WHITE CENTIPEDE NOISE PODCAST

Started by WCN, October 18, 2021, 11:45:20 PM

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WCN

OUT NOW - Jamie Stewart of XIU XIU on WCN Podcast
https://youtu.be/eHWrLZvsnDU?si=villaWiA99RHy5DL
XIU XIU is an experimental rock group with an eclectic and at times deeply noisy sound, and lyrics that deal with dark and intensely personal subject matter. They are extremely important to me personally going back to my teen years, and were my direct gateway to the world of harsh noise, specifically through hearing a remix of one their songs by THE CHERRY POINT. Jamie Stewart was kind enough to talk to me about the noisier side of XIU XIU, including working with artists such as MERZBOW and PRURIENT, memories of The Smell in LA, drug influenced sound experiments and much more. XIU XIU FOR LIFE.

Support WCN Podcast and get much more: https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

There is quite funny moment where man mentions he is very sensitive about any (negative) feedback about his work and therefore doesn't read any reviews or comments and then proceeds into talking in length the song with theme of racial fetishization.
It is curious thing that when this one particular song got only couple people asking whats up with the black cocks thing, there would be given quite a lot of weight for the tiny amount of feedback? While he does mention that song is about questions, one would assume it may work inside artists and listeners brain, but perhaps also expand to dialogue between them or between bunch of random listeners. Of course there can be dull and simple minded questions that are pointless to engage, but nevertheless perhaps getting even couple reactions could be very positive aspect rather than getting stressed of being misunderstood.

Also, there is the strong "no irony" approach there, which is perfectly understood within scene where irony may be used as excuse or shield, sort of deceptive method where nothing really means anything anymore. However, one could not escape the fact that a lot of things in noise (or most UG art.. or life in general) is funny. Despite it would be funny, the other qualities may not be less of value. Self consciously funny noise, probably no problem. Lazy slapstick routine where not even maker believes what he is doing... well....
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

WCN

OUT NOW - Answering Questions About WINCE

https://youtu.be/gl0Dc2YobyE

I invited myself to my own podcast and fielded some WINCE related questions from Patreon. Normally this is a Patreon week, but I made this one public WCN TV.
WINCE - New Rules For Slaughter Vol. 1 out now: https://whitecentipedenoise.bandcamp.com/
Support the podcast and get more exclusive content at https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

After WCN interviewing Yosuke I went to watch bunch of WCN episodes and found it a bit funny that there was like.. two NWN episodes Yosuke himself being interviewed. Was thinking could I imagine any finns doing several hours long self-interview and wondering perhaps... not? haha.. However, at the same time why not. When one has people asking questions and no other podcast to go, why not do it yourself then! Perhaps only missing the dynamics of something asking the follow-up or challenging a bit.

One curious thing what is often appears is people sort of downplaying their noise collection. Perhaps not exactly downplaying, but feeling need of explaining why they do not have for example rare vintage collectibles. It is curious thing, as I don't think even "COLLECTING" means one would have to gather the same things as everybody else. To study habits of noise collecting, some may recall when SI did interviews with bunch of people about it. All those submissions remain un-used still today, but I'll get to it in some future issue of SI or website. It's not all in waste yet, haha.. sorry about delay for all who submitted replies.
Anyways, it was exactly point to observe what types of collectors there are, what is the focus, what is the process. Like, some people just value the item, they can simply drop couple hundred on discogs and that's fine. Someone like myself, despite I could afford to buy noise rarities like that, I just don't feel like it. I see no point dropping few hundreds to finally own Gerogerigegege first LP, if there was no story behind it. If it is just a purchase online, it ain't the "noise culture" in ways I value the most.

This leads to Oskar talking his collection is just things that friends gave, what was coming out at the time, what he got in trade for his stuff, and so on. From era when he has been active. Indeed. Of course not every item is gold, but it may be like personally important path that lead you where you are, reminders of artists and things that happened. Trophies from gigs where you actually were, not just something you bought couple decades later because "supposed to". It may be even collections nobody else really cares of, and it may be great since missing bits and pieces can be obtained without abusive prices.
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

Theodore

Question regarding something Oskar said in the latest WCN TV episode : Does Bandcamp 'master' / messing with the levels of files that are uploaded for distribution ?! That would be very unprofessional of them.

Though i can think of a scenario that they have to and probably what happened in Oskar's case [?] . Bandcamp doesnt distribute 32Bit files, right ? I have no idea if it accepts them as upload, but if it does, then it auto-converts / dither them to 24Bit. But 32Bit Float can store levels above 0dB, 24Bit cant, so if there is such a 'loud' file during convertion either applies limiter or normalizing / reducing to 0dB peaks beforehand.

