From Finnish language topic.
Quote from: FreakAnimalFinland on August 02, 2024, 08:12:38 PMI have been almost surprised that numerous foreign people have mentioned they are reading this topic with some sort of translater. Makes one think if forum would need sort of "relaxed misc noise related" topic, for whatever discussion that one doesn't feel is "review", barely "playlist comment", just... something? As long as it is not just utterly random "things happening in my life" -type content, but noise related. Perhaps something that could generate also further topics.
So lets see....
Got link from enthusiastic Himukalt fan about Horsegirl tape. Its electronic drone and ASMR type whispering voice delivering erotic story.
https://himukalt.bandcamp.com/track/horse-girl
If it would be done with male voice, don't think it would necessarily work (for me), but experimental sound + audio story type of thing, with female voice, can't say there wouldn't ne appeal... haha.
I've been listening to a lot of cut-up noise released in the past three years. While many of the releases are technically skillful, I don't feel any sense of need in the compositions unlike good older releases that felt like the artists needed to drag the sounds out of his/her head right now or feel very bad. The process of making noise by sitting in front of a screen, looking at the same visual representations of sound repeatedly and managing every small detail usually eliminates the feeling of spontaneity that's necessary for most noise releases to transmit attractive energy.
Quote from: Moran on August 06, 2024, 11:34:37 AMI've been listening to a lot of cut-up noise released in the past three years. While many of the releases are technically skillful, I don't feel any sense of need in the compositions unlike good older releases that felt like the artists needed to drag the sounds out of his/her head right now or feel very bad. The process of making noise by sitting in front of a screen, looking at the same visual representations of sound repeatedly and managing every small detail usually eliminates the feeling of spontaneity that's necessary for most noise releases to transmit attractive energy.
Favourite cut-up noise albums, if I may ask?
Quote from: Moran on August 06, 2024, 11:34:37 AMThe process of making noise by sitting in front of a screen, looking at the same visual representations of sound repeatedly and managing every small detail usually eliminates the feeling of spontaneity that's necessary for most noise releases to transmit attractive energy.
There is something about sitting in front of a computer screen that kills my creativity. Computer for tracking is surely feasible, but the sort of editing you're describing... it's so tedious and I have no patience nor interest for it. Now hitting that pausebutton on a physical tracker on the other hand... or better yet actually cutting up tape and rearranging it! For me there is a whole different feel and sense of danger and prencence when doing stuff this way. One of my favourite things in doing noise is all the random artifacts and sounds you really don't have control of. A feeling of the sounds and composition being on the verge of total collapse but somehow kept in reins. This is surely more present in more live kind of thing than maybe cut-up noise, but I'd say it's a facet there as well?
Quote from: Kaaoskultti on August 07, 2024, 07:40:21 AMFavourite cut-up noise albums, if I may ask?
Also this.
Quote from: FreakAnimalFinland on August 05, 2024, 09:57:19 AMGot link from enthusiastic Himukalt fan about Horsegirl tape. Its electronic drone and ASMR type whispering voice delivering erotic story.
https://himukalt.bandcamp.com/track/horse-girl
I love it! Thanks for the tip. Should propably look more into Himukalt stuff overall as well.
Quote from: Heppakirjat on August 07, 2024, 08:03:21 AMQuote from: Moran on August 06, 2024, 11:34:37 AMThe process of making noise by sitting in front of a screen, looking at the same visual representations of sound repeatedly and managing every small detail usually eliminates the feeling of spontaneity that's necessary for most noise releases to transmit attractive energy.
There is something about sitting in front of a computer screen that kills my creativity. Computer for tracking is surely feasible, but the sort of editing you're describing... it's so tedious and I have no patience nor interest for it. Now hitting that pausebutton on a physical tracker on the other hand... or better yet actually cutting up tape and rearranging it! For me there is a whole different feel and sense of danger and prencence when doing stuff this way. One of my favourite things in doing noise is all the random artifacts and sounds you really don't have control of. A feeling of the sounds and composition being on the verge of total collapse but somehow kept in reins. This is surely more present in more live kind of thing than maybe cut-up noise, but I'd say it's a facet there as well?
Absolutely spot on! I find editing noise with computer to be kinda tedious or bit uninteresting at best. Might be that my background in conventional music affects this or some issues related to neurodivergent issue but live creation is the thing that works best for me. Trying to hold the reins in midst of sonic maelstorm, create and innovate in the heat of the moment, trying to convey inner visions and impressions thru consumer electronics... It truly is intoxicating and fulfilling.
I personally prefer editing with a visual UI to editing with a 4-track. It takes a lot less time and if you're used to it it can be relatively painless. Naturally no editing at all is the most fun, just vibe out but that rarely leads to a satisfying end product for myself. I prefer my own releases to have some intent driving the whole.
Listened Hingst via bandcamp while uploading the new SI feature online. I new it is strong, as have been told so by some of the most devoted harsh heads.. https://special-interests.net/main/hingst/
New Pharmakon announced. Opening track is at bandcamp now, and full album 0ctober 4th.
https://pharmakon.bandcamp.com/album/maggot-mass
Could it be said to be even more musical than before? Indeed, it is all the way music, with bass riffs, synth tones, hoarse vocals sung like for band music.. Surely there emerges layers of electronically processed noises on top of it all in later part of song, but yes, indeed, song. Not entirely sure what to think yet, but probably wait full album before forming further thoughts.
Quote from: host body on August 07, 2024, 09:28:47 AMI personally prefer editing with a visual UI to editing with a 4-track. It takes a lot less time and if you're used to it it can be relatively painless. Naturally no editing at all is the most fun, just vibe out but that rarely leads to a satisfying end product for myself. I prefer my own releases to have some intent driving the whole.
Got to admit that is less time consuming and it is painless. I'm doing all the final edits, such as fade ins and outs, volume normalization etc., with Reaper but actual tracking happens with 4-tracker or deck. I feel that composing tracks either live or with 4-tracker tend to lead to more satisfying end results for myself. And of course there is solid intent behind every released track that i've recorded, even if it is recorded live. In many cases the same track might have been rehearsed and refined for months and there is several recorded takes from it.
But horses for courses, C15 approach is intentionally old school as it just seem to work best. But yeah, cut-up stuff. Not very keen on that, something just puts me off in lots of that stuff besides K2 and Stimbox-era Macronympha. I love how the cuts in i.e. Intensive Care at first sounded very "sluggish" but they really grew in me after i learned to fully appreciate the changes in mood and dynamics.
New Noisextra with Frans de Waard mentions he is planning to get Olssons GIFTNÅLEN reprinted, with cheaper price and better distribution via Korm Plastics. Lets hope it happens!
Giftnålen is a cool and diverse document of industrial culture - but damn near unreadable. Bigger letters next time, please, said the old man, haha. Currently waiting for the postman to deliver the TG "Five Albums" box which includes a book (and a batch so I can look cool...). I have never seen that box IRL and have zero idea about what's in the book, but the mention of Giftnålen made me think about such books and how I hope this way of documenting the scene will be carried on in the future too. Videos and podcasts are truly appreciated, but the printed medium has its advantages in terms of permanency + I like browsing through something that is tactile and present. I greatly enjoyed the book that came with the Nekrophile box on VOD as well. Old letters from John Balance and other central figures, rare photos etc. Just a gem and, like Giftnålen, something that you can browse through over and over to discover new small details each time.
Seen this?
https://www.timeless-shop.com/product/in-steel-grey-armour-regular/
" Timeless Edition is thrilled to present 'In Steel Grey Armour' consisting of the complete reproduction of an infamous and mysterious collage book created by Genesis P-Orridge in 1979 and entrusted to his friend Yves Adrien,
a regular columnist of French music magazine 'Rock'n'Folk'.
It also explores the friendship between the 2 individuals with reproductions of some letters, photos and other artworks that Gen and Yves used to exchange.
The book closes with a few words from the wise collector and current owner of the actual book, recounting his first encounter with the original Genesis collage book thanks to Jacques Noel, warden and smuggler-in-chief at Un Regard Moderne bookshop in Paris."
I wasnt sure if I need it, but when I got it... really nice and recommended!
Also SACRED INTENT has come out as expanded Edition couple years ago. Discussions between Genesis P-Orridge & Carl Abrahamsson.
I got some tasty construction sounds on my ruck this morning. They're redoing some of the sewers up the street so there's a bunch of guys laying pipe (heh). Stood there for a couple minutes and recorded it on my phone. I bought a Zoom H4n a few months ago but it's far from convenient unless you're intentionally going out to record. Thing is a fuckin brick. And honestly I think the phone recordings sound just as good.
But yeah, agreed with the straight-to-tape recording method as opposed to getting caught up arranging in a DAW. That's been my workflow lately - sending everything into a deck and then ripping that. Then doing vocals and layering that on top and sending it to tape again. I don't have a 4 track so my process is a little complicated.
Quote from: FreakAnimalFinland on August 07, 2024, 01:12:26 PMNew Noisextra with Frans de Waard mentions he is planning to get Olssons GIFTNÅLEN reprinted, with cheaper price and better distribution via Korm Plastics. Lets hope it happens!
This is good news. I was annoyed to have missed the first.
Quote from: FreakAnimalFinland on August 07, 2024, 03:48:10 PMSeen this?
https://www.timeless-shop.com/product/in-steel-grey-armour-regular/
" Timeless Edition is thrilled to present 'In Steel Grey Armour' consisting of the complete reproduction of an infamous and mysterious collage book created by Genesis P-Orridge in 1979 and entrusted to his friend Yves Adrien,
a regular columnist of French music magazine 'Rock'n'Folk'.
It also explores the friendship between the 2 individuals with reproductions of some letters, photos and other artworks that Gen and Yves used to exchange.
The book closes with a few words from the wise collector and current owner of the actual book, recounting his first encounter with the original Genesis collage book thanks to Jacques Noel, warden and smuggler-in-chief at Un Regard Moderne bookshop in Paris."
I wasnt sure if I need it, but when I got it... really nice and recommended!
Also SACRED INTENT has come out as expanded Edition couple years ago. Discussions between Genesis P-Orridge & Carl Abrahamsson.
I had not, thanks for the heads up! Looks like something I should get for sure.
Quote from: FreakAnimalFinland on August 07, 2024, 03:48:10 PMSeen this?
https://www.timeless-shop.com/product/in-steel-grey-armour-regular/
" Timeless Edition is thrilled to present 'In Steel Grey Armour' consisting of the complete reproduction of an infamous and mysterious collage book created by Genesis P-Orridge in 1979 and entrusted to his friend Yves Adrien,
a regular columnist of French music magazine 'Rock'n'Folk'.
It also explores the friendship between the 2 individuals with reproductions of some letters, photos and other artworks that Gen and Yves used to exchange.
The book closes with a few words from the wise collector and current owner of the actual book, recounting his first encounter with the original Genesis collage book thanks to Jacques Noel, warden and smuggler-in-chief at Un Regard Moderne bookshop in Paris."
I wasnt sure if I need it, but when I got it... really nice and recommended!
Also SACRED INTENT has come out as expanded Edition couple years ago. Discussions between Genesis P-Orridge & Carl Abrahamsson.
I have been meaning to get this, it looks really fascinating.
Quote from: Commander15 on August 07, 2024, 10:15:27 AMBut yeah, cut-up stuff. Not very keen on that, something just puts me off in lots of that stuff besides K2 and Stimbox-era Macronympha. I love how the cuts in i.e. Intensive Care at first sounded very "sluggish" but they really grew in me after i learned to fully appreciate the changes in mood and dynamics.
Have to agree fully here, most of the time it comes off as irritating, especially if it comes with crystal-clear production. Then again, I've been on a bit of a noisecore/related binge for the past few days, and that, taken as a whole release, could more or less be considered cut-up noise. Guess there just has to be a certain amount of filth in it to make it appealing.
Agree with your comment about "Intensive Care", too. Definitely took some time to grow on me, and those "switching radio station" cuts surely contributed to my initial disappointment.
The comment about unrest productions got me checking back, it's been 10 years since they were doing the United Forces of Industrial shows. Didn't realise it had been so long.
I would say it's left a big gap in the UK for shows of this ilk
He no longer lives in UK. I think unrest, Harbinger and Hagshadow all stopping type of activity they had, it is clearly hard to get that many people doing things of the scale these people were doing!
Curiously, ACL live today evening in Turku. Helsinki show was good!
Unrest still alive. Slower pace, but operation still happening.
Quote from: Heppakirjat on August 07, 2024, 08:06:32 AMQuote from: FreakAnimalFinland on August 05, 2024, 09:57:19 AMGot link from enthusiastic Himukalt fan about Horsegirl tape. Its electronic drone and ASMR type whispering voice delivering erotic story.
https://himukalt.bandcamp.com/track/horse-girl
I love it! Thanks for the tip. Should propably look more into Himukalt stuff overall as well.
Quite sure you know, but if not...this tape is not from Himukalt, but from Jhane P. (False Maria). It was released on Himukalt's new label Ek Verlag as second release. The first one was SMR.TNI - Unrelieving, which is also highly recommended.
Quote from: FreakAnimalFinland on August 07, 2024, 09:51:19 AMNew Pharmakon announced. Opening track is at bandcamp now, and full album 0ctober 4th.
https://pharmakon.bandcamp.com/album/maggot-mass
Could it be said to be even more musical than before? Indeed, it is all the way music, with bass riffs, synth tones, hoarse vocals sung like for band music.. Surely there emerges layers of electronically processed noises on top of it all in later part of song, but yes, indeed, song. Not entirely sure what to think yet, but probably wait full album before forming further thoughts.
I like this one a lot. Very strong vocals, which are unlike the ones on the previous albums. More growling than screaming, or however it can be described.
Looking forward for the full album and surely will try to attend one of the European shows this autumn.
New Rocker #5 with The Rita is a great issue. I thoroughly enjoyed the interview and it touched on some familiar topics from past interviews but it flowed well and felt like a natural conversation between two close friends having a down-to-earth talk. I was kind of thinking that Sam has already given so many interviews, what else can he divulge, but this was a very candid and fun interview with clarifications into interesting topics.
It seems like there is a further interest in explosions, machine guns, and even percussive sounds. Could there be live events with orchestrated ammunition, fireworks, and percussion in the future? Time will tell...
I know it's been mentioned previously but great to see the magazine find its footing. The quality of the paper and final product is leaps and bounds better than the first issue.
Agonal Breathing interview is excellent as well and can there be someone more experienced and closer to the subject matter in Death Industrial as a mortician and death care industry professional?
I actually bought this issue specifically for the insight into the Red Light District history and can't wait to dig into that next.
Side note: I know there was previously a thread for print media / magazines / or similar, but had trouble locating it. Feel free to move this to an appropriate thread.
P.S. Never been in such agreement with the reviews, specifically for Bizarre Uproar "Final Apocalypse", JSH "Rev 13:6", Richard Ramirez "Eye Contact", Viodre vs. A Fail Association, and Sawn Half "Sink" which are all exceptional releases this year.
Quote from: Kaaoskultti on August 07, 2024, 07:40:21 AMFavourite cut-up noise albums, if I may ask?
I don't listen to the style enough to have constant favorites. I've been listening to Developer (also Ahlzdeveloper) and Kazuma Kubota often. If we were to include rough sound collages, Runzelstirn & Gurgelstøck is great, like his split with the Beast People.
The "slow noise" topic got me thinking about the pacing of various noisy styles, and that's led me to wonder about the "Postmortem" style of electrioncs.
Is there such a thing as fast-paced postmortem? Or does postmortem assume a bit of a crawling tempo?
I would love to hear some recommendations.
I doubt, at least not fast in "classic way". If it starts to resemble fast noise... then it probably won't be called "postmortem" anymore, yet like discussed in slow noise topic, sometimes it is hard to measure what exactly is fast if there is no beat. Like if oscillation of synth is not slow waving moody dark tone, but high speed oscillation, is it still... slow? Probably if added elements are slow, like vocals or samples have slow delivery.
Quote from: Fistfuck Masonanie on August 11, 2024, 02:41:30 AMNew Rocker #5
...
P.S. Never been in such agreement with the reviews, specifically for Bizarre Uproar "Final Apocalypse", JSH "Rev 13:6", Richard Ramirez "Eye Contact", Viodre vs. A Fail Association, and Sawn Half "Sink" which are all exceptional releases this year.
I just got the magazine yesterday, along latest issue of Untitled. Probably mentioned elsewhere, but when Untitled came out, I was quite amused, since about 20+ years ago put out zine called "Untitled Journal". It included all sorts of weird stuff. Mass murder ideas, beastility vhs reviews, and that types mostly outrageous stuff, with very dark humor. Seeing new Untitled noise zine come out was like "nice!".. haha.
I quickly browsed through Rocker reviews, but not yet time to read more than checked out what is being said about BU.
After the Harsh Ways Fest, things got little cluttered. Car broke down saturday on the way to fest. Drive shaft broke and had to get van toed all the way back to Lahti next day. Trying to get all mail sent out with just riding bike..
Finns been "spoiled" again with couple really great new noise podcasts episodes this week and been so immersed with new recordings that haven't had time to listen almost anything at home.
