Are there good books about noise in English? It would be good to read a comprehensive history of it. I know there's a book by Paul Hegarty titled Noise Music: A History I believe, but I haven't read it and don't know if it's good.
I have Noise War by Masami Akita which is, sadly, in Japanese. Judging from the pictures and the record list at the end, it looks very promising, dealing basically with the period between the late '70s and the very early '90s. According to the TNB Est Mort! 2 CD by TNB and an article by T. Mikawa in ND, there's another book by Akita called Noise Bible, but I haven't been able to find anything about it on the net. Although it's in Japanese (if it exists), so it doesn't really matter anyway...
How about books on experimental music in general? I have Audio Culture: Readings in Modern Music which I've only partly read but it's quite good. I suppose there are French books about musique concrete (I think Michel Chion wrote a couple books, for example); anything in English?
(http://www.continuumbooks.com/books/image.aspx?BookId=124122)
imho boring book, feels like written by 'outsider', ......but i'm not that interested in endless 'what is noise/what is music?' pieces....only short features on noise-artists.
this on the other hand is very nice:
(http://heathenharvest.files.wordpress.com/2011/10/clipboard01.jpg)
hardcover written by not-so-outsider :-D ....good!
There might have been topic like this somewhere? But I could be wrong.
INDUSTRIAL CULTURE HANDBOOK (research)
MICROBIONIC (creative)
Those two both are way better than Hegarty's book. I know it is often interesting to connect industrial/noise to what happens in world at the time. Find reasons and explanations, but what I can remember reading Hegarty's book, noise appears merely as reference to him to see what happened in world. And much much less what happened in noise. I mean, there is a link and there is some undercurrents why some bands deal with specific subject matter at the time, or how technology enables specific approaches, BUT, I recall the actual core of everything, passion of artist towards his own sound and approach is utterly absent in that book. It's Hagerty's visions, Hagerty's speculations.
I'd be much much more into "oral history" of noise or not even history, but just basically interview book of what artists do. Been thinking of doing one, since it seems that is what it requires. Although probably will forget attempts to cover all. Just select some specific moment or "genre".
NSK book
Tape Delay
England's Hidden reverse
Wreckers of civilisation ( TG )
...always thought there should be way more!!!!!
Quote from: acsenger on December 26, 2011, 02:40:48 PMI know there's a book by Paul Hegarty titled Noise Music: A History I believe, but I haven't read it and don't know if it's good.
It's not. It's not even accurately titled; as a "history" it doesn't really scan. It's basically a collection of densely written pieces on various artists, not all of them Noise, which would appeal only to those who enjoy the pretensions of modern academia.
What about this Encyclopaedia Of Industrial Music? Any reactions, comments, criticisms?
Encylopaedia is very ambitious project to introduce scene with more depth than any other book. I mean, it's not all about the pioneers and big shots of the scene, but it acknowledges importance of smaller players - and pretty much "everybody" is included. It is unfortunate that this approach is so easily touched by turning wheel of time.
I mean, including pretty much full discographies of artists means, that in noise, it will be partly outdated in months. Some artists will have 1-10 new releases out before you even realize. Perhaps better choice would have been to include harshly selected "relevant releases of artist" section. So the person who reads book, knows what releases to aim to hear first.
Wreckers of Civilization is good book.
There are several books of NSK/Laibach, and if you are into the band - basically all are good.
There is also books on Groundfault and that Italian publisher co-releases. John Duncan, African Feedback, and so on... More like sudden infant book. Not focusing on "noise" as whole, but to particular artist.
How is African Feedback? The concept of it is really interesting -- is the execution up to par?
I just remembered I've read Site of Sound: of Architecture and the Ear by Brandon Labelle and Steve Roden and I didn't like it since it was very academic. I hate it when interesting music and ideas and concepts about music are written about in a "high art" style that I'm sure even most people who are interested in this stuff can't understand. (I read it when I was in my early twenties so maybe I wasn't mature enough, but I doubt that :P)
Quote from: acsenger on December 26, 2011, 02:40:48 PM
How about books on experimental music in general? I have Audio Culture: Readings in Modern Music which I've only partly read but it's quite good. I suppose there are French books about musique concrete (I think Michel Chion wrote a couple books, for example); anything in English?
Bo Ejeby Förlag released this one that might be of interest Hultberg, Teddy (red.) Literally Speaking. Sound Poetry & Text-sound Comp. He's having it on sale at the moment. Not the greatest book but interesting if your into the whole early concrete poetry scene. Teddy Hultberg also released SoundArt : Swedish contemporary sound artists which I haven't read.
I can't find my copy of the big öyvind fahlström book right now but that is good one although on the academic side of things.
I don't think ALAP have been mentioned yet or is that a magazine?
There are more books in the works but it will take time I guess.
I think Errant Bodies is an interesting publisher although I agree with that it is very academic. Going through their catalogue Elgrens name popped up which reminded me of Fireworks Editions but that is perhaps more art-books in the ART sense of the word. Errant Bodies catalogue can be found here http://www.errantbodies.org/ebpublications.html
Quote from: FreakAnimalFinland on December 27, 2011, 11:01:14 AM
Encylopaedia is very ambitious project to introduce scene with more depth than any other book. I mean, it's not all about the pioneers and big shots of the scene, but it acknowledges importance of smaller players - and pretty much "everybody" is included. It is unfortunate that this approach is so easily touched by turning wheel of time.
I mean, including pretty much full discographies of artists means, that in noise, it will be partly outdated in months. Some artists will have 1-10 new releases out before you even realize. Perhaps better choice would have been to include harshly selected "relevant releases of artist" section. So the person who reads book, knows what releases to aim to hear first.
Yes, problem with discographies was the biggest dilemma when I decided to write this book. Now, If I could go back to the past I will change my idea about completing all records of arists/projects. I was suggested by old books/encyclopedies of rock music where authors included all or at least mostly all records, but, this was in 1990s. I misjudged enough Internet possiblilities, though I included some artist's full discography which isn't complete on DISCOGS or even on official artists' websites. Anyway, I know now that it wasn't worth to commit so much energy and time for that. The third and the last - fourth volumes will be a little modified in this question. I don't want to change radiically the first formula, so there will be many artists/projects with selected discography, but still I will use complete discography especially in case of less known acts and not existed already who don't have full discography on DISCOGS or Internet at all.
Anyway discographies aren't the most important in this book. The most important was/is different view than broad is used, which I considered on INDUSTRIAL MUSIC phenomena; different but more precise ordination of INDUSTRIAL MUSIC with its genres; and short but solid descriptions which should help to deeper explore for younger listeners or to replenish with knowledge for all who are interested in this music for many years.
Besides, after finishing in 2012 ENCYCKLOPAEDIA OF INDUSTRIAL MUSIC I am going to to write very analytic work on David LYNCH's movies and a book about INDUSTRIAL MUSIC / NOISE (which the first of these I don't know yet). The book about INDUSTRIAL MUSIC will be concentrated mainly on on various aesthetic aspects and anticulture foundations. I think this book will be good follow-up to Paul HEGARTY's work.
Quote from: ironfistofthesun on December 26, 2011, 11:10:56 PM
Wreckers of civilisation ( TG )
If that book, which is very good in my opinion, I could recommend "Painful but Fabulous (The Lives & Art of Genesis P-ORRIDGE)" too.
I've read MICROBIONIC and really enjoyed it. The John Duncan, Whitehouse, and Laibach articles are awesome.