My point is : If Bandcamp is messing with the files in any other case to be in line with 'loudness' standards, that's unacceptable.
"ἀθάνατοι θνητοί, θνητοὶ ἀθάνατοι, ζῶντες τὸν ἐκείνων θάνατον, τὸν δὲ ἐκείνων βίον τεθνεῶτες"

FreakAnimalFinland

Maybe related, maybe not, but most of the services may be at least streaming audio in lesser sample-rate than CD. Even if the original WAV file would be great, downgrading it can easily create unwanted changes in sound, even if it doesn't sound the "classic" mp3 garbage, there may be those issues of lesser quality files do not handle true peak so well. If it would be adviced to keep things less than 0db, depending on format, lots of noise may have true peak somewhere +1.. +2.. +whatever.. that most likely gets fucked in lesser quality file. You can find plenty of information of these things online.

"Digital distortion types are typically the result of bit depth and sampling rate limitations - when these are reduced, it results in aliasing, clipping, waveshaping, and more types of familiar distortion. "
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

WCN

OUT NOW! Ryan O'Connor of INEFFABLE SLIME on WCN Podcast
https://youtu.be/MZ9AOBYT75A
INEFFABLE SLIME is the New Mexico based liquid noise project of Ryan O'Connor, heavily inspired by esoteric literature, American paranoia and the occult. After several fascinating tapes and CDrs over the past several years, he released the operatic full length CD Stalking The Sphinx on Virtues towards the end of 2023, a personal favorite at WCN. Ryan also runs Alarum Books, where he sells a curated selection of rare and obscure literature, and is the vocalist for the hardcore band ROYAL DRUG, who released their full length "Defend Degeneracy" on Dada Drumming.
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

WCN

"Tales From Asia" out now on WCN TV
Reports from the NWN!/Hospital Fest in Osaka, Machine Parts Fest in Tokyo, Negative Frequencies Over Siam in Bangkok and other noise festivities in Asia, from Pete Jennings of PAIN APPENDIX, Romain Perrot of VOMIR, Taylor Geddes of SCREAM AND WRITHE and PRIMITIVE ISOLATION TACTICS, and Kenny Sanderson of FACIALMESS. We also hear from a few friends and supporters of the podcast in between.
https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

RURAL RESISTANCE

Quote from: WCN on April 23, 2024, 05:36:15 PM"Tales From Asia" out now on WCN TV
Reports from the NWN!/Hospital Fest in Osaka, Machine Parts Fest in Tokyo, Negative Frequencies Over Siam in Bangkok and other noise festivities in Asia, from Pete Jennings of PAIN APPENDIX, Romain Perrot of VOMIR, Taylor Geddes of SCREAM AND WRITHE and PRIMITIVE ISOLATION TACTICS, and Kenny Sanderson of FACIALMESS. We also hear from a few friends and supporters of the podcast in between.
https://www.patreon.com/whitecentipedenoise

Didn't have the chance to listen to this all way through yet, but this is very interesting stuff. Tales from the road, gig report talk and anecdotes on Asian culture too.

WCN

Tisbor aka Nicola Vinciguerra is a ubiquitous figure in filthy underground art, whether it be his surreal and perverted illustrations that have adorned dozens of album covers, his harsh recordings as FECALOVE or TAETER, getting touched during one of his sleazy performances, his prolific label Turgid Animal together with George Proctor, or just through his charismatic correspondence - pretty much anyone who has been involved in noise in the mid 2000s onwards knows the guy. In this interview, he goes into detail about all that he does and all that he did.
Public version: https://youtu.be/i9iWegW-sLM
Full length version: https://www.patreon.com/posts/nicola-of-turgid-103136460
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

Couple episodes that I didn't comment, so I'll do this one with exaggerated length! haha....

Had opportunity to drink beers with Tisbor last weekend, and what a gentleman. When discussion includes not only noise, but Cicciolina, Bulldozer (band), italian raw meat eating habits etc, good topics to discuss!

I would guess that including "filthy artist" brings opportunity to discuss topics in other ways than usually?  Many interesting topics for me, but also appear to issues that are often discussed or revolved around, but very few has much idea what to think about it. Not necessarily in WCN podcast, but in general, I think very common way is declaring something "problematic", and... that's that. Which is weird, since if something appears to include problem or difficulty, then to not discuss that exactly, may indicate as if it would be not possible to - if not solve, then better see what it is.

One discussion would the "shock" element in noise. Con-Dom and Death Squad name dropped and question is, would it work these days.
Of course. Why not? One would only have to ask precisely: work how? Tisbor gave example of MK9 show being able to awake feelings and disturb people. Yes, true, they do, but like I mentioned in some reports of MK9 gigs, when being bombarded by videos of injustices americans, or american political system did or does, at least here in Finland, a lot of people take eye contact and nod in ways of.... "hmmm... americans! Haha. We know, dude". Discussed with several people who all have the same feeling. Lets say like project of Cryptofascisme (same artist as Violent Shogun), who investigates ugly details of French history, and suddenly it may be more disturbing as many probably didn't know about things artist is dealing with? With USA related topics, it is more pop news that regardless of how fierce they are, is like entertainment. Just like serial killer eating gay meat for breakfeast, that is now just mass entertainment.

Interesting thing is perhaps exactly that. We know it is "shocking", but does it really shock us? Would it be more shocking realisation that it is so banal that it does NOT cause any distress or anxiety despite seemingly extreme content?

Same with Con-Dom, I would think that one would need to go beyond idea of shock effect, to level that material speaks on matters why it is NOT shocking anymore. Why it might be just... confusing. That could easily open entirely different perspective to deal with material AND yourself, when its not expectation that there is some sort of automatic response it is supposed to cause. I recall Grey Wolves had even manifest of *confusion*, but you never see it being considered as people appear to be so fixed on idea of "shock".

Although, some may be shocked that Tisbor is one of the rare artists featured in any podcast who just flat out says fuck safe spaces and he keeps doing what he does. Of course, not that he would do anything bad.  Nevertheless, as principle, even conclude he has no time for such foolishness is something we have not heard in history of WCN before this?

It is curious remark, since just today I watched one music video that had warning text before the music video that it has "blinking lights". I know it is a thing these days, but if you can't turn off video that appears to have blinking lights... come on, jeeeesus. Whatever happens in noise, one would hope there is possibility to advice western youth that do not celebrate becoming retards and imbeciles and even less pretending to be such. It is absolutely possible to say that not everything is "progress", and whatever contemporary foolishness is there, one can be critical about it now. 

This "would it work" is also interesting to discuss in previously mentioned question: does it work if its nature shifts into entertainment? We may ask what if nature changes, when it is no longer "it"? There is discussion where Oskar mentions that perhaps Filth & Violence was the pinnacle of that old filthy PE approach and none of the new stuff is really anymore that. It is something else.

I would make bold statement, that in fact F&V does not really directly belong to lineage of old power electronics. None of the Finn PE really belongs. Like GRUNT is as much "Ramleh" as it is "Gerogerigegege" or as "G.O" as "Merzbow". Origins of Bizarre Uproar is not in industrial music or power electronics. This may be key to understand why F&V felt strong and fresh at the time and still does, as it was not copying old UK sound, not 90's USA, not german heavy electronics, it was building something of its own without knowing entire history genre. Not wanting to fit into something pre-existing, but just doing his thing. That there is authentic drive behind it, not even knowning how many may have used topics or sounds before, since it is born and invented inside the artists over and over again without them knowing of eachother. I would think inventing something that is already invented is still vastly different process than following template you see in front of you.

As much as I would admire any former (or current) artist, very rarely trying to be like one formerly existing thing. Merging endless amount of inspirational things together is what makes - hopefully - something that did not formerly exist.

Not wanting nor asking belonging to something, but creation of something or your own may be one of the trademarks of "Finnish noise"? Almost everybody insists they are not part of what others are doing, but couple steps back and you see how the network forms new type of "scene" that perhaps existed nowhere in world before, but also its formless and lawless nature means it just keeps shifting into different shapes.

Oskar asks if Tisbors parents know what's up and man tells story of some sort of assistant of the mother discovering his cock drawings, heh... was it mentioned at what age it happened? Not sure. In my case, back in the day, state/city would enabled free "maid" to help young couples to clean up their houses etc. Couple hours a week.  80's Finland. This cleaning lady ratted me out to my parents, being 6 year old boy spending time modifying coloring books and making drawings with female nipples and pubic hair. "What's wrong with that kid!?!" It may be debatable, but I guess nothing significant. Perhaps just rare case of knowing early on what I like, already as a kid! I liked idea of ladies physique far far more than some hag ratting me out to parents, who luckily didn't mind. Now as grown up man, I feel just about the same. I like, and dislike same mentioned things.

It would not be surprised if in Tisbor interview he could have said he was always into this stuff, and it is not about following "noise standards". It comes very clearly from him. That is how it is with most real-deal guys I have ever talked to. They follow none of expectations or guidelines, they were always into things they involve in their noise. And it doesn't matter if outsides deemed something "old", something "new & exciting", since for creator it doesn't matter. Its not like you'd be creating new entertainment for consumers that requires fulfill their needs. It is artists world were we can take peek if we want to.

Quite many do, actually! Curious is the discussion is the filthy noise "popular" anymore. Tisbor explain some things in very simple way: What if your releases can't be posted to any social media? What is all your videos are being taken down? What if your payment options are shut down. etc. Anyone who has been at certain social media groups where people discuss noise may have seen what can happen if you casually post your favorite CD playing right now.. and you got some can't handle that you actually like it. Most people will soon realize it serves no point to be bickering in comment sections when you are not here for that, but just appreciating great releases. So better to post something else and not get entire group shut down. Suddenly 20 copies tape may be more visible than 500 CD's, as the other thing... well, is not visible. But what is its "popularity" is entirely different thing.

I have mentioned to several others that one thing people tend to ignore is speed of expression. How you measure "popularity" or "visibility", of things that can be so different than one artist is doing 10-50 copies tapes, 6 times a month and "everything sells out", "everybody talks about it".. and indeed, its like 3 comments somewhere and couple flame emojis. And then, we should compare it with band who does release every 5 years, and sells 500-1000 LP/CD. No gigs. No talk. But clearly, numbers indicate there is vastly different kind of popularity there. There might be really great artist there who just made the amazing 30 copies tape... but would you fly to see him play in Osaka? Hell no. Many wouldn't even walk out of their flat even to local gig. So to measure what is popular, is interesting question. It is interesting also to see who discusses it. If its guy who wasn't there 5 years ago, he might have only seen the flood of small noise tapes, since speed how power electronics or industrial works is so much slower. Albums tend to mean more. They often have longer lifespan. In noise you may have had 5 new releases since you last talked with friend, in PE, "your new album" may be something that came 3 years ago and is really still the NEW album.

So... well, lets say great interview, cheer Tisbor & WCN! Although too bad public episode ended just as could have been some good advice! hah..
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

tisbor

Thanks Mikko!
Indeed with clips of american violence like the ones mk9 shows it's difficult to be "surprised", as we've been bombarded with it for years. And as you say, it's probably more shocking (or depressing) to realize that this stuff doesn't move us anymore.
I guess there will be lesser and lesser ways to make the audience "feel" something in this sense. Of course then material has to stand up on its own beyond the initial shock value (like old Con-dom or Grey Wolves do for example).
I was talking about it with a friend just yesterday, that probably we'll see less of this kind of stuff as we go on.

NAR

Quote from: FreakAnimalFinland on April 30, 2024, 10:46:26 AMSo... well, lets say great interview, cheer Tisbor & WCN! Although too bad public episode ended just as could have been some good advice! hah..


This... Great episode for what I could see. It was cool to know a bit more about Nicola and his vision on Noise/P.E.

I'm sure the paid half is also as good. I understand Oscar's side on this, if this takes so much of his time it is fair to charge for the "service". But I'm afraid I'm one of those that can't take the step to subscribe for such service unfortunately.

Cranial Blast

#643
Quote from: tisbor on May 02, 2024, 01:52:47 PMThanks Mikko!
Indeed with clips of american violence like the ones mk9 shows it's difficult to be "surprised", as we've been bombarded with it for years. And as you say, it's probably more shocking (or depressing) to realize that this stuff doesn't move us anymore.
I guess there will be lesser and lesser ways to make the audience "feel" something in this sense. Of course then material has to stand up on its own beyond the initial shock value (like old Con-dom or Grey Wolves do for example).
I was talking about it with a friend just yesterday, that probably we'll see less of this kind of stuff as we go on.

It also seems like the stuff that offends or shocks people goes in cycles or waves with time. It's kind of like the more violent horror flicks from back in the day and when you look now to the present day these old flicks seem to have a more lasting effect on this younger generation who view them, as everything these days is so watered down and weak looking. I feel like it can be like that with virtually any type media and censorship seems to play a key role with this sentiment as well.


tisbor

Quote from: Cranial Blast on May 03, 2024, 03:42:02 PM
Quote from: tisbor on May 02, 2024, 01:52:47 PMThanks Mikko!
Indeed with clips of american violence like the ones mk9 shows it's difficult to be "surprised", as we've been bombarded with it for years. And as you say, it's probably more shocking (or depressing) to realize that this stuff doesn't move us anymore.
I guess there will be lesser and lesser ways to make the audience "feel" something in this sense. Of course then material has to stand up on its own beyond the initial shock value (like old Con-dom or Grey Wolves do for example).
I was talking about it with a friend just yesterday, that probably we'll see less of this kind of stuff as we go on.

It also seems like the stuff that offends or shocks people goes in cycles or waves with time. It's kind of like the more violent horror flicks from back in the day and when you look now to the present day these old flicks seem to have a more lasting effect on this younger generation who view them, as everything these days is so watered down and weak looking. I feel like it can be like that with virtually any type media and censorship seems to play a key role with this sentiment as well.



Never thought about the old horror movie thing but it wouldn't surprise me! Interesting angle.