Have you heard anything that could be described as "power acoustics"?
I think it was used by... Damion Romero / Speculum Fight? Since the 90's.
http://www.poweracoustics.org
Just listening Vihanmiehet "I" LP here. Hearing they will be doing more, and I had recollection "I" was vastly more lo-fi than "II". Perhaps, but in other hand, LP rotating just as I write this, this is just more of loud amplifier era BU, than what he is doing these days, but in general, the Vihanmiehen vibe is there! I got one guy from USA who wrote and asked for Vibanmiehet LP, put smile on my face instantly.
Was talking with some friends the other day about harsh noise listening, and partially inspired about the SLOW noise thread was thinking, what kinds of harsh noise would be best suited for QUIETer listening (or do you think HN strictly requiers the VOLUME)? I've loved the recent Dead Body Love reissues, and feel some of the less frantic, more sludging tracks are a great fit. A lot of tasty destroyed cassette rumble steadily grinding forwards.
DBL crunch has so tasty sound, and it sound heavy without being loud. I think it is mostly about the impression that noise makes. For example, does it sound loud, even if played quietly? Or that sounds are so tasty as well as consistent volume (like DBL) that you don't need to blast it. I think some bands are not bad, but simply require you to crank up volume to hear it - especially if there is a lot of variety on volume.
Quote from: Fields on August 24, 2024, 02:11:42 PMWas talking with some friends the other day about harsh noise listening, and partially inspired about the SLOW noise thread was thinking, what kinds of harsh noise would be best suited for QUIETer listening (or do you think HN strictly requiers the VOLUME)? I've loved the recent Dead Body Love reissues, and feel some of the less frantic, more sludging tracks are a great fit. A lot of tasty destroyed cassette rumble steadily grinding forwards.
I've found Hijokaidan works quite well at quieter volumes usually. A lot of their material isn't conducive to being played at high volumes anyway, especially with headphones, unless you want to do yourself some serious hearing damage. But whether low or maybe up a bit, many times it induces a pretty pleasant, trance-like feeling for me. Probably something I could go to sleep to if I used music for that, which isn't meant as a criticism.
Quote from: Fields on August 24, 2024, 02:11:42 PMWas talking with some friends the other day about harsh noise listening, and partially inspired about the SLOW noise thread was thinking, what kinds of harsh noise would be best suited for QUIETer listening (or do you think HN strictly requiers the VOLUME)? I've loved the recent Dead Body Love reissues, and feel some of the less frantic, more sludging tracks are a great fit. A lot of tasty destroyed cassette rumble steadily grinding forwards.
I actually find a lot of feedback-heavy material quite pleasant at lower volume. It is nice to blast obviously but there is something soothing about lower volume feedback.
Any Cloister fest visitors in Sweden last weekend? Opinions, feelings?
EDIT: Ah! I see Manhog went there and wrote to gig reports! In Finland you had Beherit on Friday, then small noise gig at Tampere on Saturday, but I was at the apocalyptic rites for both days. Accidie played krautrock type electronic set, Iron Clad played rough racialist power electronics, Pyhä Kuolema play neofolk, otherwise metal. Grand Belial's, Crucifier, Necropole, Clandestine Blaze and more! No complaints!
Quote from: FreakAnimalFinland on September 02, 2024, 03:44:00 PMAny Cloister fest visitors in Sweden last weekend? Opinions, feelings?
EDIT: Ah! I see Manhog went there and wrote to gig reports! In Finland you had Beherit on Friday, then small noise gig at Tampere on Saturday, but I was at the apocalyptic rites for both days. Accidie played krautrock type electronic set, Iron Clad played rough racialist power electronics, Pyhä Kuolema play neofolk, otherwise metal. Grand Belial's, Crucifier, Necropole, Clandestine Blaze and more! No complaints!
Can write more later, but in short, a very well put together festival by Marcus and co. Three days that went by without any major issues. Seen mentioned technical difficulties during Survival Unit, but chaos goes hand in hand with that act. A couple of days later with Alfarmania and Proiekt Hat was really good. Finally got to see Lille Roger, which now makes me think later Brighter Death Now are a bit tame, hah. Was great to catch up with people you rarely see, including Richard all the way from Australia. Talk about commitment!
https://youtu.be/b50ISgaDnIk
Noisecast special episode in english! This time we have Pain Appendix as guest, one of the most interesting names of the American noise scene. As interview was conducted in english by Mikko A, it felt natural to do the whole episode same way. So, enjoy. The tapes that are being discussed before the interview are:
Piessa - Ablaatio
Skärgård - Egen Frid - Oma Rauha
Ieskadulla - Pakkala
Youtube and Spotify!
Quote from: MT on September 16, 2024, 08:16:47 PMhttps://youtu.be/b50ISgaDnIk
Noisecast special episode in english! This time we have Pain Appendix as guest, one of the most interesting names of the American noise scene. As interview was conducted in english by Mikko A, it felt natural to do the whole episode same way. So, enjoy. The tapes that are being discussed before the interview are:
Piessa - Ablaatio
Skärgård - Egen Frid - Oma Rauha
Ieskadulla - Pakkala
Youtube and Spotify!
This was a good interview and it was nice that there was pretty minimal overlap with the White Centipede one. Pete is well spoken and comes across as a sincere noise fanatic. I'd been actively liking Toward Infinity and Manuhypnoz before but the Harsh Ways Fest live performance raised Pain Appendix to an even higher position in my books: Powerful layered sounds and charismatic stage presence. Kind of tough guy noise elements without the posing and corny antics? I understand that the term is often used in a negative light but maybe you get what I mean.
As a Finn the Finland angle in the interview is of course interesting and I think one of the strong points is discussing the things that are happening right now as they are fresh and clear in the interviewer's and interviewee's minds. Could've easily listened to this for another hour or so.
Has anyone listened to the new Tourette?
Quote from: Moran on September 22, 2024, 01:37:10 AMHas anyone listened to the new Tourette?
Only just got the shipping notification today after pre-ordering months ago. The short 5-minute sample on the label's website sounded great and based on previous works, I doubt it will disappoint. Will try to write something about it once I've had a chance to give it a spin.
https://flagdayrecordings.bandcamp.com/album/mati-re-arrach-e
Also very excited to get the Sawn Half - Sink CD. Reviews for it are very positive and the samples are pretty impressive.
https://flagdayrecordings.bandcamp.com/album/sink
Even previous Tourette feels like it just got out, but now that I look it, 2021! Well, its about time for more then. I am not huge fan of things that sound like granular stuff, but one can't deny the masterclass skill on Tourette and will grab CD if I see it available in places it makes sense to order.
Tourette – Matiere Arrachee CD (Flag Day Recordings)
A focus on "micro" sounds from various sources. Contact mic being dragged carefully over surfaces, modular synths and synths in general, abruptly cut electronics panning in and out of the mix.
All carefully curated of course with very well thought out dynamics and structure. With all of Tourette's material, there is always careful planning and immaculate execution. Tracks build tension well from the addition of full-bodied and sweeping synth chords which play a dominant role on this release.
Definitely elements of progression from the subtle detail and dynamics of both 2021's album Échancré and 2012's Brûle Mon Ame album which heavily played on strong and abrupt contrast of sounds. Matiere Arrachee constructs more intentional and gradually building crescendos of sound with a well-calculated pullback on dynamics that lead into ambient moments.
Maybe none of this is surprising as a description if you've been paying attention to his past work, unless you jumped from his Troniks album to this, but the album is executed flawlessly. A really immaculate 32 minutes. Among an already accomplished discography this is essential and immediately enters my top releases of the year.
I know it's very crude and not at all well-executed technically, but for some reason, I love the album cover. The contrast of vibrant colors and detailed texture fits the release perfectly. And I'm sure like everything else on this release, that was very intentional.
I had been delaying actually listening Slave Labour box. Usually have so many items at my store in "to be listened" piles, that often there is moment that I feel I need to listen more CD or LP or tape, just so the pile don't grow too huge and can then add more. Tape piles are huge, but tape player broke. Got to take it fixed. Luckily found a place next city who does it. Have fixed couple dubbing decks already. This will be among next. So proceeded to CD's, and Slave Labour was one of those. Its a big box, so makes room quick, but its so damn good, I've been mostly listening that, and not moving on. Wrote few things on Gilden topic.
When listening this box multuple times, it awoke this question of approach : is a release "archive" or is it for "listening"? 4xCD is clearly for listening! Not just sort of preservation of history in concrete form, that will be mostly just laying around there in your shelves. I got several huge boxes consisting 10-50 CDS and I know for a fact, I aint pulling them out from shelves in a way I would do for release that is for LISTENING. Curious if other people have their favorite box size. Should it be complete or should it be manageable to listen through? Like this Slave Labor, it takes you merely 3 hours to listen it through, so goes quickly. Think about Skin Crime, Hijokaidan The Noise, Merzbox or something...
On podcasts... Been listening all WCN, Noisextra and since I tend to walk outdoors hour or couple hours a day, if being alone, I listen mostly noise podcast. Yesterday, thinking what the hell to listen to now when its all listened, decided to give it a try to latest Women of Noise podcast. I sort of promised myself that will no longer mention that podcast anywhere as most often its not even about noise. This time, luckily, there is actually noise content there, but come on man. How difficult it must be to get female artists that do noise? We got two transpersons giggling and acting silly, half an hour talking about femboys, sissyboys and latest twitter trans-scene/furry drama before eventually proceed into surface level noise talk. jeeeeesus. Well, it wasn't all waste. Some insights, and little peek to other side of the scene I don't need to know much.
Personally, the bigger the boxset the better. Entire discographies are best of all. In that regard, Merzbox is the most perfect one I have currently... I like when I can spend an extended period of time on one artist especially, tracking development and changes. Some smaller sets tend to be just highlights, skipping over the "in between" releases where a lot of evolution happens (even if they might be less spectacular in themselves).
A lot of the boxes around 4 or so discs that have come out were more proper releases with mostly new material than meant as an archive. Whereas the bigger boxes once you get up to 7+ are all archival compilations of older releases or live sets. At least I can't think of any box that was actually someone up and composing hours and hours of new material for release in one shot. That something like Sexencylopedia or Metalveladrome was always meant as new material might impact the overall listenability of feel of them.
Then again, listenability is going to be subjective. Is there an ideal length? Again that will be subjective depending on the person. I do think the bigger the box the more naturally it is going to be intimidating for most. And that's just because everyone only has so much time to devote to music. Do I want to spend the next few months listening exclusively to the Merzbox, or listening to a hundred different artists I like instead? Which isn't to knock the Merzbox and those who would choose it at all. But most are going to make the second choice.
I do think the boxes that compile old releases and significant parts of discographies generally have a "stronger" pull than live sets. The Hijokaidan: The Noise box has a lot of great live material and is an impressive artifact all around. But is it mandatory if you're not a huge fan of theirs specifically? Probably not. The highlights of their main discography are enough if you're just a general noise fan. Its a nice supplement to those releases, but there's plenty out there beyond it. There's an alternative.
OTOH, Case Studies In Early Taxidermy Techniques and Box Is Stupid are pretty much mandatory if you don't have the original releases, for the fact that they document material that is both high quality and hard to find otherwise. SC and Incaps are important parts of noise. And if you want to listen to old Skin Crime, you've got to go for the box. There is no alternative (beyond hunting down the old tapes/CDRs). Although, even there, would the boxes mean as much to someone who is lucky to have the original releases?
TL:DR: I don't think there's an ideal box length, although once you get past 20 its dodgy. Its more about what the box documents than how long it is.
Ju-Jikan: 10 Hours Of Sound From Japan 2xCD... jeeeesus. This was quite a challenge to listen through. 2002 release on 23five. There are Pain Jerk, Merzbow, Masonna, that are real deal noise. There are few that are pretty good in experimental sound, but god damn, 2002 computer glitch stuff aged badly. Very badly. It is also pretty nasty that Masonna has like minute. Pain Jerk little over 2 minutes, and then some digi snap&crackle minimalist works feels like going on for ages.
It would be interesting to hear, if the wider experimental scene hears this completely other way round? Like, what is this yelling through distortion pedal doing here and ruining flow of great comp! hah...
I got bunch of other related compilations waiting on pile. Thing is, was mostly drawn to 23five label due it had releases of G*Park, Chop Shop, Gum,John Duncan... and proceeded into Tim Catlin, Jason Kahn, Tarab and other names I didn't know before. At some point decided to get these 3 comps that I have had long time in "waiting to be listened". France and Australia comps done 20 years ago. Lets see if I will torment myself with those today.
"Exhibition companion compilation to San Francisco Museum of Modern Art, Sept. 6-14 2003, listening room program 33 RPM: 10 Hours of Sound From France" with almost exclusively artists I barely know. huh.. Same thing for Australia.
It was kind of curious to see label who most often focuses on fairly new artists, Satatuhatta, put out Ramirez tape! But not a bad choice. It is good tape. There was couple moments when thinking is Ramirez doing his kind of usual thing, that bunch of good stuff, and then a bit more generic filler thrown in. There was more "organic", almost wall noise type of stuff on early b-side and was thinking will it be like this till the end, but no. Then followed by loud and fierce noise till end and making me think, he is definitely one of the masters. Doing C-60, after all these years, and still nailing it in a way that it makes one think this could need CD reissue since its better than many of his albums?! Is it? Or just a feeling. Could be!
Tape deck at work broke, and took it to the maintainance. Luckily place found in next city and have fixed already 6 dubbing decks now, but this one listening deck from work is there now. First though should I bring new deck at work, but decided to spend couple weeks with CD/LP and yesterday LINEKRAFT "Silence" 2xCD edition was listened. Not a fan of expanded re-issues. If having old version, now due the 2nd disc got to have this too. Not 100% mandatory, but indeed, its Linekraft so I took it. Good stuff. Industrial-noise ain't that huge "scene", so there isn't that much of stuff like Linekraft being done.
Macronympha "The Spectacle of ravishing out maidens" CD. Good. Not their best, but good. Covers look as if they were not really scan of the original, but perhaps even taken from discogs or something, hah.. Really blurry and lazy lay-out. I do like keeping it simple and not do too much revisionism with old noise, but sharpness would be good. I read somewhere that audio is nowhere as good as it was on tape. Someone mentioned its actually turned mono? Without comparing it, sounds fine to me. Mono, in context of noise, ain't bad. can be actually good.
It was surprising reading New Forces #12 newsletter other day, with Altar of Flies interview. This "issue", which is one of those two-sided papers NF is giving with orders, came couple of years ago. In that Altar Of Flies mentions he still records everything mono. Has thought about getting computer for recording. We'll, lets hope if man changes into new recording device, it won't have negative effect. Mono noise can be just great.
Another thing in AoF interview is almost "nostalgic" feel of covid times. Even if it was still very fresh couple of year ago, still perhaps also some others have at least now this almost nostalgic feeling and how the pandemic effected noise at that moment. At least I know handful of guys that got good break from the cycle to re-connect with noise things. Like with AoF, for me, nothing really changed that much. Some amusing experiences, questioned by military where am I driving or not allowed to go to bar due not having "covid passport".. Now when you think these things, it is even funnier than it was then. Did I record or publish more noise? Not sure. I think just the same amount as always.
I feel that in my context of making noise the mono is often the right way to go. When the aim is set to do fierce and immediate noise, that isn't multitracked, the mono really brings the right amount of punch and immediacy into sound. Many times i feel that stereo recordings that i have made sound a little thin due to channel separation of the sources. Horses for courses!
Of course i tend to sum the sessions and tape masters into double mono in the end to preserve the optimum volume level.
It is true, mono feels a bit more powerful for some sounds. I usually record in stereo though, and then I adjust things in the mastering by working with the "stereo width" settings. If you narrow down the separation of the stereo you can hit that spot where you still have some of that stereo movement between the channels, but tamed down to get more of that "mono-punch".
I almost exclusively master everything into mono-bass. Regardless of format. Indeed, especially with live recordings, it's something people should look into more often. Stereo bass frequencies tend to create the distant, a bit phase-error vibe feel, while just doing mono bass and stereo high's will sound much better almost without exception.
Quote from: FreakAnimalFinland on October 09, 2024, 03:54:11 PMI almost exclusively master everything into mono-bass. Regardless of format. Indeed, especially with live recordings, it's something people should look into more often. Stereo bass frequencies tend to create the distant, a bit phase-error vibe feel, while just doing mono bass and stereo high's will sound much better almost without exception.
So do you split the master files into three separate tracks where the one track is in mono and contains all the bass frequencies and two other tracks have the bass cut out and panned into left and right?
no, there is actually tools for that. Anyone using something as reaper, should have for example plugin called "Stereo Enhancer". Or something similar. Use of this is as simple as you have like 3 slides, one for low, one for high and the crossover Hz. So, put low frequencies to 0% stereo and leave highs to 100% stereo, and then find the good sound spot for crossover. Usually if you are doing mono bass at 200, 100.. something like that, stereo sound will still sound full, but with more compact bass. I am sure you can find such hardware for mastering purposes or countless similar plugins, but this mentioned one probably comes as default in reaper.