Just ordered it. I've been meaning to read it ever since I read the excerpts from 4 chapters on the internet, which can be found here:
http://www.archive.org/details/microBionicElectronicMusicBookExcerpts
Quote from: acsenger on December 26, 2011, 02:40:48 PMHow about books on experimental music in general?
roger sutherland - new perspectives in music
michael nyman - experimental music: cage and beyond
san francisco tape music centre: 1960s counterculture and the avant-garde
are all really great. i'd highly highly recommend the roger sutherland one in particular.
john cage - silence and morton feldman - give my regards to eighth st might also be of interest
musiktexte have published some pretty great looking stuff but i haven't gotten around to checking any of it out yet ... http://www.musiktexte.de/contents/en-us/d2.html
... alvin lucier - reflections, christian wolff - cues and robert ashley - music with roots in the aether have been on my wishlist for a while now.
a few of michel chion's books have been translated to english but again, i haven't gotten around to checking any of them out yet
anyone coming to paul hegarty's noise/music expecting a history of noise as a genre is probably going to be disappointed. it's more academic than journalistic, more of an "analysis" than a "history" i suppose, although i personally have no issue with the title ... "a history" works fine for me but i can see why it might be misleading for some. for anyone who hasn't read it but is curious, you can get a fairly good indication where he's coming from by checking out some of his papers here ... http://www.dotdotdotmusic.com/seminars.html.
again, the book has a relatively heavy academic bent to it. i have virtually no background in philosophy/critical theory so it's coming from a very different angle to how i would usually listen to/think about noise. i really enjoyed it though, contains a lot of very good insights, rigorously argued and, again, offers a very different take on noise to what i'd usually look for
Quote from: P-K on December 26, 2011, 02:52:57 PMendless 'what is noise/what is music?' pieces
Quote from: FreakAnimalFinland on December 26, 2011, 03:15:33 PMthe actual core of everything, passion of artist towards his own sound and approach is utterly absent in that book. It's Hagerty's visions, Hagerty's speculations.
Quote from: Andrew McIntosh on December 26, 2011, 11:16:24 PMas a "history" it doesn't really scan
these are all perfectly valid but, for better or worse, that's exactly what the book is/isn't. it's exactly the author's own speculations. artists are discussed in relation to specific themes/arguments put forth by the author. again, it's more academic, less journalistic. personally, i enjoy both approaches (if done well) but it might not appeal to everyone. re: the "history" aspect, it's a good few years since i've read it but as far as i remember this is addressed very early in the book. it's not a comprehensive survey of noise and a lot of very prominent noise artists (e.g. new blockaders) get little to no mention in the book. again, artists are discussed in relation to specific themes and sometimes the supporting examples are relatively arbitrary.
SOCIAL MUSIC (booklet and cd in folder)
errant bodies press
Gathers the material of radiobroadcast project that happened back in 2001, with Achim Wollscheid, Minoru Sato, Brandon Labelle, Giuseppe Ielasi and Michel Henritzi. Booklet is A5 size, 48 pages, mostly text, but some photos too. It ranges from highly "academic" conceptual works to a bit more sensible things. Experimentation of experimental sound and it's social elements. Whole "why it matters?" keeps remaining slightly distant to me personally, but in other hand, that's what conceptual art often does for me.
Good topic. The problem with books of this nature is that most will cater to students/academics since the field of more 'popular' (for lack of better words) interest outside of these areas is very small and unlikely to sustain any kind of sales or publishing interest. These books are almost all written by university professors. Same old story...this is why the real stuff is found in zines etc most of the time.
All that said, I am a student and this is the stuff I love. I have no problem (now) with academic writing but accept that is definitely quite marginalising and thats a shame. Also, a lot of what has been written about noise even in terms of bands, artists, music etc can be quite fairly criticised for being reductive and inaccurate. This is the biggest problem with Noise/Music: A History as I see it, even if I do find it useful. I agree totally with DDmurph though in that a detailed list of events throughout noise and industrial history is just not what the book is about or tries to be. Paul Hegarty is a philosophy professor and the book should be seen more through that lens. When he does talk about 'noise music' he does so in a way that seems to leave quite a lot of important information out and I think the theories he puts forward become quite unstable when viewing what noise is/does/is about outside of the narrow 90s Japan frame he uses. Also I often wonder whether the things he argues for match up with his feelings as a fairly regular performing artist? This gets no mention at all (or I don't think it does) in his book. The more I read that book the more I become convinced of its flaws, but also the less I feel he deserves the universal lambasting he has received from noise fans.
So anyway, here are some which I haven't seen mentioned, pretty much all academic but folk may like it.
(http://3.bp.blogspot.com/-5DYBgbA1RIM/T_ch64v7-_I/AAAAAAAAJo8/G0DgchNM_VY/s640/ReverberationIMAGE.jpg)
Newish one with stuff from Hegarty again. A lot of this deals with noise from many angles other than music. I've read the first part and lots of it I didn't understand a lot of it! Even so there are some good essays in here which provoke a lot of thought. The publisher, continuum, has a lot of things planned for this year which should focus a bit more on noise as we know it. One forthcoming book even has a whole essay dedicated to filthy turd.
(http://ecx.images-amazon.com/images/I/41rNTWGJc7L._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA300_SH20_OU01_.jpg)
This is actually really good. Easily the best book I've read so far which deals in many forms of experimental, electronic music; a fair chunk of noise included. Very readable and doesn't seek to push her own philosophies everywhere. Deals with much more factual and observational elements. Recommended even for those who don't enjoy academic writing!!
(http://www.tbwb.net/ur_cover.jpg)
New one by the same dude who wrote microbionic (by the way, is there anywhere this can be ordered for a reasonable amount of money? so far WAY expensive). Deals with the idea of handmade audio and so LOTS about cassette underground and mail art. Quite a lot of contextual history in there and at times veers away from what you'd expect but still covers some interesting ground. Must be mentioned that Mikko Aspa gets a bit of a grilling in this one! hope he doesn't mind my posting it.
(http://www.strandbooks.com/resources/strand/images/products/partitioned/a/b/6/0826464505.1.zoom.jpg)
I don't have this one but I've read a few essays in there which I enjoyed and found myself thinking about a lot. Those suspicious of the kind of books I've recommended thus far may find extra issue in that this is published in collaboration with Wire magazine!!!
There is a lot more out there but I know less about them. Also, they can be very, VERY expensive and probably hard to find outside of university libraries. There are some interesting essays in journals which I've managed to find a lot of in pdf form. Once again, very academic but dealing with more up to date stuff. If anyone is interested in these give me a PM and I'll be happy to send any of them you find interesting along.
Quote from: ironfistofthesun on December 26, 2011, 11:10:56 PM
England's Hidden reverse
I find it weird that Death In June was not included.
Quote from: redswordwhiteplough on January 23, 2013, 09:43:25 PM
Quote from: ironfistofthesun on December 26, 2011, 11:10:56 PM
England's Hidden reverse
I find it weird that Death In June was not included.
There is more strange things. But the most important is that after reading this book still I don't know what kind of England's reverse was hidden.
Quote from: Duncan on January 23, 2013, 04:15:21 PM
I don't have this one but I've read a few essays in there which I enjoyed and found myself thinking about a lot. Those suspicious of the kind of books I've recommended thus far may find extra issue in that this is published in collaboration with Wire magazine!!!
We had this one (Undercurrents) as a textbook when I took a course in sound art at the University Of Stockholm a few years back. Most of the essays had previously been published in various issues of Wire, but I think they worked much better compiled into an anthology. Really nice reading, a lot of it.
QuoteOne forthcoming book even has a whole essay dedicated to filthy turd.
First i read about academic essays on black metal gender issues, then this. Maybe I should enroll back to university.
And pardon the plug, but this just came out. It takes a wide view of what "industrial" is covering both the noise and dance areas from the beginnings to the present, talking a bit about their relationship to one another. Doesn't really get into the modern corners of harsh noise, but acknowledges them and maybe has some interesting ideas that could be applied easily. There's a whole chapter on fascist iconography.
