Special Interest

Noisextra 01: Sonic Devil
 
After a much-needed break, Mike and Greh are back with a new plan, more guests and a broader range of classic NOISE to discuss. For our first week, we chose a lesser-known record by a project we both love, Sonic Devil by MASONNA. Out on Pinch-A-Loaf from 1997, this 12″ rips in hard and fast.

found here:
http://www.noisextra.com/2019/05/30/noisextra-01-sonic-devil/

http://www.noisextra.com/

So Merzcast was shelved then. 

Will they ever discuss Merzbow again, or are they banished from ever muttering his name....

all this stupid drama --- but podcasts + mixtapes are only good news to me so keep em cummin!

Quote from: Soloman Tump on May 31, 2019, 12:39:48 PM
So Merzcast was shelved then. 
Will they ever discuss Merzbow again, or are they banished from ever muttering his name....

What I understood, Merzbow can be topic of another episode later on.
I think case was solved, and GX episode will probably return eventually.

For me, making this deal noise in general is most definitely good move. In long run, drama will be forgotten like any "twitter storm".

The new episode was fantastic, really looking forward to more in the future. I'm interested to see where they go and what guests they'll be having on.

like the new direction, looking forward to seeing what the have in store for future episodes

Dig this alot more than Merzcast.  Keep up the good work.  Can't wait to hear more

Great news.  I've been looking forward to the return.  Maybe too much.  But I ain't gonna pretend I couldn't have listened to another 100 conversations about Merzbow etc.

I wonder if they"ll get Patrick O'Neill given how they're hinting at special guests around the Hospital showcase. New ep was great! Bit of a refresher, but glad to see them starting strong.

I breathed a huge sigh of relief when this dropped. <FINALLY> And was tickled by most of the suggestions (of future possibilities) offered throughout the cast. The goal is exceedingly ambitious, and I can't imagine a serious noise fan not rooting for these chaps.

New episode up now, talking Richard Ramirez's 'Memorial'. One I haven't heard but will be checking out asap after this episode. Love this new format

Quote from: NaturalOrthodoxy on June 06, 2019, 03:35:07 PM
New episode up now, talking Richard Ramirez's 'Memorial'. One I haven't heard but will be checking out asap after this episode. Love this new format

Excited to hear what they have to say. Memorial was a formative cd as I got into noise. The way channels will hard-cut in the mix felt strangely bold and effective to me. I've noticed this hard L or R channel cutting on a number of Ramirez releases. If I remember, I've read some lukewarm reactions to the cd on this forum before. Never understood it.

Just couple days ago, I was watching Ramirez "Memorial" CD at my shelves, thinking should I listen to it. Due having recently finished reading Cosey Fanni Tutti -book, I decided to got for Throbbing Gristle. Seeing this new Noisextra episode, I decided to play "Memorial" and then listen the episode.

For me, the CD was never THE Ramirez release. It is something I got after several other items. It is good, but it did not hit with the same impact as some of earlier BLJ / RR stuff. Maybe it was partially the "soft" artwork (although fitting to concept), and fact it was one of the rare regular CD release of PdB label.

Listening material now, I could only conclude that it is very good CD. Especially I like the darkest material of the CD =  third track. Even more, combination of listening Noisextra guys talk about it, makes me somewhat uplifted feeling. Why? I guess just about every noisehead in the world usually ends up listening material that "nobody" gets. It is pretty much speculation whether anyone really gets what your own harsh noise works are trying to accomplish. YET, when you hear couple guys from other side of the world talk about one particular CD, and have almost identical conclusions, identical remarks about very very small details. From abrupt end of the CD to overall composition to nature of dark suffocating feedback drone... There is this sort of uplifting feeling that there are people who get it. Lets say, existence of true noiseheads as opposite for genre tourists those who have passing interest on phenomena.

Naturally that is the goal of SI forum as well. To promote and enable communication of those truly committed to this area of experimental sound arts.

So, all in all, excellent - and certainly recommended.

So far I do have almost every release these podcasts have dealt with, and I have listened almost every release they have covered. Lets see when I need to start making purchases...

Super excited to see that Noisextra is shaping up so nicely. Absolutely loved the Merzcast for as long as it lasted, but equally great that the podcast is now expanding beyond Merzbow, opening up such a world of possibilites. Really keen to see what will be discussed in the future (and definitely composing a wishlist in my head). Wonderful to see Hijokaidan covered, probably my favourite project ever, though I don't own everything and this happens to be one of the few things I don't have, haha. Somehow I wish they would have covered something like Modern or Romance - also because I feel there could have been so much discussion on Hijokaidan lore and history, especially maybe with a good guest - but nonetheless the discussion is interesting enough, and the way their sound is characterized is pretty accurate and made me feel, as always when I engage with Hijokaidan, that their classic records should appeal to so many young dogs, which maybe they do, but so little seems to be said of them and spoken about them, it always makes me wonder how much active attention and love they still receive. Fucking glorious!

Hijokaidan 10" episode was good again. I don't quite agree on few details - such as not hearing drums of vocals. Well.. Of course not like in rock'n'roll, but already from short clip at beginning, you can instantly hear Junko's trademark scream. Certainly veiled in the vast chaos of near white-noise, but it erupts well underneath it all.

I recall back in the early 90's when I concluded to one czech guy who I corresponded with, saying I'd like to put out Grunt 7", but I doubt there is audience for noise. He replied couple weeks later asking what the hell I'm talking about, there is many labels putting out noise releases - even CD's. He told there is this Japanese label who put out 50 CD's of noise. Of course that wasn't entirely accurate, since not all Alchemy CD's was noise, but it was 100% mindblowing idea in those days to see real noise CD. Not to mention when finally getting first Alchemy Records release in my hands, as said in Noisextra - they looked very different from usual underground CD.

I do not have fixed aesthetic taste how releases should look. I do appreciated crappy hand made things, cheap xeroxed cd covers, simple b&w high contrast graphics and so on.. but Alchemy records, and most Hijokaidan stuff looked like "real albums". Design was on top of the game compared to even best designs of mainstream music, while teenagers such as myself was struggling with letraset and typewriter, barely succeeding to make releases look tolerable.

This kind of stuff interests me a lot, not only the review per se but the reminiscences. For someone who doesn't lived the good old noise days - be it 80's, 90´s and hell, even 00's - these personal reports and anecdotes are pure gold, always put a smile in my face. Call it nostalgia of the not lived if you will, I really don't care.

Gotta catch up with NOISEXTRA...

Great to hear Eric Boros/Hermit get some time.  Very interesting to hear the Canadian perspective from the time.  More noise context and history for us all.

*I never asked Hermit this, but my hunch was always that he was using an IBM Selectric typewriter with the script or scribe ball head (my vague memory leans toward the scribe) in his graphic designs.  That's the type set that has a cursive-like look to it.  Maybe it was more widespread in Canada and on other typewriters, but the only one I've ever seen it with in the USA was the IBM.  Also, have to admit I never thought of the Hermit logo as being metalish, so that was another cool perspective to hear.

anyone else having problems accessing the merzcast site?

Quote from: aububs on July 11, 2019, 07:53:18 PM
anyone else having problems accessing the merzcast site?

new url

http://www.noisextra.com/

ah, thanks

Both new episodes are great, but also experienced devastating blow.. haha.. Could not locate my copy of Hermit / Yggdrasil / Eciton split 10", so had to order it via discogs from N&B if this episode creates little demand for release and it disappears...
I used to distribute this title and it is possible I have it somewhere, where it should not be, but ordered just in case. Grunt did splits with both, Yggdrasil and Hermit. Just piled couple old Hermit tapes and Yggdrasil "lebensbaum" demo tape for todays playlist since the 10" could not be found. Should have also Eciton tape somewhere, but unable to locate it. It came out of Finnish label, that located merely 15km where I used to live back then. Run by the guy who played in JUNKDROME. He is still around, at least in the so called holy terror scene. Obscure hardcore stuff.

Scattered productions who published Eciton tape, who started his label putting out Grunt/Futile Existence split tape, also released one Grunt tape that is not listed in discogs. Grunt "Two Episodes" C-16, in black plastic sleeve with transparent insert. It was among the early works where I used the droning ethereal voice drifting below harsh noise blasts.

I'm not 100% sure, but how I remember it, around those times I got letter from Bawler productions (ger) who asked could I do that sort of drifting drone without noise, and he'd be interested to put out tape. 1996, being enthusiastic youngster, that was all that was needed for Alchemy of the 20th Century to be started in matter of... days. Project did evolve from this quite ridiculous "made on demand" type of beginning. Of course it was material I genuinely liked and wanted to do, but the kick to actually get it started was emerged in form of tiny german punk-rooted tape label who wanted to put out.

Grunt "two episodes" and first Alchemy... tape was recorded mere couple weeks apart and that Eciton tape came out pretty close to Grunt tape on the label.

the last with Pat and mark from Skin Crime discussing the "Music Should Hurt" comp is really good

Quote from: DSOL on July 17, 2019, 10:45:12 PM
the last with Pat and mark from Skin Crime discussing the "Music Should Hurt" comp is really good

They ain't the most talkative lads, is they?

It starts slow, but when they warm up - this is great podcast once again. Should give the cd listen soon. Damn i hope they could get Roemer or Stella in these...

Quote from: FreakAnimalFinland on July 18, 2019, 07:12:10 PM
It starts slow, but when they warm up - this is great podcast once again. Should give the cd listen soon. Damn i hope they could get Roemer or Stella in these...

I didn't mean to imply it wasn't a good discussion.  Sorry to anyone involved if that's how it seemed.  Great hearing about the Green Wheels situation.  Would be very cool to see even a photo of the original art.  To give context to size, texture, etc.  And to know that other art for it exists and the first packaging plan.  How common it surely was for someone to go into a release thinking they were going to do one thing with the packaging and then had to completely revise because of costs, difficulty to execute the idea, or whatever.  Maybe logistics aren't interesting to many, but I find that stuff anything but mundane.  I could listen to that type of discussion all day.

It's always interesting to listen to two different generations hash through the minutia of any process.  In this case, running a label.  It made this conversation even more interesting.

Quote from: FreakAnimalFinland on July 18, 2019, 07:12:10 PMDamn i hope they could get Roemer or Stella in these...

that would be pretty awesome

Quote from: Zeno Marx on July 18, 2019, 07:52:40 PM
I didn't mean to imply it wasn't a good discussion. 

Didn't think so. I didn't think that quality of sound was too bad either. When they had the disclaimer in beginning, and whole thing started, replies from Skin Crime guys came so slowly, that I thought there was glitch in editing, hah.. but pace speeded up and there was a lot of really good information.

Quote from: Zeno Marx on July 18, 2019, 07:52:40 PM
Great hearing about the Green Wheels situation.  Would be very cool to see even a photo of the original art.  To give context to size, texture, etc.  And to know that other art for it exists and the first packaging plan.  How common it surely was for someone to go into a release thinking they were going to do one thing with the packaging and then had to completely revise because of costs, difficulty to execute the idea, or whatever.  Maybe logistics aren't interesting to many, but I find that stuff anything but mundane.  I could listen to that type of discussion all day.

