What would be the tips for making/publishing noise music you would give to beginner noise artists ( like me ).
Here is the only project i actually have right now if you wan't to tell me what i might be doing right or wrong.
https://crookednoise.bandcamp.com/album/la-haine-ep
"Nothing is True, Everything is Permitted"
― William S. Burroughs
there is no right or wrong. find noises that sounds good to you. contact artists who inspire you. experiment constantly and expect/except minor failures. most importantly, keep at it!
Don't expect anything from anyone.
Buy the DOD Death Metal not the Digitech if you want to look cool.
Serious answer: there is no "right or wrong" unless you're just looking for a billion Instagram likes (also this is wrong). Do what you feel and people will either like it or they won't.
Crumer said something like "noise [or whatever] should be what you imagine it as, as if you're the only one doing it," rather than a patchwork of your biggest influences. Easier said than done, but far from impossible. It should ultimately be what you think is good, not what you think sounds like your favorites.
Quote"wannabe noise/breakcore/
experimental music artist"
Quotethis is the first time i actually put effort in this project
eh.
Don't be a lazy.
- One very good pedal is better than 5 cheap / bad ones
- Modulation can be more powerful than distortion
- learn to cope with frustration and keep going
Quote from: Force Neurotic on August 30, 2018, 09:42:17 PM
Crumer said something like "noise [or whatever] should be what you imagine it as, as if you're the only one doing it," rather than a patchwork of your biggest influences. Easier said than done, but far from impossible. It should ultimately be what you think is good, not what you think sounds like your favorites.
definitely easier said than done, but this is some truly sage wisdom from crumer. make music that you would want to listen to.
Quote from: andy vomit on August 31, 2018, 03:50:58 PM
make music that you would want to listen to.
This. It's my opinion if you're not willing to listen to your own stuff like you would to somebody else's project, then how good is it? And I don't just mean listening to a master numerous times before you releases it, over a long period of time, to make sure it's good "in the heat of the moment" and after 6 months of reflection. I mean will you listen to your own release six months after it comes out and enjoy it?
Quote from: ConcreteMascara on August 31, 2018, 04:18:03 PM
Quote from: andy vomit on August 31, 2018, 03:50:58 PM
make music that you would want to listen to.
This. It's my opinion if you're not willing to listen to your own stuff like you would to somebody else's project, then how good is it? And I don't just mean listening to a master numerous times before you releases it, over a long period of time, to make sure it's good "in the heat of the moment" and after 6 months of reflection. I mean will you listen to your own release six months after it comes out and enjoy it?
record something, then sit on it and wait. go back weeks or months later, listen again. gauge your reaction and adjust accordingly.
Only record while heavily intoxicated. Then listen back while sober.
gonna be a bit of a prick here and say you should take the time to learn the history of harsh noise/power electronics and listen to the classic and important records (which is easier now than ever before so you dont really have an excuse) just my opinion. its fine to have no rules or whatever but people have been doing this for a long time now
Quote from: l.b. on September 01, 2018, 06:37:25 AM
gonna be a bit of a prick here and say you should take the time to learn the history of harsh noise/power electronics and listen to the classic and important records (which is easier now than ever before so you dont really have an excuse) just my opinion. its fine to have no rules or whatever but people have been doing this for a long time now
I wouldn't call this being a prick at all. Immersing yourself in the classic records, the culture and so forth I feel is vital if you are going to want to publicly release things and be taken seriously. Of course no one is going to be able to absorb *everything*, but a little knowledge of sound/style/origins might help you on your path to materializing your own visions.
(...For example look at all these fly-ins who found noise/industrial via Deathkey, and don't listen to anything else but Deathkey, and in turn have produced pale imitations of nothing but...)To contribute something positive though, I would second vomitgore's notion of find the right gear that works for you.
Less really is more, and won't clutter your set up nor your creativity.
Don't release everything, and avoid label hopping.
Focus on the vision of what you find interesting and then experiment a lot to understand and reach it. If it's about distortion, then really understand how to reach the finest aspects. Don't merely plug-in a distortion pedal to the mixer and drive whatever through it. If it's about something more dynamic, try other things. If it has to be something rotten, well you need to kill it first... No hurry!
Try to make proper "albums" or solid mini-releases, and only release stuff that you'd listen to.
Learn to know your gear and start small.
Buy a small mixer, some cheap pedals, a cheap keyboard and a mic or something. And to fall in the trap of buying every new shiney
thing you see.
Quote from: urall on September 01, 2018, 06:09:07 PM
Learn to know your gear and start small.
Buy a small mixer, some cheap pedals, a cheap keyboard and a mic or something. And to fall in the trap of buying every new shiney
thing you see.
entirely true.
Exhaust the capabilities and restrictions of your equipment before splashing out for more.
Second hand is often more than suitable unless warranty / fidelity is an issue
One thing I hear once in a while is about using "tough" methods. In a way like I was smashing the barrel with huge chain and...
Usually, apart from theatric element of live shows, it's best not to aim for things what look neat, but what sound good. It might be conceptually nice to scratch with knife on steel plate, yet sonically you may get better sounds from something what looks most of all amusing or at least quite and tiny.
For me, the absolute best tip is to focus on diversity of sounds, rather than gadgets. To experiment with recorders as well as equipment and methods. Anyone can buy gear, far less people can be creative in using whatever there is available to give a try.
Disregard any trends, cliches, do not fall into the trap of following other people's footsteps. Now I don't think that there's anything wrong with drawing inspiration or (re)using certain techniques. After all, it's quite hard (if not impossible) to come up with something entirely unique. With that in mind, try to recontextualize, never make music to please the scene bozos.
Do not rehash something that's been done a million times before, almost everyone does that.
If you like, say, breakcore - try to figure out a way to incorporate the core aspects of what you enjoy in that particular genre into your noise output.
If anyone says that it's too "constructed/composed", disregard and continue on.
In a nutshell, what I mean is, do what you feel best resonates with your own sense of what is good/right. Never cater to anyone.