(http://www.side-line.com/images/uploads/february08012013.jpg)
http://www.amazon.com/Assimilate-Critical-History-Industrial-Music/dp/0199832609/ref=tmm_pap_title_0
Quote from: alexreed on May 22, 2013, 09:02:02 PM
And pardon the plug, but this just came out. It takes a wide view of what "industrial" is covering both the noise and dance areas from the beginnings to the present, talking a bit about their relationship to one another. Doesn't really get into the modern corners of harsh noise, but acknowledges them and maybe has some interesting ideas that could be applied easily. There's a whole chapter on fascist iconography.
(http://www.side-line.com/images/uploads/february08012013.jpg)
http://www.amazon.com/Assimilate-Critical-History-Industrial-Music/dp/0199832609/ref=tmm_pap_title_0
It looks great. Besides Amazon, where could I buy it?
http://global.oup.com/academic/product/assimilate-9780199832606;jsessionid=BF471736A90F8C353B574B4C410423B7?cc=us&lang=en& That's direct from the publisher.
Improvised music from Japan (2005) is nice book about Japanese experimental scene. I have scans. Let me know if you need it.
And while we're at it, these two are about to come out:
http://www.amazon.com/Japanoise-Music-Circulation-Storage-Transmission/dp/082235392X
(http://ecx.images-amazon.com/images/I/51ZePXC0PDL._SY300_.jpg)
http://www.amazon.com/Pop-Pagans-Paganism-Contemporary-Historical/dp/1844656470/ref=sr_1_1?s=books&ie=UTF8&qid=1369261753&sr=1-1&keywords=pagan+pop
(http://ecx.images-amazon.com/images/I/51WrJg5gfSL._SY300_.jpg)
Quotehttp://www.amazon.com/Japanoise-Music-Circulation-Storage-Transmission/dp/082235392X
Thanks for the link, I just pre-ordered it. I hope it won't be disappointing and too heavy on theories.
Now this is something I'm really looking forward to read:
(http://ecx.images-amazon.com/images/I/51SgThQAgdL._SY300_.jpg)
http://www.amazon.com/Almost-Nothing-Luc-Ferrari-Critical/dp/0982743912
Quote from: acsenger on May 23, 2013, 06:02:34 AM
Quotehttp://www.amazon.com/Japanoise-Music-Circulation-Storage-Transmission/dp/082235392X
Thanks for the link, I just pre-ordered it. I hope it won't be disappointing and too heavy on theories.
It looks quite promising from the description. Seems to do what most other texts miss out on which is look into the artists and audiences for primary theories rather than works of philosophy.
Started reading:
Troubadours of the Apocalypse: Voices from the Neofolk, Industrial & Neoclassical Underground
Contributors include Gerhard Hallstatt (Allerseelen), Miklós Hoffer (H.E.R.R.), Raymond P. (Von Thronstahl / The Days of the Trumpet Call), Richard Leviathan (Strength Through Joy / Ostara), Robert Taylor (Changes), Grzegorz Siedlecki (Horologium), Cornelius Waldner (Sagittarius), Dev (While Angels Watch), Christopher Walton (AbRAXAS / Endura / TenHornedBeast) and Kristian Olsson (Survival Unit). Edited by Troy Southgate. Evil voices could say that it's just Troy and his friends but fuck.. we all tend to lean towards groups we are naturally drawn to. Like basically all books Troy has been editing, it's him as editor & publisher, bunch of other guys writing chapter. He probably asks the guys he is in touch with and know can deliver something.
That is something what I admire in underground. Not intent to write a bible of industrial / neofolk, but simply gathering of circle of sort-of-like-minded folks who meet in specific part of the underground culture. To call the bands to be "some of the best known" or "some of the most recognized" (whatever was the sale pitch) may be exaggeration, but in conclusion with half finished book: More of stuff like this could be good.
Nowadays printing books is easy. It's all about gathering of people & getting energy together. Some physical signs of creativity in concrete form. We barely need one bible or handbook of industrial culture. Better is to have small & different perspectives. Who's ready for the task? At least mr. Southgate has proven to be man to get things done..
Well I guess I should blow my horn. I've released a book by Jack Sargeant called Against Control which inlcudes a round-up of Burroughs work in both audio and movies among other essays. Other more noise/industrial related books are in the works but knowing my usual pace they will be awhile...
(http://images.cdn.bigcartel.com/bigcartel/product_images/148147075/max_h-1000+max_w-1000/AC_omslag.jpg)
http://eightmillimetres.bigcartel.com/product/against-control
Quote from: FreakAnimalFinland on February 26, 2015, 07:03:41 PM
Started reading:
Troubadours of the Apocalypse: Voices from the Neofolk, Industrial & Neoclassical Underground
Contributors include Gerhard Hallstatt (Allerseelen), Miklós Hoffer (H.E.R.R.), Raymond P. (Von Thronstahl / The Days of the Trumpet Call), Richard Leviathan (Strength Through Joy / Ostara), Robert Taylor (Changes), Grzegorz Siedlecki (Horologium), Cornelius Waldner (Sagittarius), Dev (While Angels Watch), Christopher Walton (AbRAXAS / Endura / TenHornedBeast) and Kristian Olsson (Survival Unit). Edited by Troy Southgate. Evil voices could say that it's just Troy and his friends but fuck.. we all tend to lean towards groups we are naturally drawn to. Like basically all books Troy has been editing, it's him as editor & publisher, bunch of other guys writing chapter. He probably asks the guys he is in touch with and know can deliver something.
That is something what I admire in underground. Not intent to write a bible of industrial / neofolk, but simply gathering of circle of sort-of-like-minded folks who meet in specific part of the underground culture. To call the bands to be "some of the best known" or "some of the most recognized" (whatever was the sale pitch) may be exaggeration, but in conclusion with half finished book: More of stuff like this could be good.
Nowadays printing books is easy. It's all about gathering of people & getting energy together. Some physical signs of creativity in concrete form. We barely need one bible or handbook of industrial culture. Better is to have small & different perspectives. Who's ready for the task? At least mr. Southgate has proven to be man to get things done..
This is a nice little book, but a bit brief, I feel. The best chapters are by Richard Leviathan, Gerhard Hallstatt, and Kristian Olsson. Someone, somewhere, is doing a neofolk compendium, but I can't remember what it's called, and I think it's a while off.
Did anyone mention 'Battlenoise!', a decent overview of the martial industrial scene put out by War Office Propoganda, probably about 10 or 12 years ago?
Yes, but the real reason I was reactivating this thread - is there an online version of the Tape Delay book, I wonder?
Quote from: alexreed on May 23, 2013, 01:30:02 AM
And while we're at it, these two are about to come out:
http://www.amazon.com/Japanoise-Music-Circulation-Storage-Transmission/dp/082235392X
(http://ecx.images-amazon.com/images/I/51ZePXC0PDL._SY300_.jpg)
i actually have this one, and tried reading it, but imo, it's way too heavy on the theory side of things.
Maybe it's because i'm not a native english speaker, but still..
Didn't finish it yet btw
I read Japanoise and don't remember almost a thing from it. It's definitely way too academic. There are a few interesting insights about misunderstandings between Americans and Japanese due to cultural and language differences, but at the end of the day it's a disappointing book. And while Keiji Haino is on the cover, from memory he isn't even mentioned in the book.
(http://www.thewire.co.uk/img/scale/460/652/images/the_wire/shop/originals/erewhon_calling_887x1258.jpg)
Pretty Good.
Erewhon Calling: Experimental Sound in New Zealand
Well, given this thread has been active it seems a reasonable time to mention it. In short there is an upcoming book on power electronics and noise culture slated for release on Headpress in 2016, which I (and a range of others) are involved with. The book is going to be individual topic/ chapter based and cover the history and development of power electronics and noise music from a number of different angles, in addition to shorter linking pieces, reviews of critical albums etc.
I am only a contributor for this book, with more information on full list of chapter topics and contributors will be forthcoming in due course. For the moment, here is a short except of my Tower Transmission V review which has been posted on the Headpress blog as early promotion for the upcoming book: http://www.worldheadpress.com/tower-transmissions-v-festival-298
Excellent! Can't wait!