It's always interesting to listen to two different generations hash through the minutia of any process.  In this case, running a label.  It made this conversation even more interesting.

There was lots of interesting stuff. For example the color copies they talk about. It was quite rare machines that had optional second color toner besides black. I used to print some covers with those. Grunt/Hermit split 7", Grunt/Aube split 10" 2nd pressing etc. It was almost gamble to prepare two paper originals, and imagine how they will look on color paper with 2 different colors printed from paper masters. Not simultaneously, but printing paper twice. Looks of those prints is totally different from doing full color prints with digital printers of today.

Back then, I was obviously rather young kid, underage teenager who just decided to go ask Imatra city copycenter to print me stuff. It wasn't company/shop, but just office in cityhall where all the printing for city was done. Haha. They were not normally taking orders from "outsiders", so they didn't even have pricelist for printing before I requested one. I recall first time I went there and one of the male staff announced "ladies, don't watch inside this magazine". First zine I printed there with some s/m comics sleaze. As it was not company made to generate profit, prices were very good.

Quite similar look is with risograph printing machines, you can see used by Segerhuva and some of his associates Ochu, some Styggelse tapes etc... Lots of work involved in printing, but looks are unique.

Now playing: Music Should Hurt CD!

Printing shops and paper suppliers could be a thread by themselves.  I don't think I ever had the option to swap out toner cartridges out in the public copiers.  That had to be something done behind the counter and done to order.

Out of the blue, a paper liquidator opened up near my house in an old public school warehouse.  It was opened to the public...at first.  So many unique papers and options in that place.  That's one of those X-mas stores for people who run labels.  Easy to get excited and look forward to what new, odd paper stock they would get.  They'd buy everything from the last pallet, to the last box, to the last ream of handmade paper.  I believe the paper for one of my 7"s (1000 copies) only cost $19 there.  They eventually stopped selling to the public.  There was no profit in selling $20 worth of paper to anyone.

Quote from: FreakAnimalFinland on July 18, 2019, 07:12:10 PM
Damn i hope they could get Roemer or Stella in these...

Roemer I'd say no chance. Stella on the other hand would be a little more possible.

New episode just came out focusing on MB, haven't listened yet but should be good.

New addition being misc talk about recent items on the playlist, and then proceeding into main topic. Good idea.
It would be good addition if they'd insert couple more 20-60 seconds sound clips within the podcast. When discussion theme changes a bit, would be nice to hear short clip from album.

Music Should Hurt CD was amazing compilation. In past, it was always in shadow of Soundtrack for the end of the world CD, only because I happened to get that one first. It may not be musically equally solid, but it is so early comp CD experiences for me, that it made long lasting effect. Music Should Hurt was always good, but like Pat explains, compilations started to be fairly common then. Listening this now, just blows my mind to think how diverse, how juicy and intense was the noise scene of the time. Not to say noise now would suck, but I guess its my taste for audible sound source somewhere below all the pure distortion/shakebox/synth etc type of stuff that is typical for old noise.

Also received Yggrdasil / Eciton / Hermit 10" from France. I must have my original copy of this somewhere, but just in case... low-tech industrial waste. Playing this instantly reminds me about listening it back then. Total opposition for monochrome anonymous noise.

Probably have the MB CD in my shelves...

Quote from: FreakAnimalFinland on July 26, 2019, 04:54:50 PM
It would be good addition if they'd insert couple more 20-60 seconds sound clips within the podcast. When discussion theme changes a bit, would be nice to hear short clip from album

I'm not as hot on this show as others seem to be. I really did enjoy the GX episode though. And SC was nice when they were given the chance to speak amidst a host being hyped. I strongly disagree about sound clips. If i want to hear something i can do that myself. I enjoy being able to hit play and let the conversation go for it's entirety without having to fast forward some silly half minute clip.

Quote from: accidental on July 26, 2019, 07:19:03 PMAnd SC was nice when they were given the chance to speak amidst a host being hyped.

That gets old real quick, but life is all about playing the social game.  It's understandable.

Quote from: accidental on July 26, 2019, 07:19:03 PMIf i want to hear something i can do that myself. I enjoy being able to hit play and let the conversation go for it's entirety without having to fast forward some silly half minute clip.

Agree.

It was smart to give Tara Connelly a mic.  They need that other voice and perspective when they go at it without a guest.  Could get a little messy with a guest, though.  Maybe not since she's sharp.  I always appreciate when they give podcast researchers and fact checkers a microphone.  They tend to know to be reserved and only add their layer when necessary.  Radio is an odd format inasmuch as I don't really care for a lot of voices in the conversation.

Quote from: accidental on July 26, 2019, 07:19:03 PM
I'm not as hot on this show as others seem to be. I really did enjoy the GX episode though.

There is a new episode online now:
http://www.noisextra.com/2019/07/31/noisextra-08-wind-licked-dirt/

It's another with GX. Exceptionally long, 2 hour episode. Yet had time to listen 1h 20 mins and rest probably tomorrow. It is probably going to give far more deeper level of details of Haters history than any interview I seen before. GX is easy to get to talk in depth, and he is very articulate. It can be different with guys who have not used to talk about their work.

I don't mind the hosts hyping recordings (or people), as that seemed to be the original Merzcast intent. They did say it number of times. To bring back enthusiasm and getting exited about noise albums. Knowing bunch of noise guys who are truly worshippers, I can relate to concept although I can understand why some would be turned down.

Some may always ask, why listen someone talk about noise when you can listen noise. It is same as music journalism in general. Why read music review if you can listen to album? I was just listening interview of recently stopped, one of longest running music magazine editor. He concluded time of music reviews like our generation (read guys 30, 35+) understands them, is over. All that relates in some ways to noise scene. It would be entirely different discussion, not to be done on this topic.

Ideally there would be perfect balance of excitement & hyping noise titles and totally unique substance & information by various guests. After just 8 episodes, it seems like form is still taking shape. GX episode is raising the bar higher, yet I'm also fine with getting another Mike & Greh talking of recent noise playlist and picking up semi-forgotten titles they think everybody should give a try.

Quote from: PTM Jim on July 22, 2019, 07:01:16 AM

Quote from: FreakAnimalFinland on July 18, 2019, 07:12:10 PM
Damn i hope they could get Roemer or Stella in these...

Roemer I'd say no chance. Stella on the other hand would be a little more possible.

Why not, what's Joe's deal?

Anyway Greh just put out a duo record with Stella so that does seem possible... even though it was recorded many years ago.  I don't think they're on bad terms or anything.

Been enjoying recent episodes of this, despite being lower on guests — was really digging all the noise history and anecdotes that guests would contribute, but it's still entertaining to listen to the trio gushing about these various releases.

Quote from: Bruitiste on October 03, 2019, 06:20:31 PM

Quote from: PTM Jim on July 22, 2019, 07:01:16 AM

Quote from: FreakAnimalFinland on July 18, 2019, 07:12:10 PM
Damn i hope they could get Roemer or Stella in these...

Roemer I'd say no chance. Stella on the other hand would be a little more possible.

Why not, what's Joe's deal?

Anyway Greh just put out a duo record with Stella so that does seem possible... even though it was recorded many years ago.  I don't think they're on bad terms or anything.

Been enjoying recent episodes of this, despite being lower on guests — was really digging all the noise history and anecdotes that guests would contribute, but it's still entertaining to listen to the trio gushing about these various releases.

I would go as far to say I mostly enjoy the episodes where it's just the Greh, Mike, Tara trio. they are increasingly well researched and insightful and I think maybe less inhibited in their enjoyment than with a guest! Though I love the episodes with guests too. I just generally fucking love this podcast

Quote from: Bruitiste on October 03, 2019, 06:20:31 PM

Quote from: PTM Jim on July 22, 2019, 07:01:16 AM

Quote from: FreakAnimalFinland on July 18, 2019, 07:12:10 PM
Damn i hope they could get Roemer or Stella in these...

Roemer I'd say no chance. Stella on the other hand would be a little more possible.

Why not, what's Joe's deal?

Nothing wrong with him. He just doesn't really go anywhere. That being said, I would really like to hear him discuss a lot of the art/packaging in the 90s as well as his extensive tape trading.

New AUBE "Spindrift" episode was pretty good. Not only that is probably my favorite Aube for two reasons: First full Aube I got, and objectively brilliant and one of noisier Aube things. They also threw in a lot of good information. All the Akifumi's talk about his work ethic - so to say. Something I can be also personally quite grateful!

Back in the day, when I first was exposed to whole harsh noise and japanese noise in particular, I sent letters and tapes to pretty much everyone I had address. Alchemy, Endorphine Factory, Vanilla, etc.. and G.R.O.S.S. was the only japanese label who replied. Sent me thanks for contacting and neatly printed GROSS catalogue. What followed was little bit of trading, some purchases I could afford, but also 4 Aube releases on Freak Animal. One could just propose him something, and he would get back after some time with DAT and even offset qualification ready film prints for vinyl vinyl labels or artworks included. Level of professionalism was unlike anything at the time. Perhaps not everybody's taste, but 100% unique in all ways.

I haven't been listening as much because of time restraints and fewer guests, but I did listen to the Master/Slave Relationship with Jim Haynes of Helen Scarsdale Agency.  He makes great sounds, runs a great label and distro, and has one of the best label names in the business.  You rarely hear anyone talk about M/S R, but when you do, they gush over Debbie Jaffe's work.  There's a disconnect there that is interesting.  Does she not translate well, or maybe fully, for many people?  Are people turned off by such a literal name?  Maybe just because she's a true fringe artist?  She rides that area of being well respected by some and completely ignored by most.  That's certainly common with any music, but I feel she rises to that upper percentile where it is even more dramatic.  Besides all that, I've found her interaction with technology to be interesting.  Elden M/Allegory Chapel Ltd. used to mention her a lot and speak highly of her.  Wasn't she behind blackmetal.com?

It's great to hear such enthusiasm for her.

edit:  anyone know what he was talking about with Henry Owens and the Merzbox review centerfold?  What publication was that?  Trucklit?  Truck Lift?  Issue #?  Website?  Any additional information is appreciated.

Chunklet.

Henry's now defunct zine.

Here's the archived version of Jim's Merzbox review.

https://www.chunklet.com/magazines/chunklet-16/

Full text on the left side under Features.

Quote from: ashraf on October 21, 2019, 05:14:49 AM
Chunklet.

Henry's now defunct zine.

Here's the archived version of Jim's Merzbox review.

https://www.chunklet.com/magazines/chunklet-16/

Full text on the left side under Features.

Thanks.  Good and funny read.  Would love to see a scan of that centerfold

Quote from: Zeno Marx on October 20, 2019, 06:53:05 PM
You rarely hear anyone talk about M/S R, but when you do, they gush over Debbie Jaffe's work.  There's a disconnect there that is interesting. Does she not translate well, or maybe fully, for many people?  Are people turned off by such a literal name?  Maybe just because she's a true fringe artist?  She rides that area of being well respected by some and completely ignored by most.  That's certainly common with any music, but I feel she rises to that upper percentile where it is even more dramatic.  Besides all that, I've found her interaction with technology to be interesting.  Elden M/Allegory Chapel Ltd. used to mention her a lot and speak highly of her.  Wasn't she behind blackmetal.com?

