanical Bull Party Rental (Apocalyptic Remix); the glitch-laden, dancefloor bound Gum Disease Gun Control; the seamless one-two of L. Ron Karesh and Goodbye Beautiful. Moments where Avola excavates reality tunnels that lead to a brighter future. Even for those who lack optimism, Trigger Object is just as much an escape route via said tunnel, such as the multi-faceted nature of Vern’s World.
Recently, we caught up with Avola, who shared some insight into what makes Vern’s Word, well… Vern’s World! From her process and inspirations, to the making of Choking on a Crunchwrap Supreme as the World Burns, and more.

Read the interview here.

Simon Kirk | Sun-13.com, March 2026

"Trigger Object is the long-running project of Vern Avola, a composer and multimedia artist based in Portland, Oregon. As the title suggests, Crunching On A Crunchwrap Supreme As The World Burns is an attempt at processing the polymorphous poly-crisis currently engulfing us; or rather, an attempt to capture a particular feeling of dazed paralysis or nauseated brain fog it provokes. Maximalism is one obvious response to the torrent of events, signals and noise, but Avola takes a different tack. Daubs of slow-modulating drone; random, transient snippets of field recording; scribbles of synth; damaged drum hits so widely and irregularly spaced they're more gestures than beats. In their dissociated, detached un-development these tone poems are more like soundscapes; dim-lit half-spaces slowly, cautiously explored to find the margins.”

Wire Magazine | Wire Magazine Issue 505, March 2026

"We begin 2026 with a premiere which, looking back at the site’s history, marks a first.
Trigger Object is the project of Veronica ‘Vern’ Avola and following the 2024 debut LP Ghost Bros OST (which featured in the Wire’s Top 50 Albums of that year) the Portland, OR-based artist has announced the follow up, Choking On A Crunch Wrap Supreme As The World Burns.
Set for release on Avola’s EMS Records on March 6, exclusive to Sun 13, today you can watch the video / listen to the album’s eponymous track.”
It’s Trigger Object like you’ve never heard before. A dose of plundering electronica that is like a technicolor yawn from the speakers. Equal parts fractured, warped, and beautifully deranged, Avola maintains her humour and punk ethos, as the track leads the line from an album that is quite simply super-charged.
Stay tuned for an interview with Avola to coincide with the release of Choking On A Crunch Wrap Supreme As The World Burns in early March.

Simon Kirk | Sun-13.com, March 2026

Inspired by ghost-hunting reality TV shows, Veronica 'Vern' Avola's latest alias found the Portland, Oregon based artist leaning into the brief with an album of bone-crunching beats, wailing electronics and ectoplasmic synth extrusions. Leah Kardos said: "Avola relishes taking things to playful, noisy extremes with acrid atmospherics, creepy unidentifiable clangs and clunks, and oodles of goopy pungent distortion."

The Wire's Releases of the Year 2024 playlist

Wire Magazine | Wire Magazine Issue 491/492, January/February 2025

Trigger Object meets Chloe Bowie and Phil Thomas Katt at The Handlebar in Pensacola, Florida! This is the short and delightful interview and filming of my live performance.

Trigger Object is the new moniker adopted by Veronica 'Vern' Avola, and their latest release is a set of metaphysical sonic oddities inspired by the artist's love of ghost hunting reality TV shows. On Ghost Bros OST Avola relishes taking things to playful, noisy extremes with acrid atmospherics, creepy unidentifiable clangs and clunks, and oodles of goopy, pungent distortion. The ghost hunting theme is playfully explored on "Trailer Squatting Arsonist", a slow burning horror show that begins in hesitant, clunking rhythms and ends with a screaming, hissing wall of noise. "Chaos Control" is all flashing lamps, trembling side tables and EMF readers going batshit. On "Zero4 Champ DooZy-J" Avola immolates shifty synths in stinging distortion with what feels like a twisted sense of glee. Of the more rhythmically hectic tracks, "Ghost Bros Theme" and "Dunk Chud" are wonderfully crunchy and kinetic, and "My Facts Don't Care About Your Feelings" is a juddering racket of blunt force fun. The album closes with appropriately haunted epilogue "Hag Lore", full of insidious ambience and shivering revulsion.

Leah Kardos | Wire Magazine Issue 485, July 2024

Psykor was selected as one of Wire Magazine's top 50 albums of 2023!!! Below is James Gormley's December episode of Adventures in Sound and Music, which features some selections from albums on the top 50.

I love so many things about Psykor, but I want to start with the sequencing. It's next-level great. AVOLA welcomes us into this burnt husk of a world gently, with parched, expansive drones echoing through the last remnants of daylight. Plunging down through the abyss, feedback seeps into the hollows, flaring out like a debris cloud. At this point, take a breath and prepare to get blown to bits. Tension rises. Acid boils. Lightning is in the air, sparking through heavy bass rumbles and blast-furnace rhythms. The intensity grows, breaking apart before amassing into something heavier and more furious. Synths growl at the moon, and electronics spit sparks into the darkness before we wake up and realize it was all just one hell of a dream. This rips.

Brad Rose | Foxy Digitalis, The Capsule Garden Vol 2.14: April 19, 2023

Avola Music Video Interview: "Cave Rave" is the Thrilling Stuff of Welcome Nightmares

"Simultaneously an idyllic dream and a raging nightmare, video artist Michelle McKay's latest music video for Portland musician and multimedia artist Veronica "Vern" Avola (who goes by the moniker Avola) is an unbelievable journey through transformation. Set to slow-growing sonics which rumble as though they are moving slowly through geologic timescales, the music video for "Cave Rave" uses a blend of software programs and two weeks of "around-the-clock rendering" of AI images to embrace a wide range of colorful entities that morph in and out of one's consciousness. Among them, one catches explosive glimmers of flickering rainbow entities which oscillate endlessly between friendly and foreboding, whether they are demons, clowns, princesses, butterflies, cats, or everything literally in-between."

Watch Cave Rave

Vee Hua | Redifine Magazine, April 2023

"If the live album is a dead format, then Portland based synth excursionist Veronica 'Vern' Avola is having a wild time boogying on its grave. While many of her electronic contemporaries labour over increasingly refined, studio crafted creations, Avola's compositions prefer to shake themselves out on the dark stages of DIY venues across the western US. In 2019, she began releasing unedited recordings of her frequent live performances on Bandcamp as a diaristic series, When It Reigns, It Poors. Vol 7, the first of the series' three most recent instalments, begins, fittingly with a wry and twisted parody of stage banter. 'Thank you for being here', intones a prerecorded voice, slipping pitch like a melting candle. 'Please make yourselves comfortable'. This sample is repeated in different registers, from high, goofy chirps to deep and monstrous roars, until the layers congeal into a sludgy mass of sound..."

Emily Pothast | The Wire Magazine Issue 432, March 2020