Quote from: ImpulsyStetoskopu on January 23, 2013, 11:12:42 PM
Quote from: redswordwhiteplough on January 23, 2013, 09:43:25 PM
Quote from: ironfistofthesun on December 26, 2011, 11:10:56 PM
England's Hidden reverse
I find it weird that Death In June was not included.
There is more strange things. But the most important is that after reading this book still I don't know what kind of England's reverse was hidden.
I reckon this must have been because of the World Serpent controversy?
STRATEGIE DEL RUMORE: Martina Raponi
http://www.libreriauniversitaria.it/strategie-rumore-interferenze-arte-filosofia/libro/9788898599158
Study form a very arty/intellectual point of view on harsh noise and related. There was a lot of mumbling on social media about it, involving also old-school industrialists that usually never complain that crucified the author. Interviews on "official" art magazines didn't help.
Overall I think that it is not THAT bad, it only pays the price of being focused on a very specific sector of noise, that basically transferred punk attitude to experimental sound.
Nothing wrong with that, but it makes everything sound very safe, which is not exactly what the average Italian noisester is looking for.
What I cannot stand is the idea that an outsider could think noise in Italy is run by "socially conscious" people, somehow having a PC agenda... I don't want to say that everybody is a perv or a mass murderer, but if I think about the biggest Italian names that put noise on the map, concepts are more related to corpse molestation, anal intercourse and general glorification of anti-social behavior... Atrax Morgue, swastika Kommando, M:B:, Sodality, Discordance, dead Body Love, iugula-thor, LCB, you name it.
This caused disrespect (if not hatred, sometime turned to physical violence) on people from a "punk" background. (which is my same background and the same of many nice gentlemen like angst, final muzik, joy de vivre, etc.)
A few good chapters (the rita!), but I think meeting the right people before penning down this tome could have benefited, at least to warn about the lack of certainties.
Last but not least, language is often very difficult/academic which is always a turn-off for me.
I repeat, not as awful as people said, but very partial.
I posted this in another thread - hoping to have some responses here.
I'm looking for some recommendations on the subject of sound. Particularly theory, approach, etc... not so much composition or formality.
I have been recommended In Search of a Concrete Music by Pierre Schaeffer which seems like a good starting point, but am wondering if anyone else has some books on this subject they find compelling. Another loose example: I was gifted awhile ago the first Arcana book by John Zorn...
Thanks in advance
Quote from: Neanderthal on October 30, 2019, 03:31:16 AM
I posted this in another thread - hoping to have some responses here.
I'm looking for some recommendations on the subject of sound. Particularly theory, approach, etc... not so much composition or formality.
I have been recommended In Search of a Concrete Music by Pierre Schaeffer which seems like a good starting point, but am wondering if anyone else has some books on this subject they find compelling. Another loose example: I was gifted awhile ago the first Arcana book by John Zorn...
Thanks in advance
Not sure if it would entirely fit the bill for you, but Aaron Copland's "What to Listen for in Music" is great. It's been a while since I read it. I remember it dipping into theory, but written in a way that's enjoyable to read and not written like an academic paper like a lot of other music books.
Highly recommend the anthology Sound by Artists. The table of content is here:
http://blackwoodgallery.ca/publications/SBA.html#special
The list of recordings at the end is a great resource for the obscure
A little surprised this hasn't been brought up yet (at least in this thread, perhaps its somewhere else on the forum)
Fight Your Own War: Power Electronics & Noise Culture by Jennifer Wallis provides a fairly comprehensive recount of how PE and noise came about through early industrial music. In addition to the author's writing, there are sections of writing from some "vets" in the scene. I found it to be a good read, nice little history and commentary given.
https://www.amazon.com/Fight-Your-Own-War-Electronics/dp/1909394408 (https://www.amazon.com/Fight-Your-Own-War-Electronics/dp/1909394408)
This Is Supposed To Be a Record Label by Frans de Waard
https://www.soleilmoon.com/shop/frans-de-waard-supposed-record-label-book/
I'm not a big fan of his writing from his reviews, but I can't help but be curious.
Quote from: Zeno Marx on October 30, 2019, 08:24:59 PM
I'm not a big fan of his writing from his reviews,
Not my 'cup of tea' either :D
Just ordered the FdW book recently so I'll report back once I've received and read it!
https://shelter-press.org/spectres-1/ (https://shelter-press.org/spectres-1/)
Quote from: holy ghost on October 31, 2019, 09:36:18 PM
https://shelter-press.org/spectres-1/ (https://shelter-press.org/spectres-1/)
Thanks for reminding me about this! I remember when it came out but haven't thought about it since. Seems fairly affordable too, gonna see if there is someone distributing in the U.S.
Also glad to see this thread becoming active - would love to keep the momentum going. Found a copy of Morton Feldman's Give My Regards to Eighth Street at my local bookstore yesterday. Gonna crack it open soon.
Also having a friend let me borrow Audio Culture in the near future. I remember flipping through it awhile ago and feeling like it wasn't the exact thing I was looking for, but there could be some really great stuff to be gleaned from it. I just remember lots of references to all sort of music - which is fine - but not what piques my curiosity necessarily.
Distinctly remember a section on post-rock, which I don't need to read anything about.
Shameless plug for my own publication: https://headpress.com/product/spectrum-compendium/
https://mitpress.mit.edu/books/audint-unsoundundead
Not really noise but "Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. "
An interesting read, presented as a grand selection of short essays from many and various writers on experimental use of sound.
If you're looking for theoretical writings about music/sound, Audio Culture will be up your alley.
I just finished This Is Supposed To Be A Record Label (the second, expanded edition) by Frans de Waard. He mainly writes about his time at Staalplaat between 1992-2003. Even though Staalplaat's and FdW's musical world is largely not my cup of tea, it's an enjoyable book. You get a picture of what it was like to work at an independent underground label (which was a major one in its field though) at a time before downloads and digital releases. Even if a lot of the anecdotes and stories that are meant to be funny aren't actually really funny, there are some interesting personal stories about musicians. All in all, an easy to read book that should appeal to anyone with some interest in the subject matter.
Already posted at the new release announcements. You can go to amazon site and read about 10 pages. Or even more here:
https://books.google.co.uk/books?id=3QqeEAAAQBAJ&source=gbs_book_other_versions
Is it 50 first pages available as pre-view. In Finland adlibris -store price is like 130 euro and while professional literature is known to be expensive, it is... kind of expensive. Then again, have bought several books with price tag of 30-40 euro.. so its more like thinking would this be worthy of 4 books? Maybe? I was told Special Interests gets mentioned several times during the book, so could be curious to see if the zine/forum makes its way to even academic history writing of genre!
'Becoming Noise Music' Stephen Graham, Bloomsbury, 2023:
''Becoming Noise Music' is the first book to focus exclusively and comprehensively on the music of Noise music, as opposed to contextual questions of politics, history or sociology... It tells the story of Noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and stabilization of Noise music across the 1980s and 1990s, whilst Part Two explores Noise in the twenty-first century...'
Contents includes:
I. Industrial Music & Power Electronics
II. Anti-music?
III. Global Harsh Power
IV. Harsh Noise in Japan
V. Harsh Noise in the US and Europe
Excerpt from Chapter II:
'Anti-music' doesn't describe a scene, a movement, a genre, or even a subgenre or substyle of noise or any other form. As much as its possible to point to previous usage, it is one of a set of terms put forward by artists such as The New Blockaders and The Haters to describe aspects of their work... The focus of this chapter is very much on what I see as the core of what I'm calling the 'anti-musical' style, in particular The New Blockaders and The Haters...'
https://www.bloomsbury.com/uk/becoming-noise-music-9781501378669/
From quickly parsing an ebook copy of the book, Special Interests gets mentioned two times (three if you count the acknowledgments), all as name checks and largely in reference to the magazine. No forum posts included. It covers a range of notable artists in the canon but it's a dry academic title, where noise gets "readings" with long calculated written descriptions of the sound as if it was classical music, and spectrogram images are included in a pseudo-scientific manner instead of cover art. I consider the visual artefact of noise integral to understanding this as a culture, and the heavily illustrated Feral House book 'Extreme Music: Silence to Noise and Everything In Between' by Michael Tau covers this aspect a lot better, though the picture choices tend to be more contemporaneous and less canonical as a result of it being largely sourced from whoever submitted examples to the author.
LHD "Hysterical Blindness" book
Received LHD book, read it, and decided to pull out one LHD discs from shelves. Of course I do have the complete re-issued material too.. but like they explain in book, works were created to certain length. They work well as double CD sets, but 19 mins of harsh blast is compact and to-the-point, and kind of statement of its own to put out short CD. It is curious how for tape, we often accept 20 min tape to be same value as 40 or 60 min, suddenly when it is CD, there appears to be often attitude that it's "single", "ep", or something like that, and valued less - most often in both, money and level of interest. 20 minute CD presented as full noise album certainly seems intentional statement and it works very well!
Book is short, quick to read. It really is like 15 pages essay by Sienko + discography, put into hardcover book format. Would work out just as "story of LHD" zine, but I guess book format gives it a bit... authority!
GX Jupitter-Larsen "Digging Through Time" book
Still reading the book, but I can comment it already now. lists all the Haters & GX performances with details including date, location, description of performance, description of audience, sometimes listing personnel who was taking part, or other artists playing same night. Lots of small nuggets of information, and curious to see for example Mike Dando taking part in many of The Haters live during certain period of time. There are also neat photos included. Could have been more, but it would work also merely as text document. Haters did make plenty of mess back in the day. Also curious is that most of the early audience reactions are described most often as quiet modest clapping at best. At worst being kicked out of venue by owners, haha.
Both books came out on Helicopter and 1st editions still in print and available from there.
Not Your World Music: In Search of Traces in Southeast Asia by Dimitri della Faille and Cedrik Fermont
https://ars.electronica.art/aeblog/en/2017/08/15/not-your-world-music/
Highly suggested book focusing on many obscure projecs and scenes of areas that are almost unknown to me.
Awarded in 2017 at Ars Electronica fest, it was a mindblowing discovery for me and was happy to have long chats with both authors.
I just want to second recommendation from this thread from a decade ago and say that Assimilate is a very well done history of industrial music with really nice touch (like recommended selection of representative tracks from each era, even though we can all argue how actually representative, or comprehensive, those recommendations are):
https://academic.oup.com/book/12082
Quote from: FreakAnimalFinland on July 23, 2023, 10:59:20 AM'Becoming Noise Music' Stephen Graham, Bloomsbury, 2023:
Stephen Graham
2024, England, ISBN 9781501378706
Becoming Noise Music tells the story of noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and ... 40,60 €
Status of the paperback version is still "bending". I got it marked among things to follow in the book distribution system. We'll see when this more "affordable" version would be available.
PUBLIC ANNOUNCEMENT BY JEN WALLIS:
I've finally caved in: a second volume of Fight Your Own War is happening.
I'm aiming for a 2026 release to make it a neat 10 year interval (was it really so long ago?), and this is an open invitation to get in touch if you have an idea for a chapter. I've already commissioned one on field recordings/samples and will also be contacting a couple of people on here directly to try persuade them into writing specific pieces that I think they're perfect for. But the field is open: I'd love to get broader geographical coverage as well as some stuff about technology/methods, and less profiling of individual bands/acts. Reviews of key releases from the past 10 years are also invited.
To be completely transparent now and avoid some of the drama-queening of last time: you won't get a ton of money from this. I'm negotiating the contract now and hopefully it will be a replica of last time, whereby I gave all of my own advance to individual writers (therefore quite small amounts each). I'll confirm a definite deadline date for getting in touch with ideas soon, and after that it will be a case of setting a deadline for writing chapters, which I will then copy-edit and return as a draft with suggestions/edits, for authors to then work on the final version. I have a significant amount of writing and copy-editing experience and any suggestions are to make chapters as good as they possibly can be, not a form of personal criticism!
No idea what to call it by the way - FYOW II sounds a bit crap - so if anyone has any inspired ideas I'd be glad to hear them...
Ideally, send me an email at bookofnoise@gmail.com to avoid messages getting lost on Messenger.
Please feel free to share with anyone and anywhere!
Quote from: FreakAnimalFinland on January 17, 2024, 09:57:33 AMQuote from: FreakAnimalFinland on July 23, 2023, 10:59:20 AM'Becoming Noise Music' Stephen Graham, Bloomsbury, 2023:
Stephen Graham
2024, England, ISBN 9781501378706
Becoming Noise Music tells the story of noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and ... 40,60 €
Status of the paperback version is still "bending". I got it marked among things to follow in the book distribution system. We'll see when this more "affordable" version would be available.
I am currently reading this, got it from a public library in Finland.
Is it academic language or.. "normal"? I am curious that it was mentioned Grunt had it own "chapter" or some sort of piece there. Didn't know about it, nor seen it, so kind of interested if book is build out of university study or more of a "music history" -type of approach?
I do like many approached, having editor that basically neutrally examines music history, but also more essay format texts, where authors opinions and ideas are present at the writing.
Couple messages above is the open call for Fight Your Own War #2 -book. First one, I liked the variety that each chapter was unreleased. Not even trying to write history of noise, more like having essays on noise from various perspectives and themes. Of course, some of them were garbage that could have been rejected, but in other hand... noise has such elements in them and one could handle couple chapters of garbage in otherwise inspiring book.
Just reminding, that open call means, that anyone could email them and suggest something. If thinking there is something that needs to be covered, I would guess they'd welcome both: suggestions what to cover and authors volunteering to do it.
Not sure, has anybody mentioned "Dayd of blood" by Max Ribaric? One of the two authors of Wolves among sheep and hatecore connection with a publishing Monument to Blood Axis? really worth a reading (and not because I was involved in the project myself). Watch out for new issue of the loved/loathed Occidental congross magazine run by the same two gentlemen.
Quote from: FreakAnimalFinland on January 17, 2024, 09:57:33 AMQuote from: FreakAnimalFinland on July 23, 2023, 10:59:20 AM'Becoming Noise Music' Stephen Graham, Bloomsbury, 2023:
Stephen Graham
2024, England, ISBN 9781501378706
Becoming Noise Music tells the story of noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and ... 40,60 €
Status of the paperback version is still "bending". I got it marked among things to follow in the book distribution system. We'll see when this more "affordable" version would be available.
Has it some kind of gold coating or what makes the hard cover version so expensive?
I would suppose it is the price level of "books for professionals". Edition may not be meant for "mass market" so to say, but for universities, libraries etc. I checked out and the half cheaper "bulk edition" is not out yet.
Quote'America's Greatest Noise' tells the story of Ron Lessard, owner of RRRecords, a record store in Lowell, Massachusetts and, from 1986 to 2009, a record label, releasing the albums of Blackhouse, F/i, PGR, the first Merzbow LP outside Japan and many more, regional compilations, three widely acclaimed lock groove records and a series of anti-records, records with no music but a more conceptual and visual edge. RRRecords is also responsible for the RRRecycled Music series, which has over 300 releases on re-purposed cassettes.
Ron Lessard played music with his group Due Process and solo as Emil Beaulieau. Up until his retirement from the noise scene in 2006, he played many concerts and released a string of cassettes, LPs, and CDs. During his concerts, Lessard dressed up like a businessman and used a four-armed turntable, dubbed the Minutoli, and his performances were comical.
In this book, he tells for the first time his story in music about the highs and lows of running a label and a record store, weird projects, unfinished projects, encounters with other musicians, being on the road, and much more. Also included are two appendices: one with interviews from the past (fanzines and websites) and a chapter from Michael Tau's 'Extreme Music' about the anti-records released by RRRecords.
Images used were sourced from flyers, invitations and fanzines. Introduction by Dominick Fernow (Prurient, Hospital Productions)
The first 1000 copies come with an anti-flexi, cutting up a conversation about anti-records between Ron Lessard and the author of the book, Frans de Waard. Cut up by Howard Stelzer. You may use this flexi as a bookmark.
Paperback book, 144 pages, black and white images. Design by Alfred Boland
Finished reading the RRR book I got couple days ago. Personally, one of the most important noise labels. Back in '94 or so, second full Grunt tape, fourth release I recall, I sent to handful of international labels. Mentioned many times, but only GROSS and RRR replied. As result of communication, not only trades with GROSS, but I also put out multiple Aube items back then. RRRon sent free Emil Beaulieau CD as trade for tape he didn't even ask + catalogue.
Over the years not only ordered shitloads of affordable items from RRR, but visited him, played some gigs/tours and put out couple of his releases... One time in London, Grunt actually played radio live as "Emil Beaulieau". Ron was sick and tired, so he asked me to fill in as gig happened over radio, and nobody would see it, hah... Guidelines for me to enter London radio station was just that I wasn't allowed to say anything, as already c. 20 years ago, me opening my mouth tends to stir trouble way more often than needed.
Talking of "opening your mouth..." in book there is chapter about the last RRR release: Record Store Record. Curiously, only two of the stores exists anymore. RRR and Sarvilevyt (aka physical homebase of Freak Animal). RRR part includes me visiting store and taping boxes with help of Steve Underwood. Loudest possible packaging tape. It was so loud, Ron recorded it and used later for this LP. With internationally known noise fanatics talking on top of that. What Ron talks about this Finnish part of Sarvilevyt, is that sounds like people talk about pizza and coca cola. Maybe there was short mention of that too, but also some noise talk and includes hilarious moment of people hanging out at the store. One asks
"Do you have any Rahowa CD's.. or can I ask that, or are police listening to us?".. something like that. Well... who know if they were, but its pressed on vinyl LP, so evils of the world is preserved on wax!
I got lots of unseen Emil live footage, audio and such in archives - some of from last years of his activities, when according to book, he was at top of his game. Feels almost guilty of stashing something like that nobody ever seen or heard.
Book has been AMAZING reading, and totally must to have for any noise fanatic. Even if tales been told by retired artists, he is what he is, and story and examples of RRR very inspiring. Website of RRR is obsolete. But he still sells stuff the old school way. Things that are in stock, can be ordered via email or if he sells something at ebay or discogs.
Book is pretty cheap and one can contact Frans De Waard / Korm plastics for copy!
For finns (or international customers) soon book will be re-stocked by Freak Animal. First batch sold quicker than I thought, but new batch will come. Satatuhatta might have some left too?
Also got to mention in book topic:
https://murderousvision1.bandcamp.com/merch/murderous-vision-softcover-book
QuoteMurderous Vision Softcover Book
This 168 page book traces the history of the long running death industrial project. The story is told through writings by Stephen Petrus, Pauline Lombardo, Rebecca Potter, Richard Stevenson, Mitch Ribis, Amanda Howland, Andrew Grant, Tom Orange and Jeff Curtis. Also featuring a treasure trove of high quality images depicting live gigs, touring, flyers and ephemera from every era of operation. The book is supplemented by a digital download card that gives access to a 5 hour Anthology of material, hand selected by Stephen, giving a peek into the 30 years of audio activity. This 8.5 x 11 inch book is printed on heavy paper and finished with a silk matte coating. Released in conjunction with Germany's Dunkelheit Produktionen, who in the coming months will be producing a European edition in order to keep shipping cost lower for our friends overseas. I will ship the American edition outside of the USA, but the cost will be high. Best wait for the European edition. For this 30 year anniversary, the book is but one of the many special releases to surface throughout the year.
edition of 100
$35 USD
Haven't seen it yet. I believe there will be euro edition of book too, to keep costs better.
I know there is The New Blockaders book still under work. Progressing, and hopefully will be ready this year?
It was mentioned elsewhere, 2022 book: Jeph Jerman in Conversation with Aram Yardumian
Quote"This oral autobiography of the underground experimentalist also serves as a history of the 1980s tape and electronic music scene in the US
Since 1980, Jeph Jerman (born 1959)―sound artist, field recordist, percussionist and visual artist―has released over 200 sound works, under his own name, under the moniker Hands To and with countless collaborators, improvising with natural found objects, crude homebuilt devices, tape machines and occasionally traditional instruments. He now makes his home in Cottonwood, Arizona.
This book-length interview traces Jerman's life and work, from his earliest sound experiments, free rock and jazz units, and postal collaborations, to his more recent work with decaying matter and landscape. Illustrated with previously unpublished photos, this highly readable conversation also sketches the 1980s American home-taping and electronic music scenes in which Jerman was a key figure, convening a community of anti-luminaries such as G.X. Jupitter-Larsen, Eric Lunde, Mark Schomburg, Tim Barnes, Dave Knott and Dan Burke. Listen also includes a selection of Jerman's visual art."
Book looks and feels very good. Fairly quick to read. Photos and lots of text, but the text is basically long interview with Jeph. Like the title says, "in conversation with Aram Yardumian". That format is very good actually.
That made me think how many things changed their nature in noise/experimental sound. Tapes are no longer what they used to be. Connection to self publishing, mailart and such become very minimal. CD is no longer expensive luxury product. LP became expensive luxury product. Zines are no longer really the means of "promotion" and very rarely they are like easy platform for unknown newbies to get attention. More often historical documentation, than promoting new. Depending where you live, gigs may have used to been these ultra rare occasions and gatherings of people around the country - or even world. Now it might be something very casual that happens every other weekend, hah..
So, leading to: Nature of BOOK.
For me it seems that in past if you had real book published about you, that used to be like.. Throbbing Gristle, Laibach, Merzbow, Psychic TV.. some sort of collection of legendary artists like in Englands Hidden Reverse was. Now, we live in times when publishing book is at least theoretically easy. You barely needs funds to make a book. Just a lot of passion and energy to really get it done. I don't feel that books need to be anymore "history books". Or that artists would need to be exclusively from early days of artform, something commonly agreed to be almost museum quality.
Of course, Murderous Vision, he celebrates 30 years, so not a new guy either. Jeph/Hands To, been around for ages. However, at this point, I would also welcome books consisting way newer acts OR broader selection and perhaps even very tightly narrowed topics.
Lets say,
*American Tapes - visual documentation. The era of handmade / rubbish / mailart type of noise.
*MSBR - visual documentation of dadaist packaging
*Basement touring - stories and documentation of the DIY "venue" noise touring
*Cold Meat will have documentary about it, but I would suspect there must be wealth of source material that can not be included in documentary movie, and book could expand it vastly.
*Noise gear - very much like the Vital Organ magazine is. It could have been book about noise gear, but magazine about noise gear and making of noise surely good.
*Erotic/Perverse noise - documenting the phenomena that people often say there is so much, but you don't find much, nor can easily do it online without having all sorts of restrictions on your site.
and so on and on...
Some may know, the original intent of SPECIAL INTERESTS magazine was that each issue is focused on one theme like that. Some concept, be it good old classics of sex, death, occult, psychedelia, politics, abstract art, field recordings, tape-noise, whatever.. Therefore name of magazine was "special interests", that it would take something very particular that may be interest of very very few, even within realms of noise. However, at the time there wasn't any magazine with broad scope covering all things noisy and promoting whatever happened in the "scene", so name stayed, but idea changed into goal of advancing noise and related in all its forms and expressions.
Now that nature of book doesn't seem to be something absolutely definitive and historical, it could be just doing
anything interesting in that form that is (at least in my opinion) very handy and neat.
It has indeed become within reach to self publish a book for underground artists. For sure not an easy task, but for a community of pretty motivated folks like ours, completely within reach. As we all stand together at gigs telling stories of times gone by, I often thought why isn't this stuff in a book? I really hope to see more. As Mikko states above, the topics are endless. CMI, Tesco, Hospital, long running festival series such as Tower Transmissions or Deadly Aktions. All tales we would read with enthusiasm! We are the ones who always have kept the tales alive, and it's up to us to make these things happen. I offer my help with linking to the publishing house I used or anything I could offer advice on, as someone who went through the process. I'd love nothing more than to see a wave of permanent documentation sweep our beloved noise/industrial community. Chances are good if you release a noise book, I will buy it. I am not alone. However, when it comes to getting the work done, if not us, who?
I think one of the book structures that would be almost ideal for noise tales and folklore, would be the "oral history of.." style. Some may know books like PLEASE KILL ME, history of old punk. As opposed to needing to write history, one just collects bits and pieces of recollections of people who were there, and then assembles them together into order that makes sense. Thematic, chronology, geographical, whatever. This would work for almost any topic. Be it documenting noise collages, special packages, live noise, etc.
When it is UG people, possibly from various countries, personal use of slightly broken language and all that would not be obstacle. I am not saying noise writing should not aim for a bit higher standard than audio transcribed as is or social media language thrown on printed pages... Still approaching books from "oral history of noise" perspective could work out perfectly, being more doable effort. I would estimate than getting something done efficiently is the approach that works.
I know bunch of books are in the works.
I reed the Ron RRR book yesterday. What a fun little book. Also learned some things which is always nice. Interviews in the back are okay bit didn't add anything. Today i pulled out some Due Process and Emil records to stay in the mood. Recommended.
Quote from: FreakAnimalFinland on July 13, 2024, 10:20:15 AMNoise gear - very much like the Vital Organ magazine is. It could have been book about noise gear, but magazine about noise gear and making of noise surely good.
The person who suggested the zine's concept to me actually hoped that it would be a book with photos, but I quite soon decided to make it a zine instead for the simple reason that I wanted to to be something I can actually get done, ha! There is a lot to talk about when it comes to gear and methods of noise making, so a book on the subject would certainly be good. Or at least I feel the two zines barely scratched the surface of all things interesting in noise making.
Quote from: FreakAnimalFinland on July 23, 2023, 10:59:20 AMAlready posted at the new release announcements. You can go to amazon site and read about 10 pages. Or even more here:
https://books.google.co.uk/books?id=3QqeEAAAQBAJ&source=gbs_book_other_versions
Is it 50 first pages available as pre-view. In Finland adlibris -store price is like 130 euro and while professional literature is known to be expensive, it is... kind of expensive. Then again, have bought several books with price tag of 30-40 euro.. so its more like thinking would this be worthy of 4 books? Maybe? I was told Special Interests gets mentioned several times during the book, so could be curious to see if the zine/forum makes its way to even academic history writing of genre!
'Becoming Noise Music' Stephen Graham, Bloomsbury, 2023:
''Becoming Noise Music' is the first book to focus exclusively and comprehensively on the music of Noise music, as opposed to contextual questions of politics, history or sociology... It tells the story of Noise music in its first 50 years, using a focus on the music's sound and aesthetics to do so. Part One focuses on the emergence and stabilization of Noise music across the 1980s and 1990s, whilst Part Two explores Noise in the twenty-first century...'
Contents includes:
I. Industrial Music & Power Electronics
II. Anti-music?
III. Global Harsh Power
IV. Harsh Noise in Japan
V. Harsh Noise in the US and Europe
Excerpt from Chapter II:
'Anti-music' doesn't describe a scene, a movement, a genre, or even a subgenre or substyle of noise or any other form. As much as its possible to point to previous usage, it is one of a set of terms put forward by artists such as The New Blockaders and The Haters to describe aspects of their work... The focus of this chapter is very much on what I see as the core of what I'm calling the 'anti-musical' style, in particular The New Blockaders and The Haters...'
https://www.bloomsbury.com/uk/becoming-noise-music-9781501378669/
I just finished this last week. As a book, it is not very good---the author gets overly involved in long "close listenings" of albums that essentially go nowhere besides proving (time and time again) his main premise in the book (that noise music, as a genre, constantly flickers between "noise," as something formless, and "music," as a structure for sound). It would have been much stronger and more productive as an extended essay with only one example or two as illustrations. The spectrograms that he includes seemingly at random accomplish literally nothing.
Like a lot of academic authors writing about noise/industrial, he feels obligated to talk about the "politically incorrect" themes and whatnot involved in so much of it. That's not a problem inherently, but his analyses felt especially superficial here---particularly the section on Genocide Organ, which only considered the early albums and does not even mention the many more recent works that expand things in a wide variety of other (though importantly related) directions.
In all, however, I most appreciate that he set out to write a book on
noise music, which is much more than what Hegarty can say in writing a book about noise
and music.
Finally got my noise book listed on Amazon after over a year of confusing back and forth about ISBN numbers etc.
https://www.amazon.co.uk/Untitled-Harsh-Noise-Graphic-Novel/dp/1312449802/
https://www.amazon.com/Untitled-Harsh-Noise-Graphic-Novel/dp/1312449802/
Nice to have it up there but I hardly get any money if you buy it via the evil empire so it's still better (for me) if you order it from the printers directly. :D https://www.lulu.com/shop/cementimental/untitled-harsh-noise-novel/paperback/product-1622214.html
It seems right now the price for the hardcover version of 'Becoming Noise Music' by Stephen Graham is almost the same as the softcover, it says price reduction -74% on Amazon.
I think I will go for it this time.
Would be nice if some of this shit would come out on e-readers a-la "Fight Your Own War" but I realize that would lower the collectability of some of these things.
Quote from: cr on February 05, 2025, 03:36:38 PMIt seems right now the price for the hardcover version of 'Becoming Noise Music' by Stephen Graham is almost the same as the softcover, it says price reduction -74% on Amazon.
I think I will go for it this time.
Dang. It's worth getting for the intro at least.
I did order the softcover now that it was tolerable price on scandinavian book distribution. We'll see when it arrives. Also bought Throbbing Gristle book I don't think I have seen before... Didn't even check my shelves, though, if it happens to be duplicate, can put extra for sale so easy, that buying interesting books is never mistake.
Quote from: FreakAnimalFinland on February 05, 2025, 07:56:27 PMI did order the softcover now that it was tolerable price on scandinavian book distribution. We'll see when it arrives. Also bought Throbbing Gristle book I don't think I have seen before... Didn't even check my shelves, though, if it happens to be duplicate, can put extra for sale so easy, that buying interesting books is never mistake.
I would be interested to hear what you make of his analysis of Grunt.
I am already doubtful due knowing books is supposed to be quite "academic" so to say. Many times language used in such texts makes it almost unbearable reading material.
Quote from: FreakAnimalFinland on February 06, 2025, 10:10:12 AMI am already doubtful due knowing books is supposed to be quite "academic" so to say. Many times language used in such texts makes it almost unbearable reading material.
Yes that´s a big turn-off... the overtly pedantic dissection in "Fight Your Own War" got on my nerves already.
Quote from: Earth O.D. on February 06, 2025, 10:39:03 AMQuote from: FreakAnimalFinland on February 06, 2025, 10:10:12 AMI am already doubtful due knowing books is supposed to be quite "academic" so to say. Many times language used in such texts makes it almost unbearable reading material.
Yes that´s a big turn-off... the overtly pedantic dissection in "Fight Your Own War" got on my nerves already.
Despite it's faults,
Fight Your Own War is one of the better books on noise/industrial that have come out in semi-recent years.