Been listening every episode. This was among favorites. I was listening old M/SR tape one day at my store, and customer was asking what it was. Then we talked about why there isn't some bigger scale re-issues. My assumption is that material is in fine line of being too noisy, simple and primitive for rhythmic industrial crowd. And too "musical" for noise people. Too genuinely "vintage".

Yet, then you see ton of minimal synth oddities released as luxurious vinyl box-sets, so why not...?  In a way, I see no reason why this would be less interesting than Sleep Chamber early days box? There is a challenge. With the customer we talked about the fact that tapes have a lot of odd, weird and even goofy, and somewhat clumsy and technically awkward stuff. To curate M/SR best of release would not really display what the band was. It may be challenging at times, but it is 100% fact that no new band would have guts and confidence the publish material like that.

Lack of guts to put stuff out that may be ridiculed by listeners, can lead to making too nice material. It was talked in some of old Merzcasts. In many CD's Masami (or some old noise releases) would have weird and goofy "failures". Silly noises everybody would cut out now in editing process. In old material you often hear moments what sticks out - sometimes annoying - but always surprising. So, if there was reissue of M/SR, it would be shame to be just the best of, that is judged by current standards. It should have the same smell, unhygienic moments and oddities.

Back in the day, you could buy European fetish magazines, where M/SR existence was acknowledged. SECRET (belgium), and I recall <<O>> and maybe also Marquis (that may be too new magazine for it, but editor was same as in <<<0>>)? Basically biggest glossy rubber themed magazines, who published short articles of project and contact informations. Being familiar with project, it was always amazing to see the cross-over.

About This Lubricious Love, RRRon told me long ago, he was approached by Dog As Master (Hal McGee mid 80's to late 90's project) who was trying to get released on RRR, but Ron got to hear M/SR stuff as Debbie was McGee's girlfriend at the time and preferred to release that instead of much more "normal sounding" Dog As Master.  Certainly RRRon's decision can be understood, as Debbies work stood out so vividly.

(On sidenote, I would say, that now, also D.A.M. certainly would demand some CD reissue to be available for those who don't really listen online! You never hear anyone talk about this project. In this episode they briefly mention Cause And Effect being such a cult label, yet from their discography you can see Controlled Bleeding, The Haters, Lokomotiv S.S., Nurse With Wound, John Duncan, Blackhouse, Attrition and such who are either re-issued or widely recognized.. while all the "house bands" of label, often have only the original tape existing, that came out decades ago: Dog As Master, Viscera, M/SR,.. Maybe Mental also brilliant in some releases..)

This Lubricious Love had only that almost 24 minutes continuous piece, so to make it LP, they took 4 songs from old tapes to fill the A-side. First track guest vocals are done by Hal McGee. So already in 1987 it was partly re-issue of tapes, partly new works.

I'm not 100% how the Cybertzara / Extreme Subterranea thing goes, but I think Cybertzara name appears as catalogue number since M/SR put out the CD-Rom that includes (at the time, revolutionary) music clips & couple seconds animations you could view on your computer and "windows 95 system", heh..  In following years there was three VOND (a.k.a. Mortiis) releases that have catalogue/label mentioned Cybertzara, but as label it says Extreme Subterranea. Since 1997 they started Blackmetal.com, first to distribute stuff, but eventually also release.

Back in 1998 I made few orders from Blackmetal.com, and as it was cash-in-letter era, I sent them not only US$$'s but also Clandestine Blaze demo tape, which they were very interested in. Since I was going to publish vinyl only of 1999 album of CB, they proposed if they could do CD version since vinyl demand (at that time) was very small. The whole idea of putting out Black Metal vinyl in late 90's was very very different from what it is now. I was never looking for label, and as for me then, and basically now as well, underground metal as a whole, is going to wrong direction(s), I was very glad to get offer to work with people whom I knew to have long history in transgressive art. Both Elden M and Debbie, was no new to this and their work always had honesty and personality, not the posing as often seems. For me, to industrial background is way way better than entering BM via Iron Maiden and Cradle of Filth, so to say. Not that I'd particularly dislike those bands.
So CB first album CD version 1st press was done as Blackmetal.com first release 20 years ago, and I fondly remember their long standing support when vast majority of labels at the time was like Black Metal 7" release, who cares! We don't take it...

Nowadays, blackmetal.com is owned by other people, and to be re-launched at some point. Whatever happens in upcoming Blackmetal.com site, is not Debbie or Elden M, but the new owners of domain. As far as I can tell, it will be pure BM mailorder operating in USA. They probably still distribute some, if not all, CB items.

Quote from: Zeno Marx on October 21, 2019, 07:37:37 PM

Quote from: ashraf on October 21, 2019, 05:14:49 AM
Chunklet.

Henry's now defunct zine.

Here's the archived version of Jim's Merzbox review.

https://www.chunklet.com/magazines/chunklet-16/

Full text on the left side under Features.

Thanks.  Good and funny read.  Would love to see a scan of that centerfold

I'm sure you would you pervert. Agreed a very good read, if not necessarily geared toward a noise audience. Several moments, but this may be favorite-

QuoteDISC TWENTY THREE:
"There has been an amazing development to the Noise music of Merzbow and only after completeling the weekend long experience of listening to the Merzbox will this really seep in." – Roger Richards / Extreme Records
Oh give me a fucking break. There is no fucking way that you can expect me to listen to the Merzbox non stop over a weekend.

And, thanks!

Thanks for that great post, FreakAnimalFinland.  Agree about it not being a good idea to reissue her work only in part.  Don't care for the recontextualization of that approach for most though.

I remember ordering quite often from blackmetal.com, even have one of their stickers on the side of my stereo receiver.

"Brash Pussy" is all I owned by Dog as Master. Not sure if I heard other works or just that tape plus comp tracks on all of those Sound of Pig tapes.

I don't think I will ever catch up on all the episodes but I have been trying to catch a few here and there. The Noisextra episode with Crank Sturgeon is great - I really enjoy relentless gear talk!

Quote from: holy ghost on October 25, 2019, 01:49:29 AM
I don't think I will ever catch up on all the episodes but I have been trying to catch a few here and there. The Noisextra episode with Crank Sturgeon is great - I really enjoy relentless gear talk!

Actually bought a Verdant Weapons mic on the strength of this ep- already had a nasty lil Crank one!

Year end ep is a lot of fun, though maybe a bit premature given how Hospital fest is Sat and their year end lists are so Hospital heavy. Main takeaways are I need to listen to more Body Carve and the new Slogun (which I thought was an ep comp)

Quote from: Eigen Bast on December 04, 2019, 08:01:07 PM
Year end ep is a lot of fun, though maybe a bit premature given how Hospital fest is Sat and their year end lists are so Hospital heavy. Main takeaways are I need to listen to more Body Carve and the new Slogun (which I thought was an ep comp)

Both mentioned releases are awesome and definitely worth spending time with

Quote from: Eigen Bast on December 04, 2019, 08:01:07 PM
Year end ep is a lot of fun, though maybe a bit premature given how Hospital fest is Sat and their year end lists are so Hospital heavy. Main takeaways are I need to listen to more Body Carve and the new Slogun (which I thought was an ep comp)

Fun episode indeed, but given how much was released this year it's a bit of a headscratcher that some of their picks for records of the year are actually reissues that came out earlier (the Lussuria [2015], and S&Q's Atom Heart Motherfucker [2017], for example.)  Still, all good recs, and their enthusiasm is infectious.

Wow - another new episode just dropped covering a previously unreleased PAIN JERK album from the '90s that Hospital is releasing in time for their fest. Can't wait to hear this cd.

I've got into the habit of checking out any records they cover that are new to me (this happens most weeks, I'm young, sue me).

I've never really checked out any Pain Jerk before- fast moving dexterous Japanese harsh noise rarely clicks with me. I think this is for the same reason that super techy death metal turns me off- if something is over complicated to the point that I can't relate to the creative process, it takes me out of the experience. I tend to prefer a simpler, more aggressive, even boneheaded brand of harsh noise. However, Mission Invisible: Kill The Poor is a super satisfying listen, and the Noisextra episode covering it has deepened my appreciation of it. Perhaps dissecting individual sounds and effects helps me digest the whole sound, or makes it seem more "handmade" and understandable.

I think my point is that as someone whose noise consumption is 90% power electronics and its related industrial subgenres and siblings, Noisextra has definitely broadened my appreciation of other genres of noise. Really excited to see what 2020 brings for this podcast

Quote from: Bruitiste on December 05, 2019, 07:00:07 PM
their enthusiasm is infectious.

Seconded!

I've been really into this podcast they keep getting better and better, it also gives me a great excuse to really dig into an album, can't wait for next year!

I think Noisextra been on really good track for most of the episodes. Going back from newer to older:

Bananafish - I commented about that more on "noise zines that have existed" topic. Good listen from veteran 'zine maker and from guy enthusiastic on all that's weird, bizarre, odd, and surreal.

On Location: Hospital Fest, December 2019 - I liked the fractured puzzle of short interviews of people between the songs. Few collectors, couple labels dudes, some artists. Richard Ramirez piece is the most interesting probably! I was listening this on headphones, while going to sleep, and suddenly they're talking about BLJ's Jesus Is Stoned tape, how rare it is, and Richard says "I think Mikko has it". I was thinking Mikko who, are they talking about me? Then was thinking probably, although you can find couple other Mikko's in Finnish noise scene, haha..  Well, tried to locate the tape buy no luck so far. I have my doubts do I have it, but there is small possibility.

HOMETIME: Christmas Eve Special - not really my thing. This is normally the patreon bonus, so it's not something I'll hear anyways. In times when time is indeed limited, I rather listen material that is somewhat edited and focused.

In Conversation with Moonbeam Terror - interview, good thing that they have increased in Noisextra. This one I didn't care for. It may sound odd, but I'm not that much into "it was so sick, it was so crazy" kind of approach, hah.. Funny stuff happens all the time, but depending how it's told, occasionally it makes it more gringeworthy than "interesting".

In Conversation with Smell & Quim - interview, as oppose to Moonbeam Terror, this I found funny as fuck. Even if Dave is occasionally on shadow of hyper talkative Noisextra couple, their enthusiasm managed to get so many nuggets of information from Dave I had never heard about. Excellent, and amusing stuff.

PAINJERK – Mission Invisible: Kill the Poor  - latest of the "normal" episodes of Noisextra came as sort of boost for Hospital fest - and the release. They managed to get some info from Kohei Gomi about how this was made, about theme of release and so on. It's CD worth hyping anyways, but besides that there is good amount of background information.

Year End Wrap-up - talk about the best of 2019 lists. I have yet to decide if I have one. Jeph Jerman Archane Fracture CD, Torba CD.... ehm.. there are many good releases, but those two are top listened this years releases. I have listened more EXPLORATION ONE and EXTREME MUSIC FROM JAPAN compilations this year, than many of the good new arrivals, so feels like only time tells what are the best of 2019 - since I don't yet have good enough perception.

few more...