Genocide Organ's Finland gig sold out lighting fast. To compensate, I bought the early bird ticket for Tower Transmission 2025. Sigillum S, Arktau Eos...Looking good already, so it's time to check out that festival for the first time.
Anyone going to the VOD fest? I looks amazing---especially with the opportunity to visit his store.
Quote from: Fistfuck Masonanie on September 28, 2024, 01:36:58 AMTourette – Matiere Arrachee CD (Flag Day Recordings)
A focus on "micro" sounds from various sources. Contact mic being dragged carefully over surfaces, modular synths and synths in general, abruptly cut electronics panning in and out of the mix.
All carefully curated of course with very well thought out dynamics and structure. With all of Tourette's material, there is always careful planning and immaculate execution. Tracks build tension well from the addition of full-bodied and sweeping synth chords which play a dominant role on this release.
Definitely elements of progression from the subtle detail and dynamics of both 2021's album Échancré and 2012's Brûle Mon Ame album which heavily played on strong and abrupt contrast of sounds. Matiere Arrachee constructs more intentional and gradually building crescendos of sound with a well-calculated pullback on dynamics that lead into ambient moments.
Maybe none of this is surprising as a description if you've been paying attention to his past work, unless you jumped from his Troniks album to this, but the album is executed flawlessly. A really immaculate 32 minutes. Among an already accomplished discography this is essential and immediately enters my top releases of the year.
I know it's very crude and not at all well-executed technically, but for some reason, I love the album cover. The contrast of vibrant colors and detailed texture fits the release perfectly. And I'm sure like everything else on this release, that was very intentional.
Sounds good. I'll get it if and when it becomes available from a nearby distributor.
Most of today went into listening UNCODIFIED CD's. Wrecks of Tomorrow (OEC) and Erased People (Dunkelheit). Latter is probably notch better, but both very nice. Makes me think almost to start topic for project. Its somewhere on fine line of getting noisy enough to constitute NOISE, yet most often atmospheric, droning, oscillating, brooding soundscapes that almost get to "power electronics", but perhaps still remain somewhere in realms of "harsh industrial" like Dunkelheits sticker says on the CD cover.
I was listening to science program which in a way was completely unrelated to noise, more related to sports and physical activity, where one of core ideas of healthiness of activity was defined by psychological idea of "flow", where something is not too easy, not too difficult, and also something you like to do and it tends to distance person from most nuisance that is around. Just getting into zone and doing something that captures you into sort of full involvement in activity.
QuoteFlow in positive psychology, also known colloquially as being in the zone or locked in, is the mental state in which a person performing some activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.
It lead me to think about noise from such perspective. I have a bit of hesitation to consider noise as cathartic or as way to cope with negative emotions. I rather believe it could be also way of re-evaluation of things we have been told are negative emotions. Rather facing life as is, than resentful and bitter way, looking to escape the reality.
However, at the same time, many times of process of actual noise making, when you finally get into the zone - so to say - I would say it's quite unlike a lot of music creation. Transition from hurry, aim, composition, many other elements, that you simply are in flow of sound and feeling, and it is no more "jam" nor it is about searching for sound. It may be hard to put into words, what is the state of noise experience in moment when its full involvement and you simply realize its been hours that was spent in the flow. Regardless did you even push rec at any time. Just experience it as it was happening.
Most of noise I tend to play, is done first purely as experiment, as way to find something, but eventually realizing something indeed has happened. If considering this immersion wouldn't be merely "idea" to toy with, but some far more deeper phenomena in human mind, it makes me also think about purpose of FLOW in noise in general. As a listener, who seeks immersion and flow, rather than "good song"?
Quote from: FreakAnimalFinland on October 22, 2024, 05:26:02 PMHowever, at the same time, many times of process of actual noise making, when you finally get into the zone - so to say - I would say it's quite unlike a lot of music creation. Transition from hurry, aim, composition, many other elements, that you simply are in flow of sound and feeling, and it is no more "jam" nor it is about searching for sound. It may be hard to put into words, what is the state of noise experience in moment when its full involvement and you simply realize its been hours that was spent in the flow. Regardless did you even push rec at any time. Just experience it as it was happening.
I think this is partly because of the relative lack of preconceptions on what noise should be, like compositional rules, social function and such that conventional music is nearly always concerned with, so one can get in the flow with less mental obstacles than when making other music. I happen to find that most music I enjoy has the qualities of "flowing" and being regardless of the genre.
Quote from: FreakAnimalFinland on October 16, 2024, 05:05:24 PMMost of today went into listening UNCODIFIED CD's. Wrecks of Tomorrow (OEC) and Erased People (Dunkelheit). Latter is probably notch better, but both very nice. Makes me think almost to start topic for project. Its somewhere on fine line of getting noisy enough to constitute NOISE, yet most often atmospheric, droning, oscillating, brooding soundscapes that almost get to "power electronics", but perhaps still remain somewhere in realms of "harsh industrial" like Dunkelheits sticker says on the CD cover.
Definitely worth of a thread! Corrado's work is quite unique in the Italian scene today. Perhaps the only other Italian project that dabbled similiar territories and atmospheres is Cazzodio.
Quote from: FreakAnimalFinland on October 22, 2024, 05:26:02 PMI was listening to science program which in a way was completely unrelated to noise, more related to sports and physical activity, where one of core ideas of healthiness of activity was defined by psychological idea of "flow", where something is not too easy, not too difficult, and also something you like to do and it tends to distance person from most nuisance that is around. Just getting into zone and doing something that captures you into sort of full involvement in activity.
QuoteFlow in positive psychology, also known colloquially as being in the zone or locked in, is the mental state in which a person performing some activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.
It lead me to think about noise from such perspective. I have a bit of hesitation to consider noise as cathartic or as way to cope with negative emotions. I rather believe it could be also way of re-evaluation of things we have been told are negative emotions. Rather facing life as is, than resentful and bitter way, looking to escape the reality.
However, at the same time, many times of process of actual noise making, when you finally get into the zone - so to say - I would say it's quite unlike a lot of music creation. Transition from hurry, aim, composition, many other elements, that you simply are in flow of sound and feeling, and it is no more "jam" nor it is about searching for sound. It may be hard to put into words, what is the state of noise experience in moment when its full involvement and you simply realize its been hours that was spent in the flow. Regardless did you even push rec at any time. Just experience it as it was happening.
Most of noise I tend to play, is done first purely as experiment, as way to find something, but eventually realizing something indeed has happened. If considering this immersion wouldn't be merely "idea" to toy with, but some far more deeper phenomena in human mind, it makes me also think about purpose of FLOW in noise in general. As a listener, who seeks immersion and flow, rather than "good song"?
I was having the same thought this morning experimenting with my synthesizer. Trying to make something "musical" with a single synth can quickly become boring and mundane. However, hours can pass like minutes when exploring noisy textures, detuning oscillators, and balancing ADSR. I like the comparison to the flow of physical activity. I recently got back into skateboarding after having a severe injury, which is a difficult, uncomfortable, but completely gratifying activity. Similar to Noise, they are usually misunderstood, the possibilities are endless, and the process frees the conscious mind from all distracting thoughts and unnecessary mental wanderings/wondering.
Quote from: PSYWARRIOR84 on October 23, 2024, 02:24:00 PMQuote from: FreakAnimalFinland on October 22, 2024, 05:26:02 PMI was listening to science program which in a way was completely unrelated to noise, more related to sports and physical activity, where one of core ideas of healthiness of activity was defined by psychological idea of "flow", where something is not too easy, not too difficult, and also something you like to do and it tends to distance person from most nuisance that is around. Just getting into zone and doing something that captures you into sort of full involvement in activity.
QuoteFlow in positive psychology, also known colloquially as being in the zone or locked in, is the mental state in which a person performing some activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.
It lead me to think about noise from such perspective. I have a bit of hesitation to consider noise as cathartic or as way to cope with negative emotions. I rather believe it could be also way of re-evaluation of things we have been told are negative emotions. Rather facing life as is, than resentful and bitter way, looking to escape the reality.
However, at the same time, many times of process of actual noise making, when you finally get into the zone - so to say - I would say it's quite unlike a lot of music creation. Transition from hurry, aim, composition, many other elements, that you simply are in flow of sound and feeling, and it is no more "jam" nor it is about searching for sound. It may be hard to put into words, what is the state of noise experience in moment when its full involvement and you simply realize its been hours that was spent in the flow. Regardless did you even push rec at any time. Just experience it as it was happening.
Most of noise I tend to play, is done first purely as experiment, as way to find something, but eventually realizing something indeed has happened. If considering this immersion wouldn't be merely "idea" to toy with, but some far more deeper phenomena in human mind, it makes me also think about purpose of FLOW in noise in general. As a listener, who seeks immersion and flow, rather than "good song"?
I was having the same thought this morning experimenting with my synthesizer. Trying to make something "musical" with a single synth can quickly become boring and mundane. However, hours can pass like minutes when exploring noisy textures, detuning oscillators, and balancing ADSR. I like the comparison to the flow of physical activity. I recently got back into skateboarding after having a severe injury, which is a difficult, uncomfortable, but completely gratifying activity. Similar to Noise, they are usually misunderstood, the possibilities are endless, and the process frees the conscious mind from all distracting thoughts and unnecessary mental wanderings/wondering.
Yes and yes. Much is talked on here about the experience of playing analog material whilst exploring the different sounds and textures as if it were (and it is) one, overall cathartic or rather interesting experience. I agree that music should be more than a catharsis (however if it's not, it's fine for me too), but here is one thing that confirms what was written above.
Now, I'm one of those days in which everything just falls down and down, without room to breathe for your thoughts to stray from that endless murmuring and lameting which comes in hand with depression. I was, like, lying in bed writhing and wriggling (if you understand me here), hopeless. Just like in Saint Vitus' "H.A.A.G.", consumed by the void.
But then, out of no particular reason as I wasn't interested in music, but rather as a simple way to think about anything else, I turned on the amp. A simple Behringer reverb pedal and a voice modulator. Had no intention of even recording, but as soon as the noise came in, felt like an urge to do it. I simply improvised for some moments and ended up recording 2 songs from the session. And after that, my depression was gone. And I mean it, like if I'd have taken medicine or something, it thus vanished. Maybe a psychoanalytic case of Sublimation, in which an instinct is internally transfigured into a drive which allows the negative energy to flow off consciousness, and achieve some kind of satisfaction which is profoundly impacting.
Time flies while messing with the gears. My music isn't even very good, but the flaws kind make room for something special here. Nonetheless, the neverending possibility aspect, all the while made from simple material, makes room for true satisfaction regardless of how bad or good your music might turn to be; and that is even so that while producing music I don't feel as if what I'm doing is not going to turn out as good as I wished it to be, but get that feeling when listening to the material recorded. "If considering this immersion wouldn't be merely "idea" to toy with, but some far more deeper phenomena in human mind, it makes me also think about purpose of FLOW in noise in general. As a listener, who seeks immersion and flow, rather than "good song"?" - this is the FLOW of NOISE. Pedals are angelic creatures.
Quote from: Kaaoskultti on October 29, 2024, 06:26:59 AMQuote from: PSYWARRIOR84 on October 23, 2024, 02:24:00 PMQuote from: FreakAnimalFinland on October 22, 2024, 05:26:02 PMI was listening to science program which in a way was completely unrelated to noise, more related to sports and physical activity, where one of core ideas of healthiness of activity was defined by psychological idea of "flow", where something is not too easy, not too difficult, and also something you like to do and it tends to distance person from most nuisance that is around. Just getting into zone and doing something that captures you into sort of full involvement in activity.
QuoteFlow in positive psychology, also known colloquially as being in the zone or locked in, is the mental state in which a person performing some activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.
It lead me to think about noise from such perspective. I have a bit of hesitation to consider noise as cathartic or as way to cope with negative emotions. I rather believe it could be also way of re-evaluation of things we have been told are negative emotions. Rather facing life as is, than resentful and bitter way, looking to escape the reality.
However, at the same time, many times of process of actual noise making, when you finally get into the zone - so to say - I would say it's quite unlike a lot of music creation. Transition from hurry, aim, composition, many other elements, that you simply are in flow of sound and feeling, and it is no more "jam" nor it is about searching for sound. It may be hard to put into words, what is the state of noise experience in moment when its full involvement and you simply realize its been hours that was spent in the flow. Regardless did you even push rec at any time. Just experience it as it was happening.
Most of noise I tend to play, is done first purely as experiment, as way to find something, but eventually realizing something indeed has happened. If considering this immersion wouldn't be merely "idea" to toy with, but some far more deeper phenomena in human mind, it makes me also think about purpose of FLOW in noise in general. As a listener, who seeks immersion and flow, rather than "good song"?
I was having the same thought this morning experimenting with my synthesizer. Trying to make something "musical" with a single synth can quickly become boring and mundane. However, hours can pass like minutes when exploring noisy textures, detuning oscillators, and balancing ADSR. I like the comparison to the flow of physical activity. I recently got back into skateboarding after having a severe injury, which is a difficult, uncomfortable, but completely gratifying activity. Similar to Noise, they are usually misunderstood, the possibilities are endless, and the process frees the conscious mind from all distracting thoughts and unnecessary mental wanderings/wondering.
Yes and yes. Much is talked on here about the experience of playing analog material whilst exploring the different sounds adn textures as if it were (and it is) one, overall cathartic or rather interesting experience. I agree that music should be more than a catharsis (however if it's not, it's fine for me too), but here is one thing that confirms what was written above.
Now, I'm one of those days in which everything just falls down and down, without room to breathe for your thoughts to stray from that endless murmuring and lameting which comes in hand with depression. I was, like, lying in bed writhing and wriggling (if you understand me here), hopeless. Just like in Saint Vitus' "H.A.A.G.", consumed by the void.
But then, out of no particular reason as I wasn't interested in music, but rather as a simple way to think about anything else, I turned on the amp. A simple Behringer reverb pedal and a voice modulator. Had no intention of even recording, but as soon as the noise came in, felt like an urge to do it. I simply improvised for some moments and ended up recording 2 songs from the session. And after that, my depression was gone. And I mean it, like if I'd have taken medicine or something, it thus vanished. Maybe a psychoanalytic case of Sublimation, in which an instinct is internally transfigured into a drive which allows the negative energy to flow off consciousness, and achieve some kind of satisfaction which is profoundly impacting.
Time flies while messing with the gears. My music isn't even very good, but the flaws kind make room for something special here. Nonetheless, the neverending possibility aspect, all the while made from simple material, makes room for true satisfaction regardless of how bad or good your music might turn to be; and that is even so that while producing music I don't feel as if what I'm doing is not going to turn out as good as I wished it to be, but get that feeling when listening to the material recorded. "If considering this immersion wouldn't be merely "idea" to toy with, but some far more deeper phenomena in human mind, it makes me also think about purpose of FLOW in noise in general. As a listener, who seeks immersion and flow, rather than "good song"?" - this is the FLOW of NOISE. Pedals are angelic creatures.
I've heard many people talk about the driving force to participate in music or art is ultimately to release emotions but I don't think that is really true although it may seem that way. This world is based on creation, if we depress those natural creative gifts, we become depressed. The emotions are the subconscious hunger pangs for creation; catharsis doesn't seem natural.
I'd like to hear what you came up with because I am looking for folks to work with. I've been pushing myself to create with more authenticity and originality lately. I like the idea of flaws and getting past trying to make "good" songs. Much of noise has no involvement with songs anyways, but that is refreshing because familiarity and homogeneity are trappings that stifle authentic creation. Which is why music seems dead and lifeless, whereas Noise seems like a young sapling in an empty forest.
QuoteThis world is based on creation, if we depress those natural creative gifts, we become depressed.
There is endless amount of studies about benefits of things like walk in the nature. Usually, when someone is moaning about their depressions and dysphorias and whatever, and insisting merely more medication, it is weird situation, that
the pill, is the medication. While you could say that simply following prescription of going outdoors, doing something meaningful, could solve a lot of things. Of course not all and not everything, but a lot of it. Especially now in west, when you can easily see studies showing the social media addiction results and media addiction results anyways. Amount of screen time and so on. Of course, there is different qualities of "screen time". Nevertheless...
Not that I somehow would look down on doing noise on computer, most of gear we tend to use, are computers of some sort these days. Even recorders. I mean more about sitting in front of screen vs. doing noise in other ways. One of the traditional qualities of counter culture has been to challenge automations where life gets you, and consciously make new decisions. Evaluate things. Lets say, if one would sit in the office, in front of screen all day, return home, and is it more screen time he needs? Is it just the routine that you may end up fooling with digital synthesizers just for fun. Which it can be! But to escape the autopilot life, it could be time of conscious decisions. Alertness to see and hear or dream where and how the
noise happens. Meaning for example expanding the horizon away from the
industry.
I was just talking with friend week ago, and conclusion of one disappointment was noise as "gear" you buy, that is manufactured by instrument companies, for creation of "experimental sound". For example. As opposed to noise as meaningful and challenging experience. Something that takes you into the world so to say. Not just thinking gadgets you bought are the core of noise(-making).