Quote from: FreakAnimalFinland on February 06, 2025, 10:10:12 AMI am already doubtful due knowing books is supposed to be quite "academic" so to say. Many times language used in such texts makes it almost unbearable reading material.
Compared to Hegarty, that one is not too "academic" in the way that I think you mean. It's actually quite the opposite, focusing on "close listening" without much theoretical structuring. At first I really liked the idea of that, but in reality the book is mostly just him describing the sound changes in a given noise album in micro-detail (often with weird, and actually useless, spectrographic images).
From what I remember, the only "politically correct" commentary was in regards to Genocide Organ? But very clearly he was only listening/aware of their early works.
Quote from: Balor/SS1535 on February 06, 2025, 06:30:22 PMQuote from: Earth O.D. on February 06, 2025, 10:39:03 AMQuote from: FreakAnimalFinland on February 06, 2025, 10:10:12 AMI am already doubtful due knowing books is supposed to be quite "academic" so to say. Many times language used in such texts makes it almost unbearable reading material.
Yes that´s a big turn-off... the overtly pedantic dissection in "Fight Your Own War" got on my nerves already.
Despite it's faults, Fight Your Own War is one of the better books on noise/industrial that have come out in semi-recent years.
Agreed. I've read that one numerous times now.
Quote from: VORACLE on February 06, 2025, 07:55:37 PMQuote from: Balor/SS1535 on February 06, 2025, 06:30:22 PMQuote from: Earth O.D. on February 06, 2025, 10:39:03 AMQuote from: FreakAnimalFinland on February 06, 2025, 10:10:12 AMI am already doubtful due knowing books is supposed to be quite "academic" so to say. Many times language used in such texts makes it almost unbearable reading material.
Yes that´s a big turn-off... the overtly pedantic dissection in "Fight Your Own War" got on my nerves already.
Despite it's faults, Fight Your Own War is one of the better books on noise/industrial that have come out in semi-recent years.
Agreed. I've read that one numerous times now.
I agree it has its merits and it´s still a keeper.
Quote from: Balor/SS1535 on February 06, 2025, 06:33:10 PMCompared to Hegarty, that one is not too "academic" in the way that I think you mean. It's actually quite the opposite, focusing on "close listening" without much theoretical structuring. At first I really liked the idea of that, but in reality the book is mostly just him describing the sound changes in a given noise album in micro-detail (often with weird, and actually useless, spectrographic images).
From what I remember, the only "politically correct" commentary was in regards to Genocide Organ? But very clearly he was only listening/aware of their early works.
Quote from: Balor/SS1535 on February 06, 2025, 03:36:28 AMI would be interested to hear what you make of his analysis of Grunt.
I guess it is not really "polically correct" observation, but after length GO text about controversial lyrics, in Grunt it merely casually mentions "accused of having ties to National Socialism", which is of course true, but very little to do with release that is being dealt with in the book. Double tape has way more focus on things like animal rights, consumer society, social alienation, and so on.
In GO chapter, author insists it is hard to digest the content that doesn't take stand. Don't remember the exact phrasing, but it does make one think... stand to what? Like name dropping songs like "Negros In Sky-Wars", and it could be that a lot of people will get stuck simply on the word negro and not thinking any further. I can't be sure, but I assume this song deal with the Tuskegee Airmen. Negroes trained in alabama, to fight against fascists and nazis in WWII (more GO'ish topic possible!?!?). Back in 1989 when Leichenlinie came out, it was many years before topic was popularized in hollywood movie and unlikely most of people would have any idea what it is about. Like so many of GO tracks, it would require not only intelligence but study of largely overlooked (fringe) history. Now anyone can just click couple buttons and get brief overview of topic from wikipedia or follow links to further.
Anyways, I have not read entire book yet, but indeed, it is very detailed noise listening to point where deconstruction of noise elements begin to lose point. I don't reject idea of diving deep into micro detail, and neither use of spectrographic images, but at times it feel like
can't see the forest for the trees -phenomena. There is noise that can be dissected and deconstructed, but there are other noise where only emerging wholeness matters and focusing on micro detail can be fetishistic, but sort of irrelevant as it tells very little of the work of art.
Quote from: FreakAnimalFinland on March 15, 2025, 09:36:19 AMQuote from: Balor/SS1535 on February 06, 2025, 06:33:10 PMCompared to Hegarty, that one is not too "academic" in the way that I think you mean. It's actually quite the opposite, focusing on "close listening" without much theoretical structuring. At first I really liked the idea of that, but in reality the book is mostly just him describing the sound changes in a given noise album in micro-detail (often with weird, and actually useless, spectrographic images).
From what I remember, the only "politically correct" commentary was in regards to Genocide Organ? But very clearly he was only listening/aware of their early works.
Quote from: Balor/SS1535 on February 06, 2025, 03:36:28 AMI would be interested to hear what you make of his analysis of Grunt.
I guess it is not really "polically correct" observation, but after length GO text about controversial lyrics, in Grunt it merely casually mentions "accused of having ties to National Socialism", which is of course true, but very little to do with release that is being dealt with in the book. Double tape has way more focus on things like animal rights, consumer society, social alienation, and so on.
In GO chapter, author insists it is hard to digest the content that doesn't take stand. Don't remember the exact phrasing, but it does make one think... stand to what? Like name dropping songs like "Negros In Sky-Wars", and it could be that a lot of people will get stuck simply on the word negro and not thinking any further. I can't be sure, but I assume this song deal with the Tuskegee Airmen. Negroes trained in alabama, to fight against fascists and nazis in WWII (more GO'ish topic possible!?!?). Back in 1989 when Leichenlinie came out, it was many years before topic was popularized in hollywood movie and unlikely most of people would have any idea what it is about. Like so many of GO tracks, it would require not only intelligence but study of largely overlooked (fringe) history. Now anyone can just click couple buttons and get brief overview of topic from wikipedia or follow links to further.
Anyways, I have not read entire book yet, but indeed, it is very detailed noise listening to point where deconstruction of noise elements begin to lose point. I don't reject idea of diving deep into micro detail, and neither use of spectrographic images, but at times it feel like can't see the forest for the trees -phenomena. There is noise that can be dissected and deconstructed, but there are other noise where only emerging wholeness matters and focusing on micro detail can be fetishistic, but sort of irrelevant as it tells very little of the work of art.
It reminds me of some post or article that I came across some years ago where the author was commenting that people might get offended at the idea of a project called "Genocide Organ"---but then be at a total loss of what exactly the name means? The more one tries to tie the project down to particular interpretations, especially if you are approaching it as "another right-wing industrial project," seems to quickly slip and slide into confusion and indelicate interpretations.
I forget if I mentioned it above, but I thought that the more theoretical introduction was probably the best part of the book. I liked his breakdown of the history of noise music too.
Another thing about the book, I think it has one of the better analyses of Merzbow that can be found right now. Of course the
Merzbook really sets the standard here, but sometimes a person with a bit of a critical distance can say some useful things. A bunch of other others (especially Hegarty and Voegelin) just emphasized the "excessive" aspects of the project, not least the sheer number of releases. On the one hand, they are totally right about this. Graham points out, however, that Merzbow's output can actually be organized into rough periods. I think that's a really interesting observation in contrast to the "excessive" reading of the project, in that it actually suggests that there is an organization behind everything. In a way, the
more Merzbow releases, the better we, as listeners, come to understanding the scope of the project---making it less excessive and more summarizable.
I was listening to few tapes of Cauldhame which is kind of PE/noise crossover I like - agressive and violent but with this ethereal synth lurking in the background making it sound more atmospheric and sophisticated than just an in-your-face sonic assault.
I was googling for more info about the project and found that the guy behind the project wrote PhD thesis on power electronics! Here is the link to the full thing: https://theses.ncl.ac.uk/jspui/bitstream/10443/4890/1/Blenkarn%20M%202020.pdf