That comment was not directed to hosts, but particular guest of the show.

what's the deal with the evil moisture episode cutting off practically mid-sentence? seemed like there was a lot more to be discussed. another one where i could listen to the guest talk for hours

anyway, great episode regardless of the brevity

Per their twitter, he had to run, planned on coming back but ended up being unable. Sad! Great ep. That town in Japan he talks about is wild

ah, ok. maybe he had the runs.

Didn't realise there was an Orphx episode, listened last night. Can't seem to find the Fragmentation album for download anywhere though, which is a shame as it would be nice to hear what they are talking about.

Quote from: Soloman Tump on January 28, 2020, 04:32:55 PM
Didn't realise there was an Orphx episode, listened last night. Can't seem to find the Fragmentation album for download anywhere though, which is a shame as it would be nice to hear what they are talking about.

http://stahlfabrik.blogspot.com/2018/01/orphx-fragmentation-malignant-records.html (http://stahlfabrik.blogspot.com/2018/01/orphx-fragmentation-malignant-records.html)

New episode is Con-Dom - The Eight Pillar. Personally my favourite noise release of any kind (I really obnoxiously commented "FINALLY" on their post about it which I immediately regretted- luckily managed to explain this was purely out of enthusiasm and not impatience).

Already started the episode and it's killer.

Bananafish episode is...way beyond perfection. Goddamn, Mr Glass talks (almost) as good as he writes. Which is not good, but very very good. It is mentioned by the Noisextra folk, a few times, how Bananafish "legitimizes" noise. Mr Glass remains silent on this (or so my mindsear would perceive). As well he fucking should (as well he MOTHERFUCKING should). Apologies, but Bananafish is well beyond noise. Is well beyond sound. The magazine is, in itself, PURE ART. On the writing alone. The writing, when it is Glass, is simply far beyond almost anything written on the subject, of sound or art, then, now.

Honestly, I would nominate fucking Bananafish for a fucking Pulitzer fucking prize, if I fucking could. Fucking. Times ten. The man is that good. Incredibly inspirational and also soul-destroying, because, really, it takes actual, genuine, real writing talent to write at that level. In my dream world, Seymour Glass writes the story for all of us. The noisepervs. The bad. The ugly. Assuming we deserve it- which, is a stretch.

Seymour is indeed amazing and I loved that episode.  Beside Seymour, Bananafish also had stupendous guest scribes at times — for example Tom Smith (of To Live and Shave in L.A./Ohne/Miss High Heel/etc.) did fantastic in his review column in issue 14 (not to mention the hilarious letters from the first issue, mentioned on the episode.)  Anyone who's perused TLASILA lyrics could gather as much, he's like the James Joyce of experimental music.

Looking forward to listening to the R&G Asshole/Snail Dilemma episode that just came out!  Thrilled to hear a book about Schimpfluch is in the works...

Quote from: Bruitiste on February 26, 2020, 07:49:42 PMLooking forward to listening to the R&G Asshole/Snail Dilemma episode that just came out!  Thrilled to hear a book about Schimpfluch is in the works...

I've been such a big fan of G*Park for as long as I've been into experimental music (Zabriskie Point influence), but I know zilch about R&G.  I think each time I've maybe heard R&G or Rudolf Eb.er, it's been heavy in vocal manipulations, which really aren't my thing.  In the past couple years, I've really warmed to Sudden Infant and Dave Phillips, particularly the latter.  The sonics and production values are so incredibly high quality.  Even if I don't care for the sources, my auditory senses are pushed on their toes, and I'm attracted.  R&G is like that as well, correct?  It's interesting that they choose this immaculate and dynamic quality of recording for such materials.  You'd almost expect everything to be raw and ugly on that level as well.  Looking forward to the book as well.

I have enjoyed a lot all the recent episodes. Con-Dom, always good. I do have vague recollection that Dando once told that the way how he was exposed to Lawrence, was through exhibition by Club Moral. I have no concrete proof of when/how, but pretty firm gut feeling that was how it went. Good old networking and ideas transmitted from artist to another, and Con-Dom took it further from there.

It would be worth to mentioned Prince of our disorder 3"+tape set that consists live material from this era. In those years of his busy gigging, I was the one doing all the super-8 loops to digital -transfers that was used for live gigs and screenings. Many segments were repeated in editing, as original super-8 loops were pretty short due limitations of the format. Reels for 30 min set would have been pretty damn huge in size.

I recall Con-Dom performed the 8th pillar set in Finland. He played here several times, doing very unique shows. Once in my basement for invite-only audience, together with Snuff and some others. Playing very earlydays stuff from Have Faith era. Another special set in Lahti was Shards of Ordnance related, that was only show ever played, consisting nothing but his songs that appeared exclusively in compilation. Set ended into massive track found from Der Blutharsch tribute 4xCD set and it was monumental! Despite utterly small pub as venue, it felt monumental. Besides these small-audience ultra special shows, his sets in Finland were always something special.

Back then, there was some talk about attempt to do This Sickness Faith gig, that would only happen if we could get (defunct) church to host it. Haha.. needless to say, it did not happen and of course never will due project being retired.

I do appreciate very much the level of hype & praise Noisextra crew gives. It is hard to really explain the greatness of Con-Dom for someone who will conclude it may not be "as noisy" and "as brutal" as some other power electronics. I have a unfortunate feeling, that while we may have abundance of noisy and brutal PE, Con-Dom certainly was one of a kind, and there will be zero torch carriers to have same level of conceptual strength, sonic innovations and pure personality.

Schimpfluch episode - some good nuggets of new information for me.   

Quote from: FreakAnimalFinland on February 28, 2020, 06:52:46 PM
Another special set in Lahti was Shards of Ordnance related, that was only show ever played, consisting nothing but his songs that appeared exclusively in compilation. Set ended into massive track found from Der Blutharsch tribute 4xCD set and it was monumental!

The Fire Danger Season 4CD set?

Yes. Live recording of song is found on War & Ordnance -tape. Zoom h2n recording ok, but not of course able to show how it really was.

Anyone have the MSBR/Koji Tano wayback machine URL?  I've searched, but I can't find it.

Quote from: Zeno Marx on March 19, 2020, 09:46:54 PM
Anyone have the MSBR/Koji Tano wayback machine URL?  I've searched, but I can't find it.

It's just msbr.com

https://www.noisextra.com/2020/03/11/emil-beaulieau-anti-performance/

There is talk why Emil Beaulieau sounded different, and around 1h 5 min part talking is the thing room recording or not... well, back in the day, when Record Store Record song of RRR was recorded, it was me and I recall Steve Underwood of Harbinger, using loud packaging tape to wrap my boxes of LP's I bought and shipped to Finland. Just a deal I made with Ron about buying few hundreds of hardrock records when I was opening my store and needed "regular inventory".

Song was just the process of using loud ripping packaging tape. Crucial for piece to sound like it did -  RRRon just pulled out this toploader tape recorder, with built in microphones. He told that is the machine that pretty much every recording he has done has been made. Including also all those live matinees that were at RRR store on weekly basis for ages. Sound of this type of (often mono) deck is quite unique, due type of microphones it has and natural saturation. It is not all about gear he used to make sound, but I'm sure most of stuff, like minutoli cd's sounds *like that* because how they were recorded. Top loader next to amp, recording on tape, missing all the too high frequencies, missing all the lowest bass, the broken, mid-range dominated rusty sound.

This is the element that a lot of bands who try to sound rough and brutal, closer to the atrocities of for example 80's power electronics tapes, don't often see that it is not that much about what synths you may have, or what amps etc, but the microphones and the recorders. Doing the "zoom digital recorder" type of thing gives you clarity, but also this hollow flatness. Some older microphones, some specific boom boxes and especially these "office tools", like the toploaders meant to have good recording due used for dictating professionally etc.

If not knowing what I'm talking about, google for example: Panasonic RQ2102
Tons of similar size/type recorders, often working with batteries. Technically of course usually better than walkmen. Of course it can be gamble which brand has the good sound, good natural compression/saturation, clarity vs punch, not too much hissing etc. Yet this kind of recorders are often secret for the good old rotten and fierce noise, which is not just trying to add more distortion or trying to boost things with preamp simulators etc.

Probably more suitable for "gear talk", but might just continue a bit. I keep telling a lot of people who record digitally, that it can work when done properly, but these hand held recorders thrown in room -type of thing is kind of ruining the contemporary noise releases. Many times you recognize instantly the certain type of "character" in sound.

I know nowadays it is getting harder and harder to just bump into tape decks in fleemarkets for dirt cheap prices, but if ever do, it seems to be always worth to grab. For example I have been using for vast majority of my recordings during last few years Technics RS-B335. It is by no means famous or "important" or "classic" gear. It's cheap as fuck. I just looked german ebay and seems like you can get then for 20-35 euro. It's good and simple no bullshit tape deck, but good options are, that when connecting things with RCA cables on the back, recording line-in stuff, it is good clean sound. When using exact same sources, but connecting RCA (with regular jack adaptors) to front microphone inputs, you get excellent saturation. Pretty much any noise sounds great, even if it does not color the sound in very specific way. There just happens some sort of sound magic similar to when thinking why Emil Beaulieau stuff sounds "different".

Most of my stuff is done live-on tape, and when you record on left/right - that is basically two mono tracks. After digitizing tape, you can blend in these 2 tracks unless it was just regular stereo. One example of fairly recent is SADIO "Sensuous..." tape. It's all rehearsal place live recording directly from mixer to Technics RS-B335. No "postproduction" mixing, no mastering. Just as it was on tape. Sound is probably better than any previous things recorded on wide variety of recorders.

I would ALWAYS recommend grabbing couple different style/era tape decks than investing 10 times more on "synth" or "efx" or "mixer". Way more crucial element in sounding good, of course sort of "solution for dummies" choice too as it is so easy. Of course good sound can be achieved by other means. This is just what I prefer.

Quote from: PTM Jim on March 20, 2020, 02:23:48 AM

Quote from: Zeno Marx on March 19, 2020, 09:46:54 PM
Anyone have the MSBR/Koji Tano wayback machine URL?  I've searched, but I can't find it.

It's just msbr.com

that takes you to Poker Star Online

to FreakAnimalFinland's posts, every recorder of almost every type used to have built-in condenser microphones.  I believe it was standard for boom boxes.  Pre-90s?  The cassette decks I was buying in the 90s didn't have line jacks.  Anyone interested in microphones could register to The Trader's Den.  Those folks are the ones who are obsessive about this kind of gear.  Of course, they were looking for clarity, but I'm sure they could tell you what gear could get specific results.  They were the ones rigging recorders into wheelchairs so they could bootleg arena rock concerts.

Quote from: Zeno Marx on March 21, 2020, 05:25:08 PM

Quote from: PTM Jim on March 20, 2020, 02:23:48 AM

Quote from: Zeno Marx on March 19, 2020, 09:46:54 PM
Anyone have the MSBR/Koji Tano wayback machine URL?  I've searched, but I can't find it.