As simple things as gathering of sounds, locations, situations, etc. May be a lot of work, a lot of "wasted" time, but also, can result actual discoveries. When noise is something else than sort of micro version of basic society, I feel it has way more meaningful qualities.
Talking with other friend, who had trouble watching new WCN episode (Public Front one), he was critical of how come any "alternative" these days, turns out to be merch vendor? It may be small scale, it may be underground in some ways, but still, in the end, everywhere where you look, the mechanics you find behind all is flooding merch to finance things. While noise, of course, exists also in form of manufacturing and selling items, I think one should not forget it may not be its purpose or reason. Noise making without intent of "putting out product" or that it is not priority. Priority could be for example the inspiring changes this process of doing can awake in creator. If it doesn't, I am leaning a bit into direction that one may not be involved in ways it would go beyond "pushing buttons".
Well, as topic says
"random talk", haha..
This standardization of the process of making music and turning it into a product is part of the establishment bringing underground music into its means of extending influence. Same thing happened with "extreme" metal, which now frequently simulates past music that resulted from genuine interest, but with messaging that's ubiquitous in mainstream media, encouraging product fetishism, mystification and worship of artists, promoting a sense of lack of agency, etc.
Besides, the routine process of releasing some generic music product, farting out merchandise, promoting it on social media through its algorithms, shipping it to some guy who will do a cursory listen to rate it on a website according to his preconceived standards unrelated to the music, is incongruous with much of noise that makes clear that experience is always changing.
Quote from: FreakAnimalFinland on October 31, 2024, 09:55:02 AMQuoteThis world is based on creation, if we depress those natural creative gifts, we become depressed.
There is endless amount of studies about benefits of things like walk in the nature. Usually, when someone is moaning about their depressions and dysphorias and whatever, and insisting merely more medication, it is weird situation, that the pill, is the medication. While you could say that simply following prescription of going outdoors, doing something meaningful, could solve a lot of things. Of course not all and not everything, but a lot of it. Especially now in west, when you can easily see studies showing the social media addiction results and media addiction results anyways. Amount of screen time and so on. Of course, there is different qualities of "screen time". Nevertheless...
Not that I somehow would look down on doing noise on computer, most of gear we tend to use, are computers of some sort these days. Even recorders. I mean more about sitting in front of screen vs. doing noise in other ways. One of the traditional qualities of counter culture has been to challenge automations where life gets you, and consciously make new decisions. Evaluate things. Lets say, if one would sit in the office, in front of screen all day, return home, and is it more screen time he needs? Is it just the routine that you may end up fooling with digital synthesizers just for fun. Which it can be! But to escape the autopilot life, it could be time of conscious decisions. Alertness to see and hear or dream where and how the noise happens. Meaning for example expanding the horizon away from the industry.
I was just talking with friend week ago, and conclusion of one disappointment was noise as "gear" you buy, that is manufactured by instrument companies, for creation of "experimental sound". For example. As opposed to noise as meaningful and challenging experience. Something that takes you into the world so to say. Not just thinking gadgets you bought are the core of noise(-making).
As simple things as gathering of sounds, locations, situations, etc. May be a lot of work, a lot of "wasted" time, but also, can result actual discoveries. When noise is something else than sort of micro version of basic society, I feel it has way more meaningful qualities.
Talking with other friend, who had trouble watching new WCN episode (Public Front one), he was critical of how come any "alternative" these days, turns out to be merch vendor? It may be small scale, it may be underground in some ways, but still, in the end, everywhere where you look, the mechanics you find behind all is flooding merch to finance things. While noise, of course, exists also in form of manufacturing and selling items, I think one should not forget it may not be its purpose or reason. Noise making without intent of "putting out product" or that it is not priority. Priority could be for example the inspiring changes this process of doing can awake in creator. If it doesn't, I am leaning a bit into direction that one may not be involved in ways it would go beyond "pushing buttons".
Well, as topic says "random talk", haha..
Yes, depression is nothing more than bottled up energy that becomes toxic. I also think excitement is not healthy either because it doesn't exist in nature. Both are inevitable sitting in a sedentary soup of Wi-Fi/radio waves staring at flickering blue light. However, big pharma makes billions on lazy ignorant fools, it's part of their business model.
Yes, I also agree with you on this. I am lucky enough to work out in nature so I don't feel chained to a computer when using one to master music but I'd rather record amplified synthesis with a series of mics connected to my Tascam portastudio, which I will do next month. I suffered from a herniated disk for much of this year, so a simple plug and play configuration was my limitation and I recorded many things like that, it was a great escape from the crippling pain. When you feel like you are dying inside, the last thing on my mind is to daisy chain pedals and make an elaborate circuit of unconventional noise making devices. I hear many people involved in the noise scene say the same thing, they don't care about gear, but some how it all ends up sounding similar if not the same even though they are thinking outside the box.It is a great time for synthesizers, one of the only things I splurge on and most were not manufactured with noise/power electronics for intended use.
If one is involved in noise to make money, they are an idiot. My motive has been to spread a message and I have spent more money on gear, shipping promos, etc. than I have ever made from donations; which I expected. However, I don't expect to change the power structure, a few thousand ruling billions through Psychological Warfare, but I continue to march. Much like the Raven, my purpose in life is simply to survive and make noises, money is just an illusion. I enjoyed that particular episode because the guy was genuine, he remained his position as an outsider looking in, or more like an insider looking out at the outsiders. WCN has a great show and my only gripe is that I am usually disappointed that most people involved in the noise world appear to be merely normie nerds. The difference between the bricks in the wall that work nine to five that cheer on their favorite sports team in their free time and normie noise nerd is only superficial. The first artist to impact me in my youth was GG Allin and I am looking for that kind of danger but it doesn't seem to exist these days.
Quote from: FreakAnimalFinland on October 31, 2024, 09:55:02 AMQuoteThis world is based on creation, if we depress those natural creative gifts, we become depressed.
There is endless amount of studies about benefits of things like walk in the nature. Usually, when someone is moaning about their depressions and dysphorias and whatever, and insisting merely more medication, it is weird situation, that the pill, is the medication. While you could say that simply following prescription of going outdoors, doing something meaningful, could solve a lot of things. Of course not all and not everything, but a lot of it. Especially now in west, when you can easily see studies showing the social media addiction results and media addiction results anyways. Amount of screen time and so on. Of course, there is different qualities of "screen time". Nevertheless...
Humans in general are holistic animals that are designed to move, do concrete things with their hands and body etc. So that in mind i'd say that the mind and the body really do walk hand in hand meaning that if the ones mind isn't cultivated or activated it will have an negative effect on ones physical condition and vice versa. As above, so below!
So it really isn't suprising that doing the things that are characteristic for human beings, in this case moving, doing concrete stuff exercising and connecting with the nature, really do benefit people with i.e. depression. Most of the time when i'm mentally stuck with some issues or with noise related stuff, going for a walk or running usually ignite the thought processes that lead to the new solutions, revelations and new views on things.
Quote from: FreakAnimalFinland on October 31, 2024, 09:55:02 AMNot that I somehow would look down on doing noise on computer, most of gear we tend to use, are computers of some sort these days. Even recorders. I mean more about sitting in front of screen vs. doing noise in other ways. One of the traditional qualities of counter culture has been to challenge automations where life gets you, and consciously make new decisions. Evaluate things. Lets say, if one would sit in the office, in front of screen all day, return home, and is it more screen time he needs? Is it just the routine that you may end up fooling with digital synthesizers just for fun. Which it can be! But to escape the autopilot life, it could be time of conscious decisions. Alertness to see and hear or dream where and how the noise happens. Meaning for example expanding the horizon away from the industry.
I was just talking with friend week ago, and conclusion of one disappointment was noise as "gear" you buy, that is manufactured by instrument companies, for creation of "experimental sound". For example. As opposed to noise as meaningful and challenging experience. Something that takes you into the world so to say. Not just thinking gadgets you bought are the core of noise(-making).
Ah, the dreaded gear! I view the gear merely as tools in the context of noise, albeit interesting in their own right. But without ones own vision, skills and the spirit they quickly reveal themselves to be just what they ultimately are: bunch of resistors, IC's and transistors in a box. The gear needs to be animated by the intention and the spirit of their operator. I will make an bold assumption that about 95% of noisemaking happens within the head of an artist and the last 5% are about the gear, the act of operating the gear and post-production. Whether i'm correct with this assumption or not, it still resonates with your concept of noise as an challenge, re-evaluation and concious decision making that really are at the very heart of noise and counter-cultures in general. Taking your life into your own hands despite the mainstream values, odds and paradigms.
Quote from: FreakAnimalFinland on October 31, 2024, 09:55:02 AMAs simple things as gathering of sounds, locations, situations, etc. May be a lot of work, a lot of "wasted" time, but also, can result actual discoveries. When noise is something else than sort of micro version of basic society, I feel it has way more meaningful qualities.
Talking with other friend, who had trouble watching new WCN episode (Public Front one), he was critical of how come any "alternative" these days, turns out to be merch vendor? It may be small scale, it may be underground in some ways, but still, in the end, everywhere where you look, the mechanics you find behind all is flooding merch to finance things. While noise, of course, exists also in form of manufacturing and selling items, I think one should not forget it may not be its purpose or reason. Noise making without intent of "putting out product" or that it is not priority. Priority could be for example the inspiring changes this process of doing can awake in creator. If it doesn't, I am leaning a bit into direction that one may not be involved in ways it would go beyond "pushing buttons".
Well, as topic says "random talk", haha..
I tend to view the "wasted" time as an sacrifice and somewhat resembling the magickal work. To recieve something you must do the work and offer something personal and meaningful to the gods. And the most valuable asset for modern men is the time. I think that the idea of noise as an mere micro version of basic society is simply repulsive hah! It really cheapens it to the purely material and social level, where the motives of doing things are simply connected to the social interaction, petty micro hierarchies and selfish hunger for validation.
Quote from: FreakAnimalFinland on October 31, 2024, 09:55:02 AMQuoteThis world is based on creation, if we depress those natural creative gifts, we become depressed.
There is endless amount of studies about benefits of things like walk in the nature. Usually, when someone is moaning about their depressions and dysphorias and whatever, and insisting merely more medication, it is weird situation, that the pill, is the medication. While you could say that simply following prescription of going outdoors, doing something meaningful, could solve a lot of things. Of course not all and not everything, but a lot of it. Especially now in west, when you can easily see studies showing the social media addiction results and media addiction results anyways. Amount of screen time and so on. Of course, there is different qualities of "screen time". Nevertheless...
Not that I somehow would look down on doing noise on computer, most of gear we tend to use, are computers of some sort these days. Even recorders. I mean more about sitting in front of screen vs. doing noise in other ways. One of the traditional qualities of counter culture has been to challenge automations where life gets you, and consciously make new decisions. Evaluate things. Lets say, if one would sit in the office, in front of screen all day, return home, and is it more screen time he needs? Is it just the routine that you may end up fooling with digital synthesizers just for fun. Which it can be! But to escape the autopilot life, it could be time of conscious decisions. Alertness to see and hear or dream where and how the noise happens. Meaning for example expanding the horizon away from the industry.
I was just talking with friend week ago, and conclusion of one disappointment was noise as "gear" you buy, that is manufactured by instrument companies, for creation of "experimental sound". For example. As opposed to noise as meaningful and challenging experience. Something that takes you into the world so to say. Not just thinking gadgets you bought are the core of noise(-making).
As simple things as gathering of sounds, locations, situations, etc. May be a lot of work, a lot of "wasted" time, but also, can result actual discoveries. When noise is something else than sort of micro version of basic society, I feel it has way more meaningful qualities.
Talking with other friend, who had trouble watching new WCN episode (Public Front one), he was critical of how come any "alternative" these days, turns out to be merch vendor? It may be small scale, it may be underground in some ways, but still, in the end, everywhere where you look, the mechanics you find behind all is flooding merch to finance things. While noise, of course, exists also in form of manufacturing and selling items, I think one should not forget it may not be its purpose or reason. Noise making without intent of "putting out product" or that it is not priority. Priority could be for example the inspiring changes this process of doing can awake in creator. If it doesn't, I am leaning a bit into direction that one may not be involved in ways it would go beyond "pushing buttons".
Well, as topic says "random talk", haha..
Quote from: PSYWARRIOR84 on November 01, 2024, 08:03:58 AMIf one is involved in noise to make money, they are an idiot. My motive has been to spread a message and I have spent more money on gear, shipping promos, etc. than I have ever made from donations; which I expected. However, I don't expect to change the power structure, a few thousand ruling billions through Psychological Warfare, but I continue to march. Much like the Raven, my purpose in life is simply to survive and make noises, money is just an illusion. I enjoyed that particular episode because the guy was genuine, he remained his position as an outsider looking in, or more like an insider looking out at the outsiders. WCN has a great show and my only gripe is that I am usually disappointed that most people involved in the noise world appear to be merely normie nerds. The difference between the bricks in the wall that work nine to five that cheer on their favorite sports team in their free time and normie noise nerd is only superficial. The first artist to impact me in my youth was GG Allin and I am looking for that kind of danger but it doesn't seem to exist these days.
I think that the emphasis should be placed on the word "appear" as the hour and plus of regulated and curated noise talk on a mainstream platform is hardly enough to make a blanket statement of that most of the people involved in noise are "normie nerds". When you scratch the surface bit more you start to find all kinds of interesting obsessions, worldviews and thoughts that are almost impossible to explore via podcast that is housed on a platform that is generally unfriendly for the industrial culture. That said, mere banal antisocial behaviour and antagonism without the substance is just as uninteresting as being "normie".
Thanks for emphasizing my words, for your own benefit and mine. It was just a thought in the moment, just an oscillation of noise; nothing malign. I also see myself as no different than a normie nerd despite my obsessions and world view. If only I had a true counterculture lifestyle of having a diy in an abandoned building, or drifting around performing confrontational onslaughts of destructive noise, I could truly stand apart from touchdown Tony and the gang. I'm in no mood for random noise talk but felt the need to provide an obvious explanation. Go team noise!
Quote from: PSYWARRIOR84 on November 01, 2024, 08:03:58 AMmy only gripe is that I am usually disappointed that most people involved in the noise world appear to be merely normie nerds. The difference between the bricks in the wall that work nine to five that cheer on their favorite sports team in their free time and normie noise nerd is only superficial. The first artist to impact me in my youth was GG Allin and I am looking for that kind of danger but it doesn't seem to exist these days.
Surely there must be some examples of 21st century noise makers who flirted with the types of theatrics you're referencing? But why such a focus on the "normie" all the time? Identity fascinations seem so, "first-layer"? (For want for a better word?) The signification you're getting at, this lifestyle fetishism, seems much better suited to rock music, right? A genre where there's so little freedom starts needing more and more ambitious packaging. Noise and industrial, however, strike me as free enough where the word "normie" is a pretty bleak critique, missing the mark maybe? How do you think Les Joyaux De La Princesse should dress during his day to day? Does it matter what Blod does to pay the rent?
21st century? From the year 2000 onwards, Bizarre Uproar comes to mind and the guy who was pointing a gun at the crow during a performance. I'd like to discover more lunatics and psychopaths in the noise world, they must exist in such a formless and free genre. Acts like Hanatarash and G.I.S.M. seem to be extinct, and were more prevalent in the 80s.I haven't been focused on the "normie" all the time, that is your observational bias, look at my posts. "Lifestyle fetishism" sounds very clunky and cringe, I was just getting at how I was disappointed to discover that many people involved in extreme music don't seem very extreme anymore. There is nothing wrong with that,my lifestyle is mundane/regimented, but the full blown maniacs are much more interesting.
think LJDLP should wear a princess gown during his day to day. It doesn't matter to me what Blod does to pay rent, the artist should be separate from the day to day routine, it's not interesting. Hopefully that clears up this hideous train wreck the "n" word created and we can move on.
I don't think there is shortage of such people, more like most people no longer use it as "promotional stunt" so to say. Many of the old stories can be pretty mild. Like thinking how some cider drinking crusts or Darkthrone fenriz drinking 6-pack at the Helvete were wild stories. hah.. Or acts of vandalism. Or how something like Mike Diana taken into court for drawing comics, UK industrial acts grave robbing investigations, Sotos or whatever these things. Its like underground culture dark folklore, but same sort of things happen pretty regularly, but just are no longer on spotlight.
One thing is that many things are no longer cool. Going on GG type route and assault some random female in crowd and that about that for possibilities to play live anywhere anymore, and most would consider it really weak in the first place.
Nevertheless, I would say there is entire "untold stories of underground" these days and those who say there is shortage of chaos, weird and extreme, might not be part of that underground where not everything is shared in internet, especially not in way that appears to be attempt to impress people.
I could still suspect, that separating artist art and personal life not always necessary. Or lets say, we don't need to really know how LJDLP dresses, but knowing man has intellect and apparently also passion in pushing forward in other fields of life, this drive may correlate in artistic expression and what he is doing professionally? Just like for example Vivenza, LJDLP isn't just punching girl on face at live gig, but perhaps pushing some other passions further than are not really that common or "normal"?
