From my perspective (whch might not be entirely accurate) for the pastfew years it's been and still is the sonic kamp of GHE20G0TH1K really.
I would not say it is experimental nor extreme at this point (as it's been quite formulaic for a few years already), I don't think it really is a take on the noise approach (ie. giving agency to the system, focus on feedback, so on), even if, it would be closer to hair stylistics/violent onsen geisha rather than gearhead noise.
I suppose it does come out of happy hardcore/core music in some ways but I would become very surprised if I heard a breakcore selection that would be beyond venetian snares/fast rym core dance moosic at that kind of night. There is only so many footwork remixes of 2000s pop hits that I can handle.
I'm all more than happy for people trying to break their DAWs but lately it has not been too surprising when it comes to the results I'm afraid.
GHE20G0TH1K helped birth the "deconstructed club" (Arca, Amnesia Scanner...) sound along with nights like Janus in Berlin. similar to DJs in the early 90s mixing techno and dub with sped up hip hop breaks giving birth to the production style of jungle, the live mixing style at GHE20G0TH1K (cutups of edits of ghetto club tracks from around the world) became the confrontational sound collage production style known as deconstructed club. both have their origin in DJ culture, in live mixing and audience response.
this is distinct from the Machine Girl/Fire Toolz crowd. First, GHE20G0TH1K was mostly non-white playing global club musics made by non-white people, whereas Machine Girl are white and I think come from a mostly white, punk subculture which in the internet era does not distinguish "rock" from "electronica." this is a big thing the internet has done, and I think Death Grips were influential here. Nobody cares whether something is rock, or rap, or rave or whatever, as long as it slaps. All those styles are fed through Ableton FX chains anyways. People just wanna hear a bangin beat with someone screaming over it, whether its an 808, an amen, rap or metal it doesn't matter. That's what Death Grips and Machine Girl manifest: hardcore energy with electronic production. And it resonates because most young ppl hear everything online first on headphones, before exposure to any kind of living music scene, so rap/electronic production makes sense because it sounds better, but genre distinctions between rock and rave are irrelevant.
In a way this "movement", if you can call it that, is a queer reclamation of punk/hardcore culture via electronic sound and performance, creating a sound which appeals to young disaffected people seeking out exciting new music, mostly online, sometimes irl. But it is not a club scene, like Janus or GHE20G0TH1K.
Also I'm not saying the music is "extreme" or "experimental," i don't really care what qualifies. But in my experience the people who make this music, listen to it and party to it are very well versed in extreme music culture going back decades. well maybe more so the people making it than those listening. depends on the person obviously. I agree it is certainly not noise music. However, a lot of these artists, where I live, are put on by noise heads who run spaces and have been playing/booking shows for decades. At these shows its not all "post internet music." There's a noise act, then a live techno thing, then DJ, etc. Its all over the fucking place and that's what bothers me about it, there's no chance to build a real vibe/culture. Its extremely open minded , just about anyone can get booked at these gigs, which is cool, but how do I know what drug to take when its harsh noise one second and footwork the next? That's my personal gripe. and that's where its not really club or rave culture. there's some hedonism, but the drugs and the party take a back seat to the music, music as art, respect for the individuality of the artist and their sound/aesthetic/message.
That's what I crave about rave culture which I find hard to fine now, is submission to the party/vibe/drug/sound over individual artist vision. I don't want to look at a stage if there's techno playing. I want it to be pitch black, with a strobe, no performer in sight, and everyone is far too gone to string together a coherent sentence. Dance becomes an easier way to communicate than cumbersome words.