It's just msbr.com

that takes you to Poker Star Online

Weird. It works for me.
Here: https://web.archive.org/web/20050204032728/http://msbr.com/ (https://web.archive.org/web/20050204032728/http://msbr.com/)

Quote from: PTM Jim on March 21, 2020, 06:53:58 PM

Quote from: Zeno Marx on March 21, 2020, 05:25:08 PM

Quote from: PTM Jim on March 20, 2020, 02:23:48 AM

Quote from: Zeno Marx on March 19, 2020, 09:46:54 PM
Anyone have the MSBR/Koji Tano wayback machine URL?  I've searched, but I can't find it.

It's just msbr.com

that takes you to Poker Star Online

Weird. It works for me.
Here: https://web.archive.org/web/20050204032728/http://msbr.com/ (https://web.archive.org/web/20050204032728/http://msbr.com/)

Thanks a lot.

Talking anti-records...maybe worthy of a thread?

I believe it was Rubbish from the Troniks board that did some great anti-records.  Correct Troniks user?  If so, I remember this blue, thick paint one that stuck to memory.  Wish I had saved that image.  Anyone know what that was called?

I don't always check out the regular ones but the recent Trashware with Jay from Curcuit Wound was fucking great.

"Tell me about your signal chain" is like a mild form of pornography for me....

Quote from: holy ghost on April 03, 2020, 06:33:50 PM
I don't always check out the regular ones but

Likewise.  I'm just not a fan of this podcast in its regular format.  Sorry.  But when there are interesting guests in it's well worth it.  Chris Sienko's appearances have been great.  He has such a brilliant way of discussing noise and should be doing his own podcast really.  I've also appreciated episodes where artists get interviewed about their own work.  Seymour Glass, S&Q, Andy Bolus...more of that would be great.

chris sienko should definitely have his own podcast

RRR Taste Test episode...

One of those taboo subjects, but as MC touched on file sharing vs. tape dubbing.  Old argument.  Tape dubbing and mix tapes are one of the cornerstones of underground music.  Rehearsals, live, demos.  Borrowing records that you couldn't afford or find and making copies.  And basically how he differentiated the two was, as I understood it, the element of intimacy.  I find that interesting.  Having lived through both periods, I have to reach for a difference.  It's never been clearly different, though I definitely understand the argument.  Anyone else care to publicly share their opinion?  Not interested in an argument or judgment.

Quote from: Zeno Marx on April 04, 2020, 09:05:47 PM
RRR Taste Test episode...

One of those taboo subjects, but as MC touched on file sharing vs. tape dubbing.  Old argument.  Tape dubbing and mix tapes are one of the cornerstones of underground music.  Rehearsals, live, demos.  Borrowing records that you couldn't afford or find and making copies.  And basically how he differentiated the two was, as I understood it, the element of intimacy.  I find that interesting.  Having lived through both periods, I have to reach for a difference.  It's never been clearly different, though I definitely understand the argument.  Anyone else care to publicly share their opinion?  Not interested in an argument or judgment.

It's ultimately a totally different thing to tape dubbing/trading, but I think that file sharing has/had a certain character and feel to it that is often overlooked as its own significant cultural moment.  Despite the 'anything at anytime' availability of the internet we aren't just talking about users hoovering up everything they can find or searching out a specific album which will just be there instantly.  There was still lots of scope for discovery and exchange within it.  I certainly recall endless evenings using shitty P2P downloading programs and the same kind of experience as mentioned in the Taste Test episode of seeing all these weird band and artist names with no knowledge of what it all sounded like or where it came from other than it being bound up in some very general search term like 'weird', 'extreme', 'noise' etc etc.  The results would vary wildly, always depending on who was awake and sharing at a given time, you'd end up seeing particular items you'd never come across before and never seeing them again for this reason.  There was way less recourse to just go hunting on google for a web presence or info of all this stuff too back then and half the time you'd likely be downloading something straight off an artist themselves.  To this day I have tracks by some artists and still don't know who and what it really is.  Of course through some programs you could speak with them directly and discuss music.  I wouldn't use the word community here, at least not from my experience, but it was communicative for sure.  As I said, a different thing from tape trading and whatever it must have been like to make your major discoveries that way, and I'm only speaking from memory: it will have been different for many other people with better computers, internet connections and general smarts on how the shit worked, but my experience was one filled with mystery, ambiguity and intrigue and a massive part of formulating a taste for weird and noisy music.

This all refers to an older time for the internet and file sharing too...it was before music blogs filled with rips and viable online streaming sites, or databases or anything like that.  From a wider perspective I think people in my generation have a fairly overlooked experience of discovering music in the way these things get written about - it's either the days of all tape, vinyl and sometimes CD or the current world where everything is digital and online.  I never see anything said of the group in the middle who were too young for the tape trading and mail communication of the underground but were by no means raised in an online world, having gotten home internet access when they were already in their mid to late teens at a time when the online tools we have now were still very flawed or in some cases yet to be developed.  They discovered music through largely the same channels as everyone before them but the landscape was changing in ways people didn't fully appreciate and that crucial period where people really start to go nuts for music at a certain age took place in this complete middle point of what was then and what is now.  Even though people from this period are old enough to look back and memorialise it as a distinct time of its own, I doubt it can happen since so much developed so quickly and it was gone within a matter of a few years.  Maybe it's all for the best and wasn't anything that special overall, but it certainly existed and is largely not referenced.

Quote from: Zeno Marx on April 04, 2020, 09:05:47 PM
One of those taboo subjects, but as MC touched on file sharing vs. tape dubbing.  Old argument. 

In moments like these I go back to the roots. I mean, the roots for me. As a kid, at least in my town, the shit was available on the airwaves, on several radio stations. You'd maybe have to record hours upon hours of college radio or late night public broadcasting or whatever. But you would get shitloads of replayable awesomeness. To this day I have boxes upon boxes of replayable awesomeness.

But the point is. All your friends would STILL say- where the fuck do you get this shit? They wouldn't have a clue. Your parents wouldn't have a clue. No one would have a clue. It's on, every fucking night, or maybe every other fucking night, of at the least once a fucking night a week, but no one has a fucking clue because no one gives a flying fuck. Not a one could be arsed to seek the shit out like you were. To give the fuck, that may, under only the most ideal circumstances, fly.

And there's the dif. The percentage of persons who give a flying fuck. And then take yourself at that moment. Do you remember having spared a second thought for the persons whose giving of the flying fuck does not correspond to your own? Of course not. Because you would not have given a flying fuck for their not giving a flying fuck...

Uhh...

Sorry, getting carried away here. But suffice it to say, regardless of the source, an emphasis as far as curiosity on degree.

That degree is the difference. All caps on the THE.

(damn, this is some good beer)

depths of the internet is more much degenerate and. disgusting than even most graphic heyday of mail art/tape trading etc. i wasn't around back then but nowadays any 12 year old kid can watch another 12 year old ISIS kid shoot a bunch of people in HD quality. having access to internet by age 12-13 was totally crucial in my musical development; not having money, i'd never be able to afford say GISM lp or even steady stream of contemporary releases i might've wanted. also, internet does not necessarily make things more easily available; one still has to undertake to find it. file sharing blogs I loved, as they became a reliable and well-curated selection, many things would be downloaded just because they appeared on certain blog. nobody i knew at 18 years old or whatever would have personally recommended me Hijokaidan's "Modern," only out of insatiable desire for new sound and pursuit of strange corners did I come across such on my own.

Quote from: l.b. on April 09, 2020, 08:12:09 PM
depths of the internet is more much degenerate and. disgusting than even most graphic heyday of mail art/tape trading etc.

But not, and let's make this clear, for want of trying! There was no internet the but there were the dial-up BBSes, principle purpose of which, at least from my vantage, was the dissemination every sick and twisted perversion possible (and several perversions probably actually not). No music, or none to my recollection of note, but oodles of smut, much of it gloriously degenerate. (Though obviously, in terms of the real here and now, nowhere near the nothing-left-to-the-imagination world of HD. One may try, but the technology would only go so far.)

Before social media, before blogs, discogs and all that stuff, I recall... was it harshnoise.com or noise.com ? And from there one could get link to mr. STIMBOX website, where he had installed chat. Those days it was probably first time I got to talk to international noise fanatics. I don't remember who all I found there. Death Squad, Stimbox himself, Sadio, Cloama, bunch of others I recall.
Also irc is another very early thing. I don't remember ANY noise related channels, yet I remember chatting via irc with Cosmonauts Hail Satan and bunch of other guys. That is already in the 90's. When pretty much nobody had internet home, but had to go to library or such place to get access.
I got my first email in 1997, as Lasse Marhaug insisted communication about Scandinavian Noise Manifesto would be faster if it would not be about sending letters between 3 artists.
Perhaps many messages above could be their own topic. That could be splitted out of this. Lets see a bit later!

Jazzed about something on Gruntsplatter.  Deserved.

SPK "Information Overload Unit" with Canady is just beyond awesome, he should be a regular.

I haven't heard it once until I've heard it thrice definitely applies to the Robert Ashley episode.

http://www.ubu.com/sound/ashley.html

https://www.discogs.com/Various-Source-Music-Of-The-Avant-Garde-Source-Records-1-6-1968-1971/release/1657441

Quote from: Zeno Marx on May 22, 2020, 06:21:29 PM
I haven't heard it once until I've heard it thrice definitely applies to the Robert Ashley episode.

http://www.ubu.com/sound/ashley.html

https://www.discogs.com/Various-Source-Music-Of-The-Avant-Garde-Source-Records-1-6-1968-1971/release/1657441

Thank you very much!

One more Ubu link of considerable importance to the episode:

http://www.ubu.com/historical/wolgamot/index.html

Tried to order wolfman for myself. Listened both versions of it online. Physical copy order that I meant to do from wholesaler, to get some copies to my store too didn't work out yet. Due covid, wholesaler have difficulties to arrange anything what is not physically at their warehouse... Well, later on!


DMDN episode was nice. To have such a low profile name picked up. Of course they did it before too.

Things they discuss there, I could comment: Thu-20 ... that means thursday 20th - the date project played first time!
Haha, so... thu.. whatever one uses for shortened week days. Mon, tue, wed....
Also, about THU-20, if you do not have the 2xCD anthology on Monochrome Vision (see topic on SI forum!), I recommend to grab it. Should be available at discogs. When label boss dies, I suppose inventory might partially just vanish. Brilliant comp of old material, pre-electro acoustic era, more of experimental-industrial. Selection of impossible to find tape tracks and many unreleased too.


DMDN- There is Agonistes 3, on kulture shot 2 comp cd 1996. Vol 1 is special packaged 7". Vol 2 is great CD. Line-up pretty damn good. Gilden, DMDN, Aube, Ramirez, Marhaug, Taint, etc etc. c. 60 min CD, in elegantly hand made jewelcase. Like all AIPR label stuff, sort of classy spray paint packaging. Listened twice in same week.