This week in Finland, Max Eastman live shows in three cities! Not sure what exactly he would be playing, but we'll see!
QuoteI've heard many people talk about the driving force to participate in music or art is ultimately to release emotions but I don't think that is really true although it may seem that way. This world is based on creation, if we depress those natural creative gifts, we become depressed. The emotions are the subconscious hunger pangs for creation; catharsis doesn't seem natural.
I'd like to hear what you came up with because I am looking for folks to work with. I've been pushing myself to create with more authenticity and originality lately. I like the idea of flaws and getting past trying to make "good" songs. Much of noise has no involvement with songs anyways, but that is refreshing because familiarity and homogeneity are trappings that stifle authentic creation. Which is why music seems dead and lifeless, whereas Noise seems like a young sapling in an empty forest.
Thank you for the feedback and interest, it means a lot to me. I kind of understand what you're saying. Catharsis as secondary to the Drive to creation, that is true. However, the mere pleasure from playing (un)music is enough to be 'cathartic', understood simply as a means of releasing that unconscious drive towards creation.
There was more music produced, but I ended up recording two. One of based loosely on Deathpile's "THIS IS MY WORLD. A WORLD INSIDE MY HEAD." line off You Will Never Know, and is called "My World (Your Death)". One of the best things in improvising is that I loose the lyrics after performing them due to the musical unintelligibility it gave to them, but lines such as "SAY IT.. SAY IT TO MY FACE" and "YOU HAVE YOUR WORLD, AND I HAVE MINE" can be listened to. Not totally serious, but in no way a mere joke. The other is called "Paz pra quem? (Pra Ninguém!)" and has portuguese lyrics. Now there's something special here: the pedal-radio interference. I was able to catch a radio dialougue concerning Brazil's political affairs and it ended up sounding like a PE-ish sample, heh.
Now there's something special about the first one in terms of handling the gear and using 'errors': the voice modulator that I have keeps on producing a sound while not being used vocally, and by that, being connected to the mix table on a level of sound which didn't permit its full sonic expression, it kept on making noises that resemble a metal-junk orchestra, as I was hitting something arythmically deliberately during the music; but it was nothing like that and was totally unpredicted.
Quote from: FreakAnimalFinland on October 31, 2024, 09:55:02 AMI was just talking with friend week ago, and conclusion of one disappointment was noise as "gear" you buy, that is manufactured by instrument companies, for creation of "experimental sound". For example. As opposed to noise as meaningful and challenging experience. Something that takes you into the world so to say. Not just thinking gadgets you bought are the core of noise(-making).
I vaguely remember Incapacitants saying they don't obsess over specific pieces of equipment. They continue to sound like themselves while their equipment changes over the years. In my experience with making music—though I don't make harsh noise—when I have a clear idea about what I want to make, and can use broad enough ranges of equipment and environment, the result tends to be satisfying with enough time and effort regardless of specific products. Overreliance on particular tools tends to limit the music being made.
Just a random thing (noise random related seems the right topic for asking!).
When you record something and at the end of the process you think "this shit is weak" but people told you the opposite, and the reverse scenario (you record something and you think "fuck, this is really good" and other people think is weak), what is your reaction?
I find it very frustrating honestly!
Quote from: Stipsi on November 08, 2024, 09:21:12 PMJust a random thing (noise random related seems the right topic for asking!).
When you record something and at the end of the process you think "this shit is weak" but people told you the opposite, and the reverse scenario (you record something and you think "fuck, this is really good" and other people think is weak), what is your reaction?
I found it very frustrating honestly!
sit on it for 6 months or so. listen again with some distance. fresh ears so to speak
Quote from: XXX on November 08, 2024, 10:30:24 PMQuote from: Stipsi on November 08, 2024, 09:21:12 PMJust a random thing (noise random related seems the right topic for asking!).
When you record something and at the end of the process you think "this shit is weak" but people told you the opposite, and the reverse scenario (you record something and you think "fuck, this is really good" and other people think is weak), what is your reaction?
I found it very frustrating honestly!
sit on it for 6 months or so. listen again with some distance. fresh ears so to speak
Agreed. It's surprising how things "age". Sometimes for the better but not always. I've been taking my sweet time working on a new full length because of this.
Quote from: XXX on November 08, 2024, 10:30:24 PMQuote from: Stipsi on November 08, 2024, 09:21:12 PMJust a random thing (noise random related seems the right topic for asking!).
When you record something and at the end of the process you think "this shit is weak" but people told you the opposite, and the reverse scenario (you record something and you think "fuck, this is really good" and other people think is weak), what is your reaction?
I found it very frustrating honestly!
sit on it for 6 months or so. listen again with some distance. fresh ears so to speak
This is my strategy too. It gets especially fun when you have archives going back some years, and you forget how you even made some of it!
Especially with long sessions of mixing or "mastering", it can be very common to just tweak sound notch to far. Every time you turn high's little louder, feel like now it rips more, or more bass and feels it gets heavier. Returning to session with fresh ears may be surprise that material appears to be thin as fuck or soft-bassy humming.
Even if someone would say it is great, you may know it was better before tweaking sound too far. Also, you can't really know what is the level of greatness you are lumped into. Greatest release or this week? Greatest release someone listened half way through? haha... If setting level that you need to be right there, on level of undisputed classic of this expression, just being "great" doesn't necessarily cut it. Goal may be no less than being immortal, not just great, hah... I know some people have method of not listening other peoples noise, to get "influences" or subconsciously "copy" something, but I don't really get that idea. If you got clear reference recordings of your favorite recordings you worship, its good to pull them from shelves and compare a bit.
I do not mean that comparison would be about trying to be like it, but one could say that as much as people seemingly worship 80's and 90's sound, it is surprising how much "20??" sound" is being used. Tinny, digitally glitchy highs and flatness caused by volume war where you try to be as loud as the rest, while actually personal preference may be exactly opposite? Sometimes it can be healthy to remind oneself that despite a lot of people ruin their stuff, you don't have to. You can accept it sounds quieter, more lo-fi, unless listener cranks the volume up. This is one reason many of my own work, I prefer not to publish it online. It is meant for stereo system, consciously picked CD into player, adjusting volume to be what is needed. Not to be played within online streams, in middle of contemporary 0dB digital noise blasting.
Quote from: Kaaoskultti on November 08, 2024, 06:33:26 PMQuoteI've heard many people talk about the driving force to participate in music or art is ultimately to release emotions but I don't think that is really true although it may seem that way. This world is based on creation, if we depress those natural creative gifts, we become depressed. The emotions are the subconscious hunger pangs for creation; catharsis doesn't seem natural.
I'd like to hear what you came up with because I am looking for folks to work with. I've been pushing myself to create with more authenticity and originality lately. I like the idea of flaws and getting past trying to make "good" songs. Much of noise has no involvement with songs anyways, but that is refreshing because familiarity and homogeneity are trappings that stifle authentic creation. Which is why music seems dead and lifeless, whereas Noise seems like a young sapling in an empty forest.
Thank you for the feedback and interest, it means a lot to me. I kind of understand what you're saying. Catharsis as secondary to the Drive to creation, that is true. However, the mere pleasure from playing (un)music is enough to be 'cathartic', understood simply as a means of releasing that unconscious drive towards creation.
There was more music produced, but I ended up recording two. One of based loosely on Deathpile's "THIS IS MY WORLD. A WORLD INSIDE MY HEAD." line off You Will Never Know, and is called "My World (Your Death)". One of the best things in improvising is that I loose the lyrics after performing them due to the musical unintelligibility it gave to them, but lines such as "SAY IT.. SAY IT TO MY FACE" and "YOU HAVE YOUR WORLD, AND I HAVE MINE" can be listened to. Not totally serious, but in no way a mere joke. The other is called "Paz pra quem? (Pra Ninguém!)" and has portuguese lyrics. Now there's something special here: the pedal-radio interference. I was able to catch a radio dialougue concerning Brazil's political affairs and it ended up sounding like a PE-ish sample, heh.
Now there's something special about the first one in terms of handling the gear and using 'errors': the voice modulator that I have keeps on producing a sound while not being used vocally, and by that, being connected to the mix table on a level of sound which didn't permit its full sonic expression, it kept on making noises that resemble a metal-junk orchestra, as I was hitting something arythmically deliberately during the music; but it was nothing like that and was totally unpredicted.
That is a very interesting technique, it sounded like total junk metal destruction to me. I am impressed with the vocal delivery, it begins very powerful and continues to intensify and change as the track progresses. Although you mentioned the lyrics were a mere joke, I like the "you have your world, I have mine" message because I've heard many people say all humans are connected and if that is true, it must also be true that you can disconnect; which I've done with 99.999% of people. Keep up the good work, I look forward to hearing more.
Quote from: PSYWARRIOR84 on November 10, 2024, 06:30:11 PMQuote from: Kaaoskultti on November 08, 2024, 06:33:26 PMQuoteI've heard many people talk about the driving force to participate in music or art is ultimately to release emotions but I don't think that is really true although it may seem that way. This world is based on creation, if we depress those natural creative gifts, we become depressed. The emotions are the subconscious hunger pangs for creation; catharsis doesn't seem natural.
I'd like to hear what you came up with because I am looking for folks to work with. I've been pushing myself to create with more authenticity and originality lately. I like the idea of flaws and getting past trying to make "good" songs. Much of noise has no involvement with songs anyways, but that is refreshing because familiarity and homogeneity are trappings that stifle authentic creation. Which is why music seems dead and lifeless, whereas Noise seems like a young sapling in an empty forest.
Thank you for the feedback and interest, it means a lot to me. I kind of understand what you're saying. Catharsis as secondary to the Drive to creation, that is true. However, the mere pleasure from playing (un)music is enough to be 'cathartic', understood simply as a means of releasing that unconscious drive towards creation.
There was more music produced, but I ended up recording two. One of based loosely on Deathpile's "THIS IS MY WORLD. A WORLD INSIDE MY HEAD." line off You Will Never Know, and is called "My World (Your Death)". One of the best things in improvising is that I loose the lyrics after performing them due to the musical unintelligibility it gave to them, but lines such as "SAY IT.. SAY IT TO MY FACE" and "YOU HAVE YOUR WORLD, AND I HAVE MINE" can be listened to. Not totally serious, but in no way a mere joke. The other is called "Paz pra quem? (Pra Ninguém!)" and has portuguese lyrics. Now there's something special here: the pedal-radio interference. I was able to catch a radio dialougue concerning Brazil's political affairs and it ended up sounding like a PE-ish sample, heh.
Now there's something special about the first one in terms of handling the gear and using 'errors': the voice modulator that I have keeps on producing a sound while not being used vocally, and by that, being connected to the mix table on a level of sound which didn't permit its full sonic expression, it kept on making noises that resemble a metal-junk orchestra, as I was hitting something arythmically deliberately during the music; but it was nothing like that and was totally unpredicted.
That is a very interesting technique, it sounded like total junk metal destruction to me. I am impressed with the vocal delivery, it begins very powerful and continues to intensify and change as the track progresses. Although you mentioned the lyrics were a mere joke, I like the "you have your world, I have mine" message because I've heard many people say all humans are connected and if that is true, it must also be true that you can disconnect; which I've done with 99.999% of people. Keep up the good work, I look forward to hearing more.
Oh, thank you for the feedback! I do have ideas on my mind to be further explored when I have the time, aswell as the intention of releasing some copies of my music. I don't have the resources right now, but furthermore it's something I look forward to. And yes, that vocal delivery was insane, it even impressed me afterwards to the point it made me grin - must have been really pissed off that day, heh.
Quote from: FreakAnimalFinland on November 09, 2024, 10:15:25 AMI do not mean that comparison would be about trying to be like it, but one could say that as much as people seemingly worship 80's and 90's sound, it is surprising how much "20??" sound" is being used. Tinny, digitally glitchy highs and flatness caused by volume war where you try to be as loud as the rest, while actually personal preference may be exactly opposite? Sometimes it can be healthy to remind oneself that despite a lot of people ruin their stuff, you don't have to. You can accept it sounds quieter, more lo-fi, unless listener cranks the volume up. This is one reason many of my own work, I prefer not to publish it online. It is meant for stereo system, consciously picked CD into player, adjusting volume to be what is needed. Not to be played within online streams, in middle of contemporary 0dB digital noise blasting.
I believe loudness and quietness both have a place in "loud" music. Of course, most people are not Bennett trying to push the limits of sound beyond everything else, so I guess it mostly depends on the balance one is set out to achieve. I could be wrong, but I guess one of the things that define contemporany PE acts which intend to have some foot on the classics whilst still sounding fresh is mixage of metaljunk with traditional elements of Noise (think Sick Seed, Menacing '84). Not just metaljunk, but some sort of handling of it that is clearly recognizable although not easily describable. Not talking about The New Blockaders style of creating massive layers of them, but something more controlled. Not even rhythmically oriented, but one gets the idea.
QuoteThis is my strategy too. It gets especially fun when you have archives going back some years, and you forget how you even made some of it!
Lyrically, I improvise always, so there's phrases and phrases in what I've produced which I have not a idea on what I was talking about, haha.
NOISECAST EPISODE 16
https://youtu.be/iOHb1RGqVwM
Another Noisecast special episode in english. Max J. Eastman was on tour in Finland, and Mikko of Sarvilevyt had a very interesting discussion with Max about his noise activities, excellent Tribe Tapes label and noise culture. Also one interesting subject is about the lack of writing about noise online, role of discussion forums and his Finland connection.
Releases that are being discussed in the intro are;
Finno-Ugrian Suicide Hypothesis - Kansamme Kuolema
Haaska CDr
Parasocial Juche tape
Any comments on the new Anenzephalia KZ yet?
the Noisecast with MJE was awesome. I've never met the guy but can tell he's a diehard, to say the least. Good opinions on approach to noise, packaging, and just keeping the whole DIY mentality at the forefront. Interesting point about American noise shows being "gossipy"... I've never noticed it in my local scene but maybe it's more prevalent in the larger cities where there's more hotshots with opinions. Recommended listening.
Curiously interview was done without any serious preparation. We had not discussed beforehand what all topic will be covered. I just explained it doesn't matter if it's 15 min or hours and we'll discuss what comes naturally and that'll be it. Whole recording was actually well over 3 hours, but I did cut big part of my own ramblings to get pace faster plus of course, focus on the actual target of interview, hah..
DEAD BODY LOVE / ATRAX MORGUE split LP - listened this couple of times and appreciate very much what was done with this! LP sounds good plus packaging does justice for original, also with insert that is basically replica of the original cover, but inside you will find two page long recollections of mr. DBL talking about his contact with Corbelli.
Quote from: MT on November 16, 2024, 01:48:27 PMNOISECAST EPISODE 16
https://youtu.be/iOHb1RGqVwM
Another Noisecast special episode in english. Max J. Eastman was on tour in Finland, and Mikko of Sarvilevyt had a very interesting discussion with Max about his noise activities, excellent Tribe Tapes label and noise culture. Also one interesting subject is about the lack of writing about noise online, role of discussion forums and his Finland connection.
Releases that are being discussed in the intro are;
Finno-Ugrian Suicide Hypothesis - Kansamme Kuolema
Haaska CDr
Parasocial Juche tape
Any tips of where to pick up the Finno-Ugrian Suicide Hypothesis cassette? Seems intriguing. Apologies if it's mentioned somewhere in the video.
Quote from: MT on November 16, 2024, 01:48:27 PMNOISECAST EPISODE 16
https://youtu.be/iOHb1RGqVwM
Another Noisecast special episode in english. Max J. Eastman was on tour in Finland, and Mikko of Sarvilevyt had a very interesting discussion with Max about his noise activities, excellent Tribe Tapes label and noise culture. Also one interesting subject is about the lack of writing about noise online, role of discussion forums and his Finland connection.
This was a fantastic interview, so much value and insight packed in a single episode; especially the parts about production.
Thank you!
Quote from: NerveGas on November 21, 2024, 08:33:51 PMQuote from: MT on November 16, 2024, 01:48:27 PMNOISECAST EPISODE 16
https://youtu.be/iOHb1RGqVwM
Another Noisecast special episode in english. Max J. Eastman was on tour in Finland, and Mikko of Sarvilevyt had a very interesting discussion with Max about his noise activities, excellent Tribe Tapes label and noise culture. Also one interesting subject is about the lack of writing about noise online, role of discussion forums and his Finland connection.
Releases that are being discussed in the intro are;
Finno-Ugrian Suicide Hypothesis - Kansamme Kuolema
Haaska CDr
Parasocial Juche tape
Any tips of where to pick up the Finno-Ugrian Suicide Hypothesis cassette? Seems intriguing. Apologies if it's mentioned somewhere in the video.
Send me an e-mail to: skuggsidan@protonmail.com, and I can help you out to gain access.
Bought recently German Shepherds Music for sick queers reissue LP+7". When it came out, I was unsure if I need one, since having the original. When I was buying some other stuff, I noticed this reissue was for sale from same seller for decent price and must say it is worth of it even for 7" songs alone. Not full on noise of course, but noisy weirdo music. Probably most know it already, if not, easy access for material here:
https://germanshepherds.bandcamp.com/album/music-for-sick-queers-lp-7
Quote from: FreakAnimalFinland on November 23, 2024, 05:13:22 PMBought recently German Shepherds Music for sick queers reissue LP+7". When it came out, I was unsure if I need one, since having the original. When I was buying some other stuff, I noticed this reissue was for sale from same seller for decent price and must say it is worth of it even for 7" songs alone. Not full on noise of course, but noisy weirdo music. Probably most know it already, if not, easy access for material here:
https://germanshepherds.bandcamp.com/album/music-for-sick-queers-lp-7
This is interesting stuff, I've never heard this until now. The album cover is great! I'm curious to learn more about this group.
I guess it's not noise, but how are the Melvins live? They were never totally my thing, but they seem fun to hear in person.
Quote from: Balor/SS1535 on November 24, 2024, 02:57:11 AMI guess it's not noise, but how are the Melvins live? They were never totally my thing, but they seem fun to hear in person.
I saw a festival gig 20 years ago. I never followed them, only listened casually over the years, but enjoyed the show. In the live context it became pretty clear how they provided a blueprint for that whole drone/doom scene [Earth, Om, SunnO))), etc]. Go see them if they're in your area, I believe they're still touring after four decades.
Quote from: Balor/SS1535 on November 24, 2024, 02:57:11 AMI guess it's not noise, but how are the Melvins live? They were never totally my thing, but they seem fun to hear in person.
Saw them different times - always great! One of the few "rock" bands I really enjoy.
Quote from: post-morten on November 24, 2024, 11:48:18 PMQuote from: Balor/SS1535 on November 24, 2024, 02:57:11 AMI guess it's not noise, but how are the Melvins live? They were never totally my thing, but they seem fun to hear in person.
I saw a festival gig 20 years ago. I never followed them, only listened casually over the years, but enjoyed the show. In the live context it became pretty clear how they provided a blueprint for that whole drone/doom scene [Earth, Om, SunnO))), etc]. Go see them if they're in your area, I believe they're still touring after four decades.
Quote from: wilst-de on November 25, 2024, 11:44:24 AMQuote from: Balor/SS1535 on November 24, 2024, 02:57:11 AMI guess it's not noise, but how are the Melvins live? They were never totally my thing, but they seem fun to hear in person.
Saw them different times - always great! One of the few "rock" bands I really enjoy.
OK, thanks to both of you. I ended up getting a ticket to the first show on the upcoming tour (next April) a little bit after I posted my question. I am just following up on a trail of noise into doom. Merzbow to Boris, and now from Boris to the Melvins!
There was good interview, unfortunately only in Finnish, with member of Savage Gospel and he told many noise stories in it, but also revolving a lot around Sonic Youth and other noisy and alternative music. Not really following any of that, it was curious he mentioned Ipecac Recordings gave Melvins record deal that allows as many releases as they make. Many times it was couple releases per year, which is obviously normal in noise, but not that many bigger and older "rock bands" keep churning new albums that fast.
Quote from: bogskaggmannen on November 16, 2024, 04:04:05 PMAny comments on the new Anenzephalia KZ yet?
As strong as ever! Side A more aggressive heavy electronics noise and oppressive synth mass, while on side B it tones down to sparser synth oscillations and ambience, younger Moloch also gets to the vocals on "Extorted Memory". Leaves you wanting more of course with this length!
There´s a defect on my tape on side B as the volume drops significantly... oh well, that´s tapes these days for you. Seems like every third-fifth tape I get has something fucked up.
THE NAUSEA "Requiem" LP - First thing I was thinking was how its possible to start project called NAUSEA now, hah.. How many there are already? Probably also The Nausea exists multiple times.. However, as soon as I put this on turntable, behind ultra generic name, there is very interesting album! I didn't actually look so carefully what it's going to be. Just glimpse to name and that Absurd Exposition put it out, and took handful of LP and CD. Was quite surprised that it is sort of contemporary art music, with violin, viola and cello being most prominent elements but it erupts into full on harsh noise at times!
Quote from: FreakAnimalFinland on November 29, 2024, 01:36:26 PMTHE NAUSEA "Requiem" LP - First thing I was thinking was how its possible to start project called NAUSEA now, hah.. How many there are already? Probably also The Nausea exists multiple times.. However, as soon as I put this on turntable, behind ultra generic name, there is very interesting album! I didn't actually look so carefully what it's going to be. Just glimpse to name and that Absurd Exposition put it out, and took handful of LP and CD. Was quite surprised that it is sort of contemporary art music, with violin, viola and cello being most prominent elements but it erupts into full on harsh noise at times!
Was pleasantly surprised by this as well. Saw a live set over the summer that was very impressive.
It did make me think about this cross-over of "contemporary art music" and "real noise". It feels often so lame, how art-musicians, understand noise or cacophony so differently. Often there is this obsession to real instruments or that it can be written down in a way or another. Plus, that it is recorded with high fidelity. The Nausea was good how it could actually include utmost harsh noise blast within somewhat experimental music based on strings. Sound is pretty hi-fi, but works fine.
Been listening a lot of Sutcliffe No More "Campaign 2024" CD. I guess it promised return to old days. Indeed, painful feedback, WASP, distortion. Not playful new electronic gadgets. Not too much experimentation. Feedback is pretty sharp and clean. So not old school all the way back to early 80's, but perhaps closer to idea what would be between Death Mask and the albums on Cold Meat, if vocals / lyrics were like they are in 2024. Album ends into brutal noise blast which is almost like Masonna! If feedback would be more like in Campagn, less like Death Mask, it would be better, but indeed, album has been growing on every time I listen to it plus got to say his lyrics are some of the most dark and malicious stuff out there. Not "fun", just very fierce. Timeless just published "poetry book" by him. I suppose it is mostly Sutcliffe Jugend texts.
Quote from: FreakAnimalFinland on November 30, 2024, 10:10:47 AMIt did make me think about this cross-over of "contemporary art music" and "real noise". It feels often so lame, how art-musicians, understand noise or cacophony so differently. Often there is this obsession to real instruments or that it can be written down in a way or another. Plus, that it is recorded with high fidelity. The Nausea was good how it could actually include utmost harsh noise blast within somewhat experimental music based on strings. Sound is pretty hi-fi, but works fine.
Been listening a lot of Sutcliffe No More "Campaign 2024" CD. I guess it promised return to old days. Indeed, painful feedback, WASP, distortion. Not playful new electronic gadgets. Not too much experimentation. Feedback is pretty sharp and clean. So not old school all the way back to early 80's, but perhaps closer to idea what would be between Death Mask and the albums on Cold Meat, if vocals / lyrics were like they are in 2024. Album ends into brutal noise blast which is almost like Masonna! If feedback would be more like in Campagn, less like Death Mask, it would be better, but indeed, album has been growing on every time I listen to it plus got to say his lyrics are some of the most dark and malicious stuff out there. Not "fun", just very fierce. Timeless just published "poetry book" by him. I suppose it is mostly Sutcliffe Jugend texts.
I really like Campaign 2024, it feels as if someone asked them "create an album for Cold Meat Industry" and they tried really hard but ultimately failed!
Also, any background to their Slaves No More project? The double-CD album is out earlier this year as well and that one is much more experimental (long-form, at time berlin school like) even though overall still within same ruthless post-industrial realm. Is it just parallel vessel for more experimental sounds or something more?
https://www.discogs.com/release/29754787-Slaves-No-More-House-Of-Dolls
Quote from: Penon on December 01, 2024, 11:38:52 AMQuote from: FreakAnimalFinland on November 30, 2024, 10:10:47 AMIt did make me think about this cross-over of "contemporary art music" and "real noise". It feels often so lame, how art-musicians, understand noise or cacophony so differently. Often there is this obsession to real instruments or that it can be written down in a way or another. Plus, that it is recorded with high fidelity. The Nausea was good how it could actually include utmost harsh noise blast within somewhat experimental music based on strings. Sound is pretty hi-fi, but works fine.
Been listening a lot of Sutcliffe No More "Campaign 2024" CD. I guess it promised return to old days. Indeed, painful feedback, WASP, distortion. Not playful new electronic gadgets. Not too much experimentation. Feedback is pretty sharp and clean. So not old school all the way back to early 80's, but perhaps closer to idea what would be between Death Mask and the albums on Cold Meat, if vocals / lyrics were like they are in 2024. Album ends into brutal noise blast which is almost like Masonna! If feedback would be more like in Campagn, less like Death Mask, it would be better, but indeed, album has been growing on every time I listen to it plus got to say his lyrics are some of the most dark and malicious stuff out there. Not "fun", just very fierce. Timeless just published "poetry book" by him. I suppose it is mostly Sutcliffe Jugend texts.
I really like Campaign 2024, it feels as if someone asked them "create an album for Cold Meat Industry" and they tried really hard but ultimately failed!
Also, any background to their Slaves No More project? The double-CD album is out earlier this year as well and that one is much more experimental (long-form, at time berlin school like) even though overall still within same ruthless post-industrial realm. Is it just parallel vessel for more experimental sounds or something more?
https://www.discogs.com/release/29754787-Slaves-No-More-House-Of-Dolls
Sorry, but you both mean Cold Spring and not Cold Meat, right?
Or what did I miss?
Edit: Apart from that - Campaign 2024 is great! Bought it at the CONG and seeing their incredible show there, was a highlight of this year!
In the last couple days I took As Loud as Possible zine out of my shelves and read through some of it again for the xth time. Needless to say here, still an amazing and great publication, and also you can explore something new every time, that you didn't care about...5,10... years ago, because you wasn't just so much interested in it back then.
So, what had my interest this time, was the label portrait of Ides Recordings and the interview with label boss Nicole Chambers. Back then and still now, I liked her own tape Reciprocity. (Don't know much about the rest, but after reading the article again, nowadays most of it could be interesting, for me)
What happened to Ides Recordings and Nicole Chambers? No more releases after 2010, so it seems it didn't last very long after the interview. No or not really useful information to be found on the internet.
Anybody here, who can shed some light into the "disappearance" of Ides Recordings and Ms. Chambers?
Thanks a lot!
Quote from: cr on December 01, 2024, 02:25:53 PMQuote from: Penon on December 01, 2024, 11:38:52 AMQuote from: FreakAnimalFinland on November 30, 2024, 10:10:47 AMIt did make me think about this cross-over of "contemporary art music" and "real noise". It feels often so lame, how art-musicians, understand noise or cacophony so differently. Often there is this obsession to real instruments or that it can be written down in a way or another. Plus, that it is recorded with high fidelity. The Nausea was good how it could actually include utmost harsh noise blast within somewhat experimental music based on strings. Sound is pretty hi-fi, but works fine.
Been listening a lot of Sutcliffe No More "Campaign 2024" CD. I guess it promised return to old days. Indeed, painful feedback, WASP, distortion. Not playful new electronic gadgets. Not too much experimentation. Feedback is pretty sharp and clean. So not old school all the way back to early 80's, but perhaps closer to idea what would be between Death Mask and the albums on Cold Meat, if vocals / lyrics were like they are in 2024. Album ends into brutal noise blast which is almost like Masonna! If feedback would be more like in Campagn, less like Death Mask, it would be better, but indeed, album has been growing on every time I listen to it plus got to say his lyrics are some of the most dark and malicious stuff out there. Not "fun", just very fierce. Timeless just published "poetry book" by him. I suppose it is mostly Sutcliffe Jugend texts.
I really like Campaign 2024, it feels as if someone asked them "create an album for Cold Meat Industry" and they tried really hard but ultimately failed!
Also, any background to their Slaves No More project? The double-CD album is out earlier this year as well and that one is much more experimental (long-form, at time berlin school like) even though overall still within same ruthless post-industrial realm. Is it just parallel vessel for more experimental sounds or something more?
https://www.discogs.com/release/29754787-Slaves-No-More-House-Of-Dolls
Sorry, but you both mean Cold Spring and not Cold Meat, right?
Or what did I miss?
Edit: Apart from that - Campaign 2024 is great! Bought it at the CONG and seeing their incredible show there, was a highlight of this year!
Sutcliffe Jugend released a couple of albums on cold meat industry that was more older sounding SJ, I think that is what they are referring to. The cold spring releases were an evolution from that
Quote from: Kayandah on December 01, 2024, 07:13:57 PMQuote from: cr on December 01, 2024, 02:25:53 PMQuote from: Penon on December 01, 2024, 11:38:52 AMQuote from: FreakAnimalFinland on November 30, 2024, 10:10:47 AMIt did make me think about this cross-over of "contemporary art music" and "real noise". It feels often so lame, how art-musicians, understand noise or cacophony so differently. Often there is this obsession to real instruments or that it can be written down in a way or another. Plus, that it is recorded with high fidelity. The Nausea was good how it could actually include utmost harsh noise blast within somewhat experimental music based on strings. Sound is pretty hi-fi, but works fine.
Been listening a lot of Sutcliffe No More "Campaign 2024" CD. I guess it promised return to old days. Indeed, painful feedback, WASP, distortion. Not playful new electronic gadgets. Not too much experimentation. Feedback is pretty sharp and clean. So not old school all the way back to early 80's, but perhaps closer to idea what would be between Death Mask and the albums on Cold Meat, if vocals / lyrics were like they are in 2024. Album ends into brutal noise blast which is almost like Masonna! If feedback would be more like in Campagn, less like Death Mask, it would be better, but indeed, album has been growing on every time I listen to it plus got to say his lyrics are some of the most dark and malicious stuff out there. Not "fun", just very fierce. Timeless just published "poetry book" by him. I suppose it is mostly Sutcliffe Jugend texts.
I really like Campaign 2024, it feels as if someone asked them "create an album for Cold Meat Industry" and they tried really hard but ultimately failed!
Also, any background to their Slaves No More project? The double-CD album is out earlier this year as well and that one is much more experimental (long-form, at time berlin school like) even though overall still within same ruthless post-industrial realm. Is it just parallel vessel for more experimental sounds or something more?
https://www.discogs.com/release/29754787-Slaves-No-More-House-Of-Dolls
Sorry, but you both mean Cold Spring and not Cold Meat, right?
Or what did I miss?
Edit: Apart from that - Campaign 2024 is great! Bought it at the CONG and seeing their incredible show there, was a highlight of this year!
Sutcliffe Jugend released a couple of albums on cold meat industry that was more older sounding SJ, I think that is what they are referring to. The cold spring releases were an evolution from that
Sorry guys, when I was listening to Campaign 2024 I had many thoughts and associations running through my mind and I only posted a one sentence summary - no surprise it was confusing and impossible to decipher. What I meant was that the album gives the feeling that SNM tried to create a somewhat slower constrained death industrial album (the one that would suit CMI) but evidently time and time again throughout this album, they go back to a more massive full and uncontrollable sound that is associated with their early (and one may say, classic) years, hence giving the "trying and failing" vibe. This is, of course, not a reflection on the album quality (which is one of my favorites of 2024, hands down) but more of an observation of the album's stylistic dynamics.
Not really proper reviews, but I often have written shorter commentaries of releases into facebook group "noise now playing". May be interest of those who never use fb, so I just repost:
V/A HARSH WAYS SYNDICATE : VIHAA JA KIIMAA IKUISESTI" 3xCD box
I heard most of files in advance, plus of course was at the gig, but finally listened everything from CD format and it is really good comp! Makes me think of some of the old time releases like Festival Karlsruhe, perhaps even Heavy Electronics comps. Not that there would be much of musical or visual similarities, merely that documenting full gigs of the fest as box set can work really nicely when it is good stuff! This Vihaa ja kiimaa ikuisesti set is totally studio quality stuff. For example, I don't think AA has sounded this good on his full lengths? Controlled, but also more fierce fierce production. Rotat and Umpio of course totally exclusive material. Due neat mix of line and room sound, it has the punch and live feel same time, and for example Sadio may sound better than any of the studio works? Hard to really evaluate. Mostly Vouyeur Seeks and former 7" related songs, but alternative versions of course. Bizarre Uproar was a bit unsure does he want to be on comp with full set as vocals were different than intended. I convinced him that he should be in, and leave it all as-is, and he could always re-do the live in studio to be "like intended". He liked the idea, so the album that came on F&V that has the "live gig", is not really this gig at all. That is studio-live version re-done with new contributions from all people involved on stage. I guess in this version, vocals were louder and more in-your-face than he usually likes. For several years, most often BU has had quite deep buried vocals and I know a lot of people who'd actually prefer it this way like they are on the live set! Even if you'd have the F&V live version, I would still urge to get this box, since this version is vastly different, plus really great. Not to mention 32 page full color zine, blood smeared piece of canvas, trophy from the BU live gig, covered in fluids that splattered all over venue. Some people may hesitate "live compilations", but this one is again one example that most artists give you something else they did in studio, plus sound that is no less than studio. Often even better. Not really shipping friendly packaging, though.
Box of 3"CD/CDR and biz card CDr's. Got some of these boxes filled with little releases that do not really fit into regular shelves. It might have been "Artificial Invagination" when I first seen 3"CD, or some of the V2 label releases. Not sure. Since I first hold one in my hand, always liked 3" and its too bad format is quite rare these days. Many factories do not manufacture them and its always higher cost to make than normal CD. Just something neat in perfect c. 20 min duration, that is not too short, not too long, but perfect especially for "one idea" -release. Not album, but good idea, experiment, of something.
Joe Colley – Anthem (Static For Empty Life) 3"
Perfectly droning Colley 3", you can still get this very cleap (well, 2 copies at discogs). One 19 minute piece that stand strong among his discography
Taint "hel-lo" biz card is 5 minute live, where mostly feedback and shouting with funny short audience remark in the end.
Jazzkammer "sound of music" 3" belong to very best of the band. I still regret not getting all of the pica disc 12 x CD series Lasse did of Jazzkammer. I got probably half of them. Perhaps more, but not all. This 3" is like one layer harsh noise, other is droning, musical elements and neat experimentation blending in with distorted noise. When you got people saying there are noise acts pushing it to new things, often when I hear it, I tend to think... not really "new", but returning to noise when it meant this type of wider thing. If you'd like Cyess Afxzs or some of such stuff, perhaps even Green Tea, of course Jazzkammer can be something totally different (as line-up and approach changes), but for example this particular 3", its like that - pushing noise into experimentation and musicality. Recorded live in 2001.
Ralf Wehowsky "nameless victims" 3", RLW appears to keep himself busy still now at age of 65 or something. I know it is not exactly noise, but sometimes feels odd how little I see people mention him. Some of his stuff occasionally sells, so I am sure there are people even in Finland who listen to it. This is mid 90's stuff, guy had been already around for 15 years or more. Coming from art-punk / industrial tape culture type of background into electro-acoustic, so not "academic", but... good! Notch more primitive, notch less "arty", hah.
Lionel Marchetti "la grande vallee" 3", brilliant field recordings and electronics, musique concrete piece from 93/96. When I got into Metamkine CD's in the 90's, it was totally because they were distributed by noise and industrial labels. RRR, Artware, Tesco, Nuit & Bruillard, just about everybody. And even more, for example RRR sold all 6usd each. Getting a CD for 6 bucks in 90's was pretty damn good deal and ended up buying things I had no idea what they were and there is zero regrets. Nowadays the best titles or well known names are gone, but a lot of good titles might be even cheaper. Would recommend anyone to gamble and get bunch of these and digest the stuff even if it may not be instant "hit", but experiment that demand attetion and time to sink...
It is not long since I last listened Yama-Akago 3"CDR. I don't know how many really pay attention to project, since it is not hugely active, but due CD(r) releases on Euro labels who did other great stuff, I first heard it 20+ years ago, and eventually managed to see one live gig when visiting Japan years ago. Then did interview for SI issue 5. She is wife of Kosakai. There are other collaborators. This 3" came out on Sewer Records, that is mr. Sewer Election. 2001. Its all delay, pitch and vocal drones and occasional sounds. Slowly drifting female voice being main element. There is full length CD done in 2008 that is easier to get.
Alain De Filippis and Michel Chion 3"s, both these Matamkine releases I've mentioned above. Really neat "cinematic musique concrete", like creating unreal space out of sounds you recognize. Both excellent. Makes one think that if some of the "contemporary art music" (well, these are from 90's) guys would benefit from harsh noise production skills, for sure harsh noise makers could benefit from throwing out their shaker boxes and look for actually interesting sounds to process, hah.. That would be neat to see. Collaborations that cross the genre lines for both styles benefit.
Strom . ec "malignant stalin" biz card CDR. I was told this meant to be on Stalin themed comp, in 2000, but that never came out. Not sure how many Stalin themed comps there could have been under work late 90's or early 00's, since also Grunt recorded for it. American guy was doing it, who lived in Finland for short period at that time. Never came out, so Grunt track made it to 10xCD compilation of 90's "the rest of" type box, Strom.ec put out biz card cdr in 2005 and later reissued on Electric Current LP (Hospital/FA). Highly electric Finn power electronics/heavy electronics type of thing, nobody really had done before, or since. Very unique sound.
Residual "Forcing the end" 3"CD in metal box - is newer, current Finn noise. Not huge amount of stuff exists, but all of it is good. 3", tape, compilations... He almost played live, but didn't. Hopefully more will come. Harsh, very distorted noise.
Chop Shop "Smolder" 3". Earlier mentioned these V2 label 3"s were some of the early release of this format that I got. This particular 3" is probably among very best of Chop Shop, along with steel plate 2x10"! Fragments of decayed speaker rust noise are longer than some of later works, and also packaging is this odd soft lead, I guess. Probably got to wash my hands, hah. Something you can open by just folding it open, metal is so soft.
Would be curious to know if Chop Shop is intending to do anything new anymore!
A bit of dilemma here! I just said Chop Shop "smolder"(1998) may be among best, but well, "Tension Charge Discharge" (1994) in in wire mesh envelope... it may be better? Or equally good! Cuts are notch shorter, but so brilliant sounds, it is very good. Style he chops the sound, is pretty unique. Comes with mini booklet with text and photos. Chop Shop "hello" Biz card cdr on Banned Prod is unusual, as it has no cuts. Just around 3 minutes long piece of louder, noisier Chop Shop sound.
Each Metamkine 3", I listened more than once today. All of them very very good.
Jean-Francois Laporte "Mantra" 3", as soon as it ended, there was instant need to push play again without changing disc. Droning and almost like singing bown clatter OR just some sort of ringing metal clatter on top.
Christine Grould, Eliane Radigue, Jim O'Rourke... None of them are "noise", per se, but could be stuff noise listeners would benefit of hearing. Or noise makers. They can be noisY enough, but often innovative and perhaps not "musical", but compositional. Sound arrangements. They all pre-date the computer era. While I do not reject computers, I do feel they did bring plenty of disadvantage to flow and editing of noise or experimental stuff. More possibilities, yes, more precision, yes, but when talking of -flow- of stuff, I guess some people know the difference when on-screen edit enters the game....
Quote from: FreakAnimalFinland on December 02, 2024, 09:48:31 AMMany factories do not manufacture them and its always higher cost to make than normal CD.
Really? That's a shame. It was a funny little trend, I might have a few in a box somewhere. It was a pretty good format - small, concise, people would have to think a bit about what's "special" enough to put on one, easily mailed, etc.
I always liked Chrondritic's 3" CDRs that had some simple spray paint jobs on the discs. They did it with some bizcard releases and later tapes as well. Maybe not the craziest noise packaging you'll ever see, but still a cool little slice of the DIY and personalized touch that makes the noise scene what it is.
More expensive price of PRESSED 3"CD probably comes mainly from extra work factory has to do. They need to change certain parts in machine and it interrupts the flow of mass produced regular CD's. It takes time that could have been used for pressing discs non-stop. Amount of plastic is so minimal, that price difference of material costs barely matter.
For CDR format, its different.
What noise feels fast? Frequent changes within a short duration are not enough. Increasing rates of change can help the feeling of fastness. Karkowski's
One and Many between 9:19 and 12:38 is an example of fast noise. Can a noise track that's not short start fast and continue to get faster until the end?
I have seen a couple of labels posting this week that they will no longer ship to Europe because of some new EU regulations
Anyone know what this is about and does it affect Europe shipping to non European destinations?
Quote from: Kayandah on December 11, 2024, 12:48:49 PMI have seen a couple of labels posting this week that they will no longer ship to Europe because of some new EU regulations
Anyone know what this is about and does it affect Europe shipping to non European destinations?
I found this buried in some crap related to shipping via boat, might be the reason:
"U.S. sellers targeting EU customers must now collect VAT and register for an IOSS account to facilitate the declaration and payment of VAT."
I would assume that this wouldn't affect personal "gifts", but of you're a registered (smaller) business, I can see why you wouldn't want to bother.
Those regulation have been for couple years by now.
Latest what I seen some companies panic is the regulations on product safety and ability to track manufacturers or responsible people. I know some dealers who mentioned they can no longer sell anything that doesnt have barcode. I have my doubts whether this regulation -really- effects all "consumer goods" or rather aimed for already regulated goods.
It sure is nuisance, but in general, I doubt much is changing right now. I am pretty sure still a lot of small businesses have no idea they should be already in IOSS.
Quote from: cr on December 01, 2024, 04:08:26 PMIn the last couple days I took As Loud as Possible zine out of my shelves and read through some of it again for the xth time. Needless to say here, still an amazing and great publication, and also you can explore something new every time, that you didn't care about...5,10... years ago, because you wasn't just so much interested in it back then.
So, what had my interest this time, was the label portrait of Ides Recordings and the interview with label boss Nicole Chambers. Back then and still now, I liked her own tape Reciprocity. (Don't know much about the rest, but after reading the article again, nowadays most of it could be interesting, for me)
What happened to Ides Recordings and Nicole Chambers? No more releases after 2010, so it seems it didn't last very long after the interview. No or not really useful information to be found on the internet.
Anybody here, who can shed some light into the "disappearance" of Ides Recordings and Ms. Chambers?
Thanks a lot!
Any information would be highly appreciated!
Thank you.
Quote from: cr on December 12, 2024, 04:28:25 PMQuote from: cr on December 01, 2024, 04:08:26 PMIn the last couple days I took As Loud as Possible zine out of my shelves and read through some of it again for the xth time. Needless to say here, still an amazing and great publication, and also you can explore something new every time, that you didn't care about...5,10... years ago, because you wasn't just so much interested in it back then.
So, what had my interest this time, was the label portrait of Ides Recordings and the interview with label boss Nicole Chambers. Back then and still now, I liked her own tape Reciprocity. (Don't know much about the rest, but after reading the article again, nowadays most of it could be interesting, for me)
What happened to Ides Recordings and Nicole Chambers? No more releases after 2010, so it seems it didn't last very long after the interview. No or not really useful information to be found on the internet.
Anybody here, who can shed some light into the "disappearance" of Ides Recordings and Ms. Chambers?
Thanks a lot!
Any information would be highly appreciated!
Thank you.
She's still around, albeit in her own way. She lives in a major city and still attends a few noise shows per year. She posts her drawings at instagram.com/drawingpile. I wish she'd make/release more music, but I'd be shocked (and delighted) if that ever happened. If you enjoy Reciprocity, there's also a tape on Tone Filth that offers more of those barren tones and textures.
Quote from: expectorant on December 12, 2024, 11:45:58 PMQuote from: cr on December 12, 2024, 04:28:25 PMQuote from: cr on December 01, 2024, 04:08:26 PMIn the last couple days I took As Loud as Possible zine out of my shelves and read through some of it again for the xth time. Needless to say here, still an amazing and great publication, and also you can explore something new every time, that you didn't care about...5,10... years ago, because you wasn't just so much interested in it back then.
So, what had my interest this time, was the label portrait of Ides Recordings and the interview with label boss Nicole Chambers. Back then and still now, I liked her own tape Reciprocity. (Don't know much about the rest, but after reading the article again, nowadays most of it could be interesting, for me)
What happened to Ides Recordings and Nicole Chambers? No more releases after 2010, so it seems it didn't last very long after the interview. No or not really useful information to be found on the internet.
Anybody here, who can shed some light into the "disappearance" of Ides Recordings and Ms. Chambers?
Thanks a lot!
Any information would be highly appreciated!
Thank you.
She's still around, albeit in her own way. She lives in a major city and still attends a few noise shows per year. She posts her drawings at instagram.com/drawingpile. I wish she'd make/release more music, but I'd be shocked (and delighted) if that ever happened. If you enjoy Reciprocity, there's also a tape on Tone Filth that offers more of those barren tones and textures.
Thanks a lot for the information!
Yeah, I already ordered the tape on Tone Filth via Discogs, together with the Glass Bath and the Skull Erection tape. Very much looking forward to get them.
New Giftnålen hardcover version looks amazing. Not only hardcover, but also twice as big page. So A4 hardcover instead of A5 paperback. 480 pager makes it heavy and big, but nevertheless, better to read!
Also started reading Broken Flag book. Even if I have kind of read most of it, that was like 15 years ago and there is some extra stuff here compared to ALAP text.
Recent times been damn busy, with every weekend being live shows. Pretty much entire end of year, and finally last gig of year on saturday was doing Grunt instrumental noise in-store-gig. Video posted at Grunt www page or SI video topic. Got all january releases sent to pressing so now one of the main goals would be start working with SI#17 a bit harder! Looking good already, but more needs to be done.
Quote from: FreakAnimalFinland on December 18, 2024, 08:33:02 AMNew Giftnålen hardcover version
first i have heard of this! where to acquire?
For people in USA, I don't know if there are dealers over there? Korm Plastics may be good to order directly. Finns find it from Freak Animal (nhfastore.net ) or Satatuhatta. I am actually running out of copies soon, but will restock for early January when returning from holidays...
My weary eyes thank for the A4 format with the re-edition of Giftnålen. This is one book that lures you right in and it´s hard to stop reading and browsing! Can´t wait to immerse myself in it during the holidays.
I will leave the Broken Flag book for later cos it´s mostly familiar stuff, but it seems the main history piece itself has been expanded with additional material, which is very good - rather than slap some newer bonus article in the end.
Couple decades ago, there was idea: What if I jumped into minibus, on tour with Emil Beaulieau, Prurient and Jessica Rylan, and filmed as much as possible at the technology of that time, and eventually make tour DVD compilation release? Idea was good, since it was attempt to capture the new approach of american noise that has been flourishing some years and becoming quite different from the older tape culture and isolated hermits doing their tiny releases for mail-order based culture. There was a lot to see on this tour too. Sutcliffe Jugend doing comeback. Consumer Electronics starting to play some of his solo shows between frequent Whitehouse performances. Even the possibility that you - or if not YOU - but someone like Harbinger - could actually organize 2 weeks tour for a noise artists, all around UK and make it work out. Even before social media was there. Or perhaps, because social media wasn't there!
Well, returning home with dozens of tapes with random footage scattered in them, confusing messy notes on J-cards of miniDV tapes... And meet the reality that computers of that time could basically store about 1,5h of raw footage, that would consume entire hard drive, and be painfully slow to edit. Simple rendering processes taking over night to wait and it is easy to see how patience runs out. Year pass, and while technology gets better, it also suddenly not compatible with older gear. Meanwhile, people disappeared, moved one, that entire noise culture shifted, artists developed further, and material - even if good, seemed out of place.
However, mentioning someone who posted Jessica Rylan related post on social media, that I have bunch of unseen really good footage, that I am sort of embarrassed to been stashing for 20 years just because not really been into finding out what it would need to get them transferred to current day computers. Out of realizing it is really 20 years, and that it doesn't need more than just investing into piece of gear and doing it... so all I needed was approval for artist that she is ok with publishing material now. With approval for project, I was good to start, with approval of finished edit, it's good to be published. As said, material never intended to be "comprehensive artist documentary" looking back to history, but part of the bigger documentary to capture the flourishing energetic era that was happening in front of us.
It remains to be seen, if other footage finds its purpose.
Jessica Rylan (Can't)
She has not been active in the scene for many years, but made long lasting impact on people who heard the releases or seen the gigs. It is safe to say, there was nothing like it before and nothing like it has not come since.
Documentary consists short glimpse to moment in time when the "new wave of American noise" was at is peak. Summer 2005 marked era when several artists had been touring intensively, countless releases emerging on countless labels. Global interests for the new American approach. No Fun Fest had just proven to capture this wild era of new types of noise activities into globally noticed festival. Prurient had made himself known all around the American noise world with intense live shows and Hospital store was about to get opened. Emil Beaulieau was at peak of his live noise, playing almost 100 shows in one year and without actual intent, his hiatus extended into retirement from noise activity already since 2006. In this era, American artists became something could be seen around Europe for the first time. Emil Beaulieau, Prurient and Jessica Rylan, all three were first time in two weeks UK tour.
This era was something formerly unseen, but also largely disappeared or changed its shape over the years. Now 20 years later, some of the material from the UK tour is made public first time. Even if artists have retired, landscape of noise has shifted greatly, it is interesting to see glimpses of history and hear the artists in moment when it was actually happening. It was originally not intended to be historical footage, but casual discussion about things going on at the tour. Brief 20 minutes piece is put together by Special Interests and consist only formerly unseen live & interview footage from 2005.
https://youtu.be/Qeu9Yeh8rrs
Quote from: FreakAnimalFinland on January 01, 2025, 09:38:23 AMCouple decades ago, there was idea: What if I jumped into minibus, on tour with Emil Beaulieau, Prurient and Jessica Rylan, and filmed as much as possible at the technology of that time, and eventually make tour DVD compilation release? Idea was good, since it was attempt to capture the new approach of american noise that has been flourishing some years and becoming quite different from the older tape culture and isolated hermits doing their tiny releases for mail-order based culture. There was a lot to see on this tour too. Sutcliffe Jugend doing comeback. Consumer Electronics starting to play some of his solo shows between frequent Whitehouse performances. Even the possibility that you - or if not YOU - but someone like Harbinger - could actually organize 2 weeks tour for a noise artists, all around UK and make it work out. Even before social media was there. Or perhaps, because social media wasn't there!
Well, returning home with dozens of tapes with random footage scattered in them, confusing messy notes on J-cards of miniDV tapes... And meet the reality that computers of that time could basically store about 1,5h of raw footage, that would consume entire hard drive, and be painfully slow to edit. Simple rendering processes taking over night to wait and it is easy to see how patience runs out. Year pass, and while technology gets better, it also suddenly not compatible with older gear. Meanwhile, people disappeared, moved one, that entire noise culture shifted, artists developed further, and material - even if good, seemed out of place.
However, mentioning someone who posted Jessica Rylan related post on social media, that I have bunch of unseen really good footage, that I am sort of embarrassed to been stashing for 20 years just because not really been into finding out what it would need to get them transferred to current day computers. Out of realizing it is really 20 years, and that it doesn't need more than just investing into piece of gear and doing it... so all I needed was approval for artist that she is ok with publishing material now. With approval for project, I was good to start, with approval of finished edit, it's good to be published. As said, material never intended to be "comprehensive artist documentary" looking back to history, but part of the bigger documentary to capture the flourishing energetic era that was happening in front of us.
It remains to be seen, if other footage finds its purpose.
Jessica Rylan (Can't)
She has not been active in the scene for many years, but made long lasting impact on people who heard the releases or seen the gigs. It is safe to say, there was nothing like it before and nothing like it has not come since.
Documentary consists short glimpse to moment in time when the "new wave of American noise" was at is peak. Summer 2005 marked era when several artists had been touring intensively, countless releases emerging on countless labels. Global interests for the new American approach. No Fun Fest had just proven to capture this wild era of new types of noise activities into globally noticed festival. Prurient had made himself known all around the American noise world with intense live shows and Hospital store was about to get opened. Emil Beaulieau was at peak of his live noise, playing almost 100 shows in one year and without actual intent, his hiatus extended into retirement from noise activity already since 2006. In this era, American artists became something could be seen around Europe for the first time. Emil Beaulieau, Prurient and Jessica Rylan, all three were first time in two weeks UK tour.
This era was something formerly unseen, but also largely disappeared or changed its shape over the years. Now 20 years later, some of the material from the UK tour is made public first time. Even if artists have retired, landscape of noise has shifted greatly, it is interesting to see glimpses of history and hear the artists in moment when it was actually happening. It was originally not intended to be historical footage, but casual discussion about things going on at the tour. Brief 20 minutes piece is put together by Special Interests and consist only formerly unseen live & interview footage from 2005.
https://youtu.be/Qeu9Yeh8rrs
A new SI documentary is a great start to the new year!
While cleaning my office today, I came across the postcard from the Kakerlak cassette on Self Abuse that I sold at a gig in Sweden a few years ago, maybe 2022,(without the postcard). It felt like digging up a small, forgotten piece of the past.
On a whim, I tracked down the person who bought the cassette back in 2022. To tie up this random loose end, I decided to send the postcard to the buyer—for free.
For those not on IG - Cloister just posted a bunch of new + used stuff on discogs:
https://www.discogs.com/seller/CloisterRecordings/profile
(Please let me know if I am doing this Noise Related Random Talk Topic thing wrong.)
I'm not seeing a dedicated Boredoms thread. And being rather new here, I wonder if Boredoms qualify for this forum, although I see passing mentions of them in various threads.
I am currently blasting the Shimmy CD release of Boredoms - Soul Discharge, and they decided to make that 28min album into one track. But wait! There's more! This CD edition adds Early Boredoms as a...ahem...41min bonus track!
I'm not a Boredoms expert/completist, but this disc is fucking epic. If there's a better Boredoms document out there, then please let me know.
There's Noise / Punk / Cut-Up / Rock / Surf! elements here, all dementedly mixed up into a stunning smorgasbord.
This is a fantastic collection.
Quote from: Minus1 on February 10, 2025, 04:58:25 AMThis CD edition adds Early Boredoms as a...ahem...41min bonus track!
Would the early tracks happen to be any of t Boretronix stuff? I remember hearing that from high school and being really confused over how that could ever be created. Would love to seek it out if so.
Quote from: k.p.g on February 10, 2025, 02:57:19 PMQuote from: Minus1 on February 10, 2025, 04:58:25 AMThis CD edition adds Early Boredoms as a...ahem...41min bonus track!
Would the early tracks happen to be any of t Boretronix stuff? I remember hearing that from high school and being really confused over how that could ever be created. Would love to seek it out if so.
I honestly cannot figure out if this is the case. On the CD it lists Early Boredoms as being 82-87, and the various songs are listed, but I have not been able to make the comparisons/connections.
I must be searching wrong because I cannot locate anything regarding Masonna - Space Machine Tuning Box 4CD from Urashima.
I'm currently blasting CD1: Wow!! This is very ....er.... colourful, and organized, and spacey, and playful, and frankly...fucking wonderful. Another side to Masonna. A surprise.
Quote from: Minus1 on February 13, 2025, 04:39:05 AMI must be searching wrong because I cannot locate anything regarding Masonna - Space Machine Tuning Box 4CD from Urashima.
I'm currently blasting CD1: Wow!! This is very ....er.... colourful, and organized, and spacey, and playful, and frankly...fucking wonderful. Another side to Masonna. A surprise.
The Space Machine box is great! It's been a while since I last listened to it, but I remember liking the live recordings the best.
I never quite got the Space Machine enthusiasm, but I admit it must be most of all my own taste that while I like synth sound, most of recordings of synths barely do it for me. Synth as means to create concrete ideas and process sounds and use along other things, great, but when listening to "sound of synth", that appears in form that could be done by anyone with same synth feels less interesting.
However, Space Machine certainly sounds different from old krautrock or vintage psychedelia and academic university music. There is often that "noise vibe" to it. Just quickly bursting out weird noises and operating seemingly randomly.
STABAT MORS is one of the names I did grab things I could when project was active. Didn't get all, since there were also items one had no idea back in 90's or early 00's. For long time meant to do a inventory what all I actually have, but I also know the ones I do not, are very hard to find or cost a lot.
German broken noise, with a bit strange visual presentation. There is strong hand made feel in sound. Part of releases on very DIY oriented labels. Several CDR's. It is hard to put on words what exactly makes Stabat Mors so good and stand out, there is something in it. Plus, I am sure that these days thete would be a lot more people into sound like this than were in late 90's and early 00s! Got to go through the CDRs I have, as they are still working just fine! "Die vier schla(e)chtungen" vol 1 and 2 now on playlist!
I am pretty sure I won't be getting Stabat Mors & Maria Zerfall collaboration LP (edition of 100) and there will be always guys who will pay way more than I would feel like doing. It is useless to compare this to Space Machine recordings, but Stabat Mors indeed has this quality of being almost zero "equipment", all about... something else!
https://www.youtube.com/watch?v=_MYcPXpd6zU
I like Space Machine.
Quote from: PSYWARRIOR84 on February 16, 2025, 03:16:25 AMI like Space Machine.
Listening to CD2 of the 4CD Space Tuning Box as I type!
I also appreciate FreakAnimal post/insights. (A thousand times here I want to quote and say "thank you for this info" but I'd be doing it all day, clogging up the forum. But I worry that great posts unacknowledged might be assumed to be ignored.)
CD2 is...er...spacier than CD1. For me this is in fact Noise, but very colourful, and psychedelic. A left turn for Masonna for sure - but I think many Noise Artists deviate from time to time, with varying results.
(The Beatles greatest album - White - is a left turn!)
(Can I mention Beatles here?)
This could be "Masonna's" greatest achievement for all I know.
Anyway...needless to say, I fucking love this so far.
Edit: CD2 came across to me as the beautiful, perfectly sequenced, 45min album that it is. ("2").
I randomly acquired Kylie Minoise - Empire Of Puke, and it is instantly one of my all-time favourite Noise releases. This is seriously powerful shit! Over the course of 62min we travel HNW areas, and PE, White Noise, and even some quietish / contemplative sounds with percussion near the end. The 6 tracks flow so perfectly. What a journey!!
(I see no dedicated Kylie Minoise thread. This might constitute a serious crime.)
Got the usual email news from 4iB. Label often appears to focus on "artists with a name", so to say. I don't have objections for such approach, but simply means there is often no "identity" of label if its just collection of artists known from countless other labels. I don't have checked all releases. While I would prefer to hear truly new TNB, I did this collab going on, and listened it all though and liked what I hear. There are some of the elements which I do not care for that much, like that overblown "rumble" of Knurl and the tech-heavy sound swirling of Zane, but nevertheless, when everything is together in mix, it works! Le Scrambled Debutante might be unknown to a lot of people. It would be curious if someone would actually dig deeper into "the weird UK noise" -thing. When you go look Le Scrambled Debutante discogs page, it is so "UK" vibe to it. Thinking last time I seen something weird goofy things happening at noise gigs (well.. debatable!) must be horse-face masks of Truth Commission or some on the strange antics of Rotat.
https://4ibrecords.bandcamp.com/album/the-new-blockaders-le-scrambled-debutante-knurl-pulchrum-metallum
Any words on the new Proiekt Hat ? https://xnrecordings.wordpress.com/2024/12/16/proiekt-hat-3/
Man i almost missed it ! Like i missed XX thinking it's quite large edition i ll catch it later. Now i just didnt know till i saw it on Discogs by luck a couple days ago. Ordered. And revisiting the site to post link here i see 'sold out' !
Quote from: Theodore on February 20, 2025, 01:32:38 PMAny words on the new Proiekt Hat ? https://xnrecordings.wordpress.com/2024/12/16/proiekt-hat-3/
Man i almost missed it ! Like i missed XX thinking it's quite large edition i ll catch it later. Now i just didnt know till i saw it on Discogs by luck a couple days ago. Ordered. And revisiting the site to post link here i see 'sold out' !
First I've heard of it! I see Discogs has a copy for $55... I'll pass.
I did receive tracking for the Astral Slaktmask LP so I'm looking forward to spinning that one.
All comments that I heard, said that tape is not very good. Those who actually heard it, can probably comment. Didn't order neither of the new tapes as also new Hijokaidan collaborations have seemed to have almost always more "funny idea" rather than offering ripping noise.
Listened Sewer Election "Psychic Panorama" CD couple times. It is quiet, not a noise CD. Experimental sound with synth & turntable. Pretty good, though! Miro-Benjamin Lindström "Unessakaan ei voi välttyä ratkaisun etsimiseltä" CD good drone. I like that it uses organ, cello and so on, along synths. Menche + Lopez CD, pretty good, but never been huge Lopez fan. I like the ice cold ambient parts and when the "software" vibe is stronger, it is less for my liking. Same could be said about Bourbonese Qualk "Hope" CD. I got the VOD box of their old stuff and this CD reissue was something that I bought recently just because was browsing Drone Rec list and noticed I need couple of BIOTA CD's and this appeared on list.. so just grabbed it. There is great old industrial stuff here, but there is already the electro-funk vibe kicking in that makes album partially good and partially the typical example of progress of UK industrial music, hah...
Quote from: Theodore on February 20, 2025, 01:32:38 PMAny words on the new Proiekt Hat ? https://xnrecordings.wordpress.com/2024/12/16/proiekt-hat-3/
Man i almost missed it ! Like i missed XX thinking it's quite large edition i ll catch it later. Now i just didnt know till i saw it on Discogs by luck a couple days ago. Ordered. And revisiting the site to post link here i see 'sold out' !
It is really good. A 35-minute live track, so a bit more varied and freeform than studio based tracks, but never aimless and without focus. One side is of the tape is a desk recording, the other is room recording, so two versions of the same gig. Packaging excellent and short written passage by Mr PH describing details of the event in the only way he can write.
Quote from: PSYWARRIOR84 on February 16, 2025, 03:16:25 AMI like Space Machine.
I just want to add that I might have to get a new Complete Space Machine Tuning Box Set soon, because I am wearing out the CDs.
This might actually be my fav Maso!
Drifting off a little into the "peripheral" zones of noise by revisiting some Old Man Gloom over the last couple days. Picked up the Seminar II disc from my hometown record shop, and forgot how heavily electronics are featured in this outfit. Always appreciated Aaron Turner's push for noise on his own platform, even if his own output in that realm was a little lackluster. Checking out this disc though, the use of field recording, tape and oscillation for interlude tracks is pretty well done. I see now that he has done some solo releases again in recent years, and I think I want to see if he has made any improvements on a solo front.
Quote from: k.p.g on February 25, 2025, 03:22:23 PMDrifting off a little into the "peripheral" zones of noise by revisiting some Old Man Gloom over the last couple days. Picked up the Seminar II disc from my hometown record shop, and forgot how heavily electronics are featured in this outfit. Always appreciated Aaron Turner's push for noise on his own platform, even if his own output in that realm was a little lackluster. Checking out this disc though, the use of field recording, tape and oscillation for interlude tracks is pretty well done. I see now that he has done some solo releases again in recent years, and I think I want to see if he has made any improvements on a solo front.
I really like
Christmas. As far as early OMG goes, that record has it all.
Quote from: Marcellehanged on February 26, 2025, 09:09:59 AMQuote from: k.p.g on February 25, 2025, 03:22:23 PMDrifting off a little into the "peripheral" zones of noise by revisiting some Old Man Gloom over the last couple days. Picked up the Seminar II disc from my hometown record shop, and forgot how heavily electronics are featured in this outfit. Always appreciated Aaron Turner's push for noise on his own platform, even if his own output in that realm was a little lackluster. Checking out this disc though, the use of field recording, tape and oscillation for interlude tracks is pretty well done. I see now that he has done some solo releases again in recent years, and I think I want to see if he has made any improvements on a solo front.
I really like Christmas. As far as early OMG goes, that record has it all.
Christmas &
Christmas Eve are a killer combo listen. Was lucky to have scored the latter on a recent record shopping trip for dirt cheap.
Quote from: k.p.g on February 26, 2025, 06:04:05 PMQuote from: Marcellehanged on February 26, 2025, 09:09:59 AMQuote from: k.p.g on February 25, 2025, 03:22:23 PMDrifting off a little into the "peripheral" zones of noise by revisiting some Old Man Gloom over the last couple days. Picked up the Seminar II disc from my hometown record shop, and forgot how heavily electronics are featured in this outfit. Always appreciated Aaron Turner's push for noise on his own platform, even if his own output in that realm was a little lackluster. Checking out this disc though, the use of field recording, tape and oscillation for interlude tracks is pretty well done. I see now that he has done some solo releases again in recent years, and I think I want to see if he has made any improvements on a solo front.
I really like Christmas. As far as early OMG goes, that record has it all.
Christmas & Christmas Eve are a killer combo listen. Was lucky to have scored the latter on a recent record shopping trip for dirt cheap.
I should revisit
Christmas Eve, I have the mini CD somewhere.
Another Hydra Head Records jewel on the noise periphery is actually a companion remix CD - Agoraphobic Nosebleed's
ANbRX, the second disc from the
PCP Torpedo 2006 reissue. Among the remixes I found my first exposure to Merzbow: "Agorzbow Merzbleed mix".
Quote from: Marcellehanged on February 27, 2025, 10:21:37 AMAnother Hydra Head Records jewel on the noise periphery is actually a companion remix CD - Agoraphobic Nosebleed's ANbRX, the second disc from the PCP Torpedo 2006 reissue. Among the remixes I found my first exposure to Merzbow: "Agorzbow Merzbleed mix".
That disc was another massive discovery for me at the time I found it. I haven't heard it in forever, but I remember the darkness and intensity being thoroughly mindblowing at the time I heard it.
PCP Torpedo still holds up incredibly well, and typing this up makes me think
ANbRX is well overdue for a revisit.
Wrote in Finnish topic... JOHN CAGE - REINHOLD FRIEDL "Complete Song Books" 2xLP
Released almost 10 years ago, but I came across it on the Drone Records list and I grabbed it because Friedl's work is often pure gold. 92 short, often one-minute pieces, which have an almost "crazy-home-recording-noise" feeling, even though this is professionals who are working in a real studio. Of course, vocal sound art can be quite harsh stuff to swallow, but it works in a great within acoustic noisy sounds, electronics, broken sounds and physical noise screech. Sometimes even unbearable, sometimes brilliant, it is worth going through!
"When REINHOLD FRIEDL (director of the ensemble ZEITKRATZER) entered the CLUNK Studio to record the whole cycle with RASHAD BECKER (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, Quotes ... "Complete Song Books" turns out to be an early hymn for Sonic freedom, a Sonic Promenade full of beautiful references."
https://karlrecords.bandcamp.com/album/complete-song-books
Nærværet - Når Man Ser Inn I En Annens Hjerte LP returned to rotation. Fantastic album I listened countless times when I first got it, and now back on turntable. Eerie, somewhat lo-fi, tape loops, piano, clanging metal objects, drones, hissing, none of these words really describe what it is. However, think of Altar of Flies collaboration that is as good as AoF at best, but also not exactly the same. Just really really good stuff. Rarely gets noisy enough to be NOISE. But it ain't music in any traditional sense. LP release, I guess one can check out bandcamp too. https://satatuhatta.bandcamp.com/album/n-r-man-ser-inn-i-en-annens-hjerte