AIPR is really nice label, he put out only handful of stuff. Kulture Shot, Gerogerigegege 7", Seven Minutes of Nausea 7",.... but MERZBOW Project Frequency LP!! It is fucking total blast. Right there with Noisembryo, Artificial Invagination and such. Just total slayer of harsh noise, in hand made wire-mesh/spray paint/silver foil print type of handmade but classy design

DMDN guy also put out Sling trip vol 2 CD on his own label! Sequel for Pure CD in almost similar packaging. Old material is more like the 80's "Broken Flag'ish" -approach, while Agonistes is far more into harder noise territory. I still have couple of the LP version, and more of the CD version that was published on Industrial Recollections!

Quote from: FreakAnimalFinland on June 02, 2020, 11:04:14 AMAIPR is really nice label, he put out only handful of stuff. Kulture Shot, Gerogerigegege 7", Seven Minutes of Nausea 7",.... but MERZBOW Project Frequency LP!! It is fucking total blast. Right there with Noisembryo, Artificial Invagination and such. Just total slayer of harsh noise, in hand made wire-mesh/spray paint/silver foil print type of handmade but classy design

The regular edition is cooler than the wooden box version, and it NEEDS a reissue.

Latest episode really nice! I do appreciate that Noisextra takes opportunity to use online calls for making stuff. Even if sound quality is notch worse, it is decent enough. Only few random glitches here and there makes one lose word or two, but otherwise sound quality is perfectly fine for noise podcast!

So, what they have available is:

https://www.noisextra.com/2020/07/22/in-conversation-with-black-leather-jesus/

2 hour long talk with two guys.

Ramirez has gotten plenty of "podcast attention" before, but he also has so much to talk about. There is some cross-over of information with former interviews, but it is often told in new ways, adding details. Like early recording methods are being discussed deeper, current day recording methods as well. Content, label deals etc.
There is funny moment when Ramirez mentions that thing he doesn't like with labels, is that they request specially some particular type of sound for release. And that it might not be his favorite type of sound, but label basically places order for very specific sound. And offers like that have been common.

Freak Animal did some of that. I recall also mr. Zeno Marxs' label Recalcitrant Noise asked him to do "material like I keep my stuff inside" for split LP with Alchemy of the 20th Century? I don't recall "ordering" anything that specific for FA (but might have), but for example Richard Ramirez "Tracking Device" was hoped to be more constructed material than plain noise. Not that plain noise of RR would be less good, but it was mostly to stand out. I have obviously not heard all of RR, but it sounds slightly different from most of his works. Example track is perhaps less complex and sound of it ain't too good at youtube: https://youtu.be/MBBqIUG5ZPA

Modest irritation what may have caused for artist, may be good in getting brilliant releases done, hah..


From recent few episodes, all good.
Various Artists – Sounds of New Music with Aaron Dilloway is good stuff.
Nord – Electronic Initiation is kind of odd episode, when there are several things that I always thought was known by everybody. Like that Nord is primarily live recording unit, and their releases are pretty much always live music. It seems so clear when listening, or perhaps it is illusion of knowing it is live recordings? This CD is odd. 300 copies done sooo many years ago and you can still grab it for dirt cheap prices. While almost similar size LP editions from decade earlier goes for hundreds... and have been already even bootlegged.
Tangerine Dream – Zeit - some years ago I made decision that I can live without TD stuff, and sold the LP's I had. Same for kraut stuff in general. Yet, last year I just had feeling that no no no... and had to order the early years CD box set. Since then ZEIT was listened multiple times and while I will never really cite Tangerine Dream as any kind of personal influence for what I do, it simply is very good album of its style and compact CD box set fits somewhere in my piles of.. stuff.
Speculum Fight – Highball is another episode when the core unit of Noisextra talks about it themselves, but also got Romero to send in few written nuggets of info about recordings/live shows. If there was possible to get Romero to in-person interview, it would rule. One would really want to hear about old gigs, his work in general, also possibly his role in The Haters and such. Not to mention what he is up now. I recall doing noise DJ'ing for radio?
Dissecting Table – Between Life and Death. This is one of the best DT stuff. Of course the Ultra Point Of Intersection Exist LP is phenomenal. Between Life and Death is darker and slower. I felt that till 1996 material was so perfect, and 1997-2002 it seemed to start recycle too much of the same. And later on shifted style into something I was not so interested in. I do have several more recent DT, but they never had same 100% unique and recognizeable sound. Also, how could you not like band who did performance called "dead body and me"?

Just getting to the BLJ interview.  I don't think I asked for material exactly like I Keep My Stuff Inside.  I believe I worded it as I really liked that material and asked if he had anything else recorded in that realm, or maybe any intentions for more ambient-like material because I was putting together an ambient split.  The difference, at least I as remember the conversation, is that I wasn't putting in an order for X style of material; though if I did, and an artist doesn't like that kind of offer, my question would be:  why did you accept the offer?  I'm not trying to play semantics here.  I don't think of creativity as to-order, and I can certainly see why that would be frowned upon.  Again, "No thanks.  We don't like to do that."  Kind of a simple remedy.  Honestly, I doubt I would have heard that part of the interview in relation to the split LP if FreakAnimalFinland hadn't mentioned it.

Latest episode and interview with Joe Colley, very excited to give it a listen. Nice to be getting some more interview-based episodes, hopefully a trend which continues.

It is a very pleasant and warm conversation. Some great insight into early tape trading scenes and recording methods.

Joe has put some old Crawl Unit/Povertech releases up @ the Issues webshop-stoked to get a copy of Future in Reverse for an affordable price. Everyone Gets What they Deserve is also available and truly excellent.

Agree that the interview format for the podcast is a great direction. Colley is very humble and his un-assuming nature is so funny. He gives off an anxious vibe of, noise is a thing I do and it's weird other people talk about it or are interested. Some cool stories/scenarios mentioned and wish he went into more detail or had a better recollection of some of it. Good listen and this kind of insight into Colley is a treat.

Side note: I love R.H.Y. Yau and he is almost never discussed. He was a big part of my initiation into noise and one of my favorites. It's cool to hear even a minuscule amount of information or mention of him. His solo work and the RYKE project with Endo will always be some of my favorite noise.

Colley is great. I can fully understand the Colley's "nervous" presence. Constantly drumming with his hands, and there is barely sentence done without mild laughter, hah. It gives fun vibe to episode. It is also such a contrast to sort of... well, more theoretical, stuff. I'd say you simply can hear it, that when he mentions some high profile, more "academic" guys horror of him showing he still used fostex 4-tracker instead of computer is pretty funny.
All the talk about era, when there was no "noise pedals". Now for some newbies it may be odd to realize than concept such as cheap mini synth was pretty much unheard in past. If they existed, you could be damn sure your local music store wouldn't be able to get them. Pedals the same thing. If there was available distortion, delay and perhaps chorus, you could be lucky.

That Colley/Crawl Unit "clay sounds" 7" is great. It should be commented even few times on this forum I think. It is my favorite of Colley 7"s and it is indeed credited for both in front cover: Crawl Unit / Joe Colley.

Small Japanese shop JNR they talk, is same as NEdS. It is in full operation still today. There exists VHS release of this gig. Noise Progression vol 1. VHS series on MSBR! This series is pretty damn intense, variety of a lot of live shows one can't really find anywhere else. Being Japanese, they were usually NTSC versions, but we did late 90's "trading rights" kind of thing with MSBR. So he got rights to sell the Freak Animal videos as NTSC and Freak Animal got PAL masters of first couple parts of this series and bunch of covers to use. I think I still got the white covers boxes as well as the original prints sent by Koji Tano, since I was too lazy to dub the vhs tapes more than handful...

Quote from: accidental on August 10, 2020, 04:42:55 PM
When paying attention to reviews it's more about getting to know the reviewer (taste) than a detailed description of the actual work. When you have an idea of the taste of the reviewer it will be easier to approach what the person is reviewing. That's how it's for me personally.

I'm interested in this conversation.  Why a reviewer reviews like they do.  Are they trying to be helpful?  A creative outlet?  Writing etc like they wish "everyone" would.  And then developing a particular voice that then itself offers X, Y, and/or Z.  Has any thought gone into it, or "just do it"?  I reckon such a conversation would be on the dry side, but so many review styles baffle me.  When I walk away from a review and wonder if it told me anything at all about the actual subject, I'm then also left wondering why I read it and why they wrote or said it.  Anyway...yeah...review approach.

Quote from: accidental on August 10, 2020, 04:42:55 PMI actually enjoy Immerzbox as a great complement to Noisextra. The latter will hype just about anything. I love enthusiasm but it makes me question wtf i've turned on when old men sit and literally moan over a title called Bondage or whatever. Immerzbox creators obviously haven't done as many miles on the road of noise as Noisextra. So it's lacking some knowledge, language and context. But it's great fun hearing them trash all discs of the Merzbox even though my taste differs abit.

I've dutifully listened to every Immerzbox episode (as well as Noisextra/Merzcast) but boy can these two get annoying and pissy.  It can be an entertaining listen (which is why I've kept at it, plus curiosity) but as mentioned, they're not really that deep into the scene and a lot of what they have to say makes me question why they're doing this at all.  A lot of the time it seems to me that they don't even like, enjoy, or appreciate noise music one bit.  Anything beyond classic industrial seems too harsh for them.  They don't really try to understand it or see the appeal, and when that happens (and it happens a lot) they get outright dismissive.  Ok dude, we get it, you're sick of the phaser sounds and the "junk percussion"... carry on.

Not that Noisextra's overwhelming positivity is ideal, but the enthusiasm is infectious at least.  I gotta say though, ever since Greh admitted to hating crying baby sounds, I want them to do TLASILA's "Les Tricoteuses" just to have him squirm through the first track, hehe.  A great goddamn record regardless, and I hope they pick a good one like that when they get around to that project.

Quote from: accidental on August 10, 2020, 04:42:55 PM
Noisextra clearly excels when having a good guest. Am i the only one who can't stand (positive) reviews of track by track? I rather hear you tell me your personal history of how you found the artist etc than your opinion on each track. When paying attention to reviews it's more about getting to know the reviewer (taste) than a detailed description of the actual work. When you have an idea of the taste of the reviewer it will be easier to approach what the person is reviewing. That's how it's for me personally.

No, I think you've hit the nail here.  Personally I think the podcast is terrible when they don't have a guest. Despite their combined years of experience and expertise I just don't think they have much command of the language required to talk about noise and have it sound interesting to other people. It sounds like when a mate and I get together and talk casually about an album - fun for us, not for any of our nearby friends zoning out.  And this is fair enough too, it's a deceptively difficult thing to do well and it's the reason there are so few real writers and critics of this stuff.  When they have a central focus in the form of a guest then their style excels -  they create a really comfortable conversational atmosphere fuelled by genuine fascination and insight into the topic. They ask brilliant questions and let the person talk, sending you in directions of wanting to check things out. I think this is the format that really works for them and I hope they continue to do more guest shows.

Quote from: Zeno Marx on August 10, 2020, 06:07:24 PM

Quote from: accidental on August 10, 2020, 04:42:55 PM
When paying attention to reviews it's more about getting to know the reviewer (taste) than a detailed description of the actual work. When you have an idea of the taste of the reviewer it will be easier to approach what the person is reviewing. That's how it's for me personally.

I'm interested in this conversation.  Why a reviewer reviews like they do.  Are they trying to be helpful?  A creative outlet?  Writing etc like they wish "everyone" would.  And then developing a particular voice that then itself offers X, Y, and/or Z.  Has any thought gone into it, or "just do it"?  I reckon such a conversation would be on the dry side, but so many review styles baffle me.  When I walk away from a review and wonder if it told me anything at all about the actual subject, I'm then also left wondering why I read it and why they wrote or said it.  Anyway...yeah...review approach.

I think about this every time I write a "review" in this forum or for SI in print or anywhere else. Why am I writing and for who?  What information am I actually trying to convey? Who is my intended audience? Does anyone read this shit? For better or worse I've become more interested in describing a release as it relates to me and my experiences than I am in detailing the sound when you might as well just listen to it if that's what you want. This is especially true when trying to review albums I've been listening to for years and years, like my most recent attempt at reviewing "Burned Mind" by Wolf Eyes. I unintentionally spent little time talking about the "sound" of the album and more time about how it relates to me or the "scene". And I did really have a lot I wanted to say about it beyond what I said.

I guess I don't reviews are actually useful to anyone unless they've got information beyond "Y song sounds like X thing". I'd rather just listen to the record myself. I am often plagued with the feeling that any kind of writing about any music or films is just total tosh that should be ignored so the listener/viewer can see things with a virgin mind.
But then I remember that many of the artists and records I've come to love have been explored to due reviews and discussion here or in other printed or spoken matter. And then there's the entirely different matter of Bloated Slutbag whose reviews are so comprehensive and descriptive its less of a review to me and more some type of noise prose/poetry.

Quote from: theotherjohn on August 11, 2020, 01:27:34 PMFor me, less is more when it comes to actually wanting to check out an album in the first place. 5 out of 5 stars. 95%. For fans of so-and-so, or so-and-so recommends it.

That's where I am, too.  I appreciate brevity.  Some of this stems from certain columns in Maximum Rock N' Roll covering a month of listens and reviews in a few paragraphs, but I think also covering entire discographies in a paragraph or two in The Crack in the Cosmic Egg.  Guidance and reference rather than explanation?  I'm not looking for reading material.  I'm looking for listening material.

Quote from: theotherjohn on August 11, 2020, 01:27:34 PM
If anything though, I'm more likely to read a long form review AFTER hearing something, even if it's just to please or disturb my confirmation bias. Preferably though, one written long after an album's release once the dust has settled in place.

the ol' confirmation bias

Quote from: Zeno Marx on August 11, 2020, 05:48:08 PM

Quote from: theotherjohn on August 11, 2020, 01:27:34 PMFor me, less is more when it comes to actually wanting to check out an album in the first place. 5 out of 5 stars. 95%. For fans of so-and-so, or so-and-so recommends it.

That's where I am, too.  I appreciate brevity.  Some of this stems from certain columns in Maximum Rock N' Roll covering a month of listens and reviews in a few paragraphs, but I think also covering entire discographies in a paragraph or two in The Crack in the Cosmic Egg.  Guidance and reference rather than explanation?  I'm not looking for reading material.  I'm looking for listening material.

Quote from: theotherjohn on August 11, 2020, 01:27:34 PM
If anything though, I'm more likely to read a long form review AFTER hearing something, even if it's just to please or disturb my confirmation bias. Preferably though, one written long after an album's release once the dust has settled in place.

the ol' confirmation bias

I typically take this approach as well. I avoid reviews of new releases [or movies] so I can listen or view as unbiased as possible. Then I'll read reviews after to find out who is an idiot and who agrees with me :D  But seriously sometimes there are really interesting opposing views to find from other reviewers. But sometimes negative reviews come from people who just don't know what the fuck they're talking about.

I think this goes back to the topic at hand, how knowledgeable is the reviewer of the material and everything around it, and who is the intended audience for the review? on NOISEXTRA the hosts certainly have the long-term involvement and exposure to the "underground noise scene" or whatever you want to call it for me to listen to them without immediately rolling my eyes. but that alone doesn't equal an interesting review. Mikko and others have talked to about desirability having those in the underground review things so that a meaningful perspective is present in the reviews, and I think that's generally preferable. But sometimes the most interesting reviews or thoughts on releases come from those outside the scene, but with a keen and critical ear.

I would say the most disdainful thing in any review is a short-hand history of the artist or genre by someone whose only ever read the wiki about the same, as a means to cover up their lack of actual knowledge or experience with the artist or genre. This is bad when reviewing releases in any genre. if I read another Autechre review that tells me the history of Autechre I'll gouge my fucking eyes out. I know who Autechre are, that's why I'm fucking listening to them and reading the review.

And so I think I've rambled my way to nowhere....

This is a the sky is blue comment, but when done well, you really notice it.  To keep a conversation healthy and vibrant, it's in the details.  That's why guests are so important.  I know some podcasters employ research people behind the scenes, and those people act like silent guests.  I feel you need that kind of personality, be it silent or evident, to flush out the passion.  Maybe that's why Tara came out in the open?  That whole love is a verb thing.  Hearing how much you love something and blah positive blah is one thing, but when the action, or conversation in this type of situation, gets deep into the details, you don't have to say it.  The audience just knows it.  They feel it.  For me, that's when things really get rolling and are at their best.  That's why some guests fire up the audience.  They incite.  It's not easy, either.

This guy was doing his own youtube/podcast thing, but when he teamed up with someone so detail oriented like this guest, the thing came alive.

https://youtu.be/DKdCP5Vj408

Quote from: ConcreteMascara on August 10, 2020, 11:30:42 PM
And then there's the entirely different matter of Bloated Slutbag whose reviews are so comprehensive and descriptive its less of a review to me and more some type of noise prose/poetry.

Ha, well I'm not sure I would say comprehensive. Long, yes. Though I suppose in my own brain the actual review part of the BS commentary is pretty short, usually done in the first couple paragraphs. The remainder tends toward more or less chemically addled attempt at blow by blow. Maybe. I admit I like the idea of a review that starts lucid and gets more and more incomprehensible as it inevitably degenerates. I also like the idea of a review contradicting its opening assertion halfway through. I admit I like a lot of stupid shit.

But seriously, my favorite review reading is the collected reviews artists will have of their own work. Collapsedhole did a nice job (http://www.geocities.ws/collapsedhole/reviews.html), wish he kept it going. And yes, I'll read these usually while listening to the work so it's hard for me to say what the precise function is, aside of course from pure entertainment. In a way, by having multiple real-time perspectives of more than one person Noisextra does something similar. I think it's very hard to comment coherently on a piece- of noise, especially- on the fly. They do I think a very good job of it.

New one with RADIOSONDE is excellent. One hour discussion of various things, what underlines how unique project was/is.
All the cable TV shows, 7hz venue things, absolutely recommended.

anybody else feel weird that the pete swanson trashware episode is behind a $10/month paywall

i mean, i guess noisers gotta eat too

Quote from: NocturnalHiss on September 01, 2020, 04:46:18 PM
anybody else feel weird that the pete swanson trashware episode is behind a $10/month paywall

i mean, i guess noisers gotta eat too

not at all. I'm not a Patron cos I'm currently studying and don't have the extra dough, but considering the amount of content we get for free is only the tip of the iceberg of what they produce (Trashware, wrestling podcast, Home Time, extra content, exclusive merch etc)  it's a sweet deal. I'm bummed I can't listen to the recent Slogun episode for the same reason but it's a pretty fair way to recoup the expense of producing such a quality product.

I was binging the podcast and got burned out by the Connellys typical teenage goth poetry musings about what they listened... Don't get me wrong, I love the podcast still and some of their comments are cool but I guess I listened to too many episodes where Greh tech nerd comments took backseat to the "I fell like I was being swallowed by a giant seagull pizza hybrid while an orchestra of kazoos drowned in lava" "cooooool" "aweeeesome" "yeaaaah" stuff.
I am glad they are working more with guests.

That being said I am eager to catch up on Noisextra (tho less bingey-ish), just wanted to know if anyone got this same feeling that pushed me back some weeks.

Quote from: EXU on September 03, 2020, 09:07:31 PM
I was binging the podcast and got burned out by the Connellys typical teenage goth poetry musings about what they listened... Don't get me wrong, I love the podcast still and some of their comments are cool but I guess I listened to too many episodes where Greh tech nerd comments took backseat to the "I fell like I was being swallowed by a giant seagull pizza hybrid while an orchestra of kazoos drowned in lava" "cooooool" "aweeeesome" "yeaaaah" stuff.
I am glad they are working more with guests.

That being said I am eager to catch up on Noisextra (tho less bingey-ish), just wanted to know if anyone got this same feeling that pushed me back some weeks.

Oh same here. I love it but you have to be in the mood. That description is great btw :-)

Quote from: NocturnalHiss on September 01, 2020, 04:46:18 PM
anybody else feel weird that the pete swanson trashware episode is behind a $10/month paywall

i mean, i guess noisers gotta eat too

Being on their Patreon is definitely worth it. There's something new to listen to practically every day, and it's almost always interesting.

I have been playing bits off this and enjoying it.

Quote from: KillToForget on September 05, 2020, 05:13:05 AM

Quote from: NocturnalHiss on September 01, 2020, 04:46:18 PM
anybody else feel weird that the pete swanson trashware episode is behind a $10/month paywall

i mean, i guess noisers gotta eat too

Being on their Patreon is definitely worth it. There's something new to listen to practically every day, and it's almost always interesting.

i wish they would make the trashware episodes available to second tier patreons, 10 bux per month is a bit too much for me. as it is i'll probably "buy" the trashware episodes at some point and immediately return to a lower tier to wait until there's enough of them to warrant the extra money.

New one with Eric of Ground Fault (etc) is very good!  I assume ideal is the studio visitor, but knowing the situation, costs and logistics, online interviews work out well too. Good stuff in this, and I really hope GF would get back to business.

Part 1 of the Dominick Fernow interview was another good episode! Here's some assorted links I gathered whilst listening to it:

Industrial Nation issue 14: https://archive.org/details/IndustrialNation14/
Meat: https://www.discogs.com/artist/757021-Meat-2
Astronaut Ice Cream Headache: https://astronauticecreamheadache.bandcamp.com/releases
Prurient split on Beeshu Tapes: https://www.discogs.com/Prurient-Potassium-Cyanide-Dogbane-Sentiment-Persistence/release/857257 *
Syrens compilation: https://www.discogs.com/master/view/969617

* Looking at the liner scans there's a mention of a poem called 'Rainbow Mirror' - any connection to the later Prurient release?

Very good episode. I think there are many things that would be worthy of discussion. Like..

- the guarantee of current noise. Pro-dubbed tape with download code, specific edition you can pre-view in advance to decide will you buy it etc. Instead of the gamble, of getting something.
- Intimacy of releases, that they are not as much consumer products you are somehow entitled to have, but something what someone makes at certain time and place, in way that is suitable at the moment. Out of things that you can.
- related to that one topic, "noise happening elsewhere than scene", the stories of all these odd public park noise shows & performances.
etc.. there was many relevant things mentioned, and I have feeling episode part 2 may be even better. It seems they're just warming up!

Quote from: EXU on September 03, 2020, 09:07:31 PM
Don't get me wrong, I love the podcast still and some of their comments are cool but I guess I listened to too many episodes where Greh tech nerd comments took backseat to the "I fell like I was being swallowed by a giant seagull pizza hybrid while an orchestra of kazoos drowned in lava" "cooooool" "aweeeesome" "yeaaaah" stuff.
I am glad they are working more with guests.

That being said I am eager to catch up on Noisextra (tho less bingey-ish), just wanted to know if anyone got this same feeling that pushed me back some weeks.

Yup, same here. I guess it's a cultural (American ?) thing, but the reactions are way over the top sometimes to the point it's annoying imo.

I just listened to the moonbeam terror interview and while parts of it were cool, it went maybe a bit overboard with jokes and rolling with the punches. Its probably more fun for the connellys just to shoot the shit, but it does get a bit tiresome when every joke is milked for all it's worth.

I wish they'd make more trashware & actual music discussion honestly. I have no interest in wrestling or obscure movies. Love the Connellys but they should really start their own patreon and leave noisextra stricktly for noise.

Finished part 1 of the Dom episode and I was impressed, it was very interesting and packed in a lot of relevant information. I have a lot more respect for Dom after listening to this and understanding some of his influences and views. Very much looking forward to part 2.

Quote from: host body on September 17, 2020, 10:56:51 AM
I wish they'd make more trashware & actual music discussion honestly. I have no interest in wrestling or obscure movies. Love the Connellys but they should really start their own patreon and leave noisextra stricktly for noise.

The new Trashware with Dilloway is really good, probably my favorite yet.
Anyway, generally agree that more of this and less of the other stuff would be great.  Also don't care for wrestling, I skip those entirely.  The movie ones are sometimes interesting to me due to some dovetailing curiosity about that B- and Z-grade stuff, but your mileage may vary.

Quote from: Fistfuck Masonanie on September 17, 2020, 03:46:41 PM
Finished part 1 of the Dom episode and I was impressed, it was very interesting and packed in a lot of relevant information. I have a lot more respect for Dom after listening to this and understanding some of his influences and views. Very much looking forward to part 2.

I guess the alcohol was already heavily flowing in part 2, one of these guys is constantly interrupting Dom which makes it a bit tiresome to listen too because it constantly breaks the flow. Yet it also felt it could go on for an extra few episodes because there is still much that isn't talked about like running hospital productions, running the store, his involvement in techno and how much his initial approaches have been changed over the years. But maybe it's also good to keep some stories untold.

I think it was intentionally restricted to the "90's". Theme of Noisextra has been, to deal with mostly older noise, till end of 90's. So only that era of Hospital / Prurient was covered, except a bit of touring etc what happened mostly in first years of millennium.
I think this whole "new wave of USA noise", would be curious to take look now. They do cover it in this episode. So many people came and then disappeared. Masses of people who just disappeared, while many of the 90's noise protagonists are still around.

The Orphx episode was good.  More guest talk from an interesting couple.  I've always liked that album a lot.  Had Malignant not taken that chance, I doubt many of us would have heard of them at the time.

Anyone catch their two-hour video livestream (for Tusk Festival) discussing The New Blockaders?  Missed it unfortunately.

Quote from: Bruitiste on September 29, 2020, 01:00:25 AM

Quote from: host body on September 17, 2020, 10:56:51 AM
I wish they'd make more trashware & actual music discussion honestly. I have no interest in wrestling or obscure movies. Love the Connellys but they should really start their own patreon and leave noisextra stricktly for noise.

The new Trashware with Dilloway is really good, probably my favorite yet.
Anyway, generally agree that more of this and less of the other stuff would be great.  Also don't care for wrestling, I skip those entirely.  The movie ones are sometimes interesting to me due to some dovetailing curiosity about that B- and Z-grade stuff, but your mileage may vary.

I'm currently only on the lowest patreon tier, but will upgrade at some point for a month & download all of the music related patreon exclusives i've been missing out on. If they'd change it so that everyone who donates 5 bucks gets all the music shit & all the wrestling, movie etc. stuff would be for higher tiers I'd happily donate more every month, but as it is the second tier gives you very little and the third tier is a bit too much for me to be on full time.

That said it's still my favourite podcast.

Several podcasts have happened. Hopkins was real nice to hear for the very first time. Been reading his work or translations since the 90's, and probably first time I hear him talking about things.

Latest one with mr. Petrus, confirming how to say his last name. My last name is mentioned in episode, and Ass poo is close enough, that'll do it!

Quote from: FreakAnimalFinland on December 03, 2020, 07:13:25 PM
Several podcasts have happened. Hopkins was real nice to hear for the very first time. Been reading his work or translations since the 90's, and probably first time I hear him talking about things.

Latest one with mr. Petrus, confirming how to say his last name. My last name is mentioned in episode, and Ass poo is close enough, that'll do it!

Hahahaha, did I say Ass-Poo? Neat.

Quote from: FreakAnimalFinland on December 03, 2020, 07:13:25 PM
Several podcasts have happened. Hopkins was real nice to hear for the very first time. Been reading his work or translations since the 90's, and probably first time I hear him talking about things.

Latest one with mr. Petrus, confirming how to say his last name. My last name is mentioned in episode, and Ass poo is close enough, that'll do it!

Can't recall if anyone's asked this before but, if they asked to have you on as a guest, would you do it?  If yes, what record would you want to talk about, or just general history/interview?

I have no objections to be interviewed, and open to suggestions, but the more higher profile and visible the "media" is, it may be also wise to avoid certain things. Like obscene noise brutes, who may drag everybody into sewers.

I have all the means of talking about myself (haha) or promoting great noise -  that many doesn't seem to have? From that perspective Noisextra has hundreds of important figures of noise history to cover, who almost never get "publicity" so to say. Plus the utterly crucial old veterans and originators of genre who basically never get their story out there.


This is something what I was thinking while (still..) compiling the noise interviews -topic. It displays clearly the fact, that some guys are appearing frequently in interviews of genre 'zine. Others.. never, or very rarely. This may not be question if artist or band is good and interesting or not. In some cases it is simply that artists refuse interview (Anenzephalia, G.O., etc..). In some cases it may be simply that they have been never asked?!
While Grunt (or related) has appeared in just about every active noise publication currently existing, and there is lots of important creators who have never been properly inteviewed...?



Special Interests podcast will most likely do episode of rare Finnish power electronics/noise. Probably two parts. 90's and early 00's. Including mostly unreleased or widely unheard finnish stuff. Some stories may be told in those.

Randy Yau episode was very good. He has always been one of my favorites from the 2000's and I loved the in-depth detailing of how his sound developed over time. Especially his intertwined interest in engineering so he could build noise devices/instruments. I was very curious why he had dropped off and his answer was kind of funny. Hopefully we get some more work from him in the future which it sounds like is a possibility.

There was a lot of info in the episode, but nice to hear more about 7HZ and his time touring, he had some good comedic stories. Was it the show in Sylvania he said there was act who was a doctor that performed surgery on himself...?

Quote from: Fistfuck Masonanie on December 10, 2020, 04:32:05 PM
Was it the show in Sylvania he said there was act who was a doctor that performed surgery on himself...?

Great episode and that was certainly a highlight.  Possibly Slovenia, unless I misheard?

Quote from: Fistfuck Masonanie on December 10, 2020, 04:32:05 PM
I was very curious why he had dropped off and his answer was kind of funny. Hopefully we get some more work from him in the future which it sounds like is a possibility.

Hearing that he never quit and that he is just a procrastinator was the best news.

I've been thinking about taking Masonna to guitar center all day

you should do it imo, before guitar center closes

Year End episode is up with everyone's list. Hospital and Chondritic heavy but good choices! In total agreement on the Fuck Mote LP, KILLER release and the remix CD is equally essential.

Anyone write the lists down? I listened to the episode yesterday while running, but can't remember all of the ones I haven't heard.

House Arafna - Asche - https://hausarafna.bandcamp.com/album/asche
Linekraft - Industrialized Criminal Histories - https://hospitalproductions.bandcamp.com/album/industrialized-criminals-history
Hivemind - Elysian Alarms - https://difficultinteractions.bandcamp.com/album/elysian-alarms
Jumping Tiger - Demo  - https://hospitalproductions.bandcamp.com/album/demo
H.C.O.D./Aischrolatreia - Crystallization
Skin Crime - Stories and Studies of Strange Things
Ron Morelli - Betting on Death - https://hospitalproductions.bandcamp.com/album/betting-on-death
Incapacitants - Onomatopee Suicida - https://totalblack.bandcamp.com/album/onomatop-e-suicida
Empty DNA - Moon Crawls Above - https://hospitalproductions.bandcamp.com/album/moon-crawls-above
Mo*te - An Idle Complaint - https://dadadrumming.bandcamp.com/album/an-idle-complaint
Thirdorgan - Thirdorgan - https://norentrecords.bandcamp.com/album/thirdorgan-nrr132
Turman/Weise/Dilloway - Electronic Extension - https://helicopter.bandcamp.com/album/electronic-extension-2
Richard Ramirez - Vulgar Tastes
Gnawed - Subterranean Rites - https://malignantrecs.bandcamp.com/album/subterranean-rites
Prurient - Casablanca Flamethrower - https://tescogermany.bandcamp.com/album/casablanca-flamethrower

\/\/ ya you are right, was doing this mostly off memory. Added links to as much as I could find too

i remember the pick being Thirdorgan's CD called 'Thirdorgan', not The Pornography of Despair

Got to say this is the pick that interested me the most

Are they sponsored by Hospital Prod ?

Yet have to listen to the last episode, but that Jumping Tiger demo is a beauty. Very simple and effective shrieking high energy noise blast. Sounds like anyone with 3 pedals, a microphone and looper could have made it and that's why I like it, no-nonsense noise at its best!

^Jumping Tiger- I don't think it sounds like anyone could make it but I know what you mean- for me it stands out as a great release because the associations and imagery granted from the song titles is really rich, and not common in noise- a new aesthetic in its 'vision'.

^^^There is a tape on No Rent called Thirdorgan, and there is a CD called Thirdorgan. They both have the same minimal design and name, but I'm pretty sure they are different releases and Mike is speaking of the CD.

jesus...thirdorgan is screwing with me!! Here's a CD link sample
https://www.youtube.com/watch?v=9oI9r90-9NA&feature=emb_title

Quote from: Eigen Bast on December 18, 2020, 07:30:36 PM
jesus...thirdorgan is screwing with me!! Here's a CD link sample
https://www.youtube.com/watch?v=9oI9r90-9NA&feature=emb_title

Not the most digestable stuff. But I have to say it was immediately attractive to me.

Quote from: Yrjö-Koskinen on December 18, 2020, 09:18:04 PM

Quote from: Eigen Bast on December 18, 2020, 07:30:36 PM
jesus...thirdorgan is screwing with me!! Here's a CD link sample
https://www.youtube.com/watch?v=9oI9r90-9NA&feature=emb_title

Not the most digestable stuff. But I have to say it was immediately attractive to me.

Yeah. Not what I was expecting at all.
It was mentioned in the podcast that could not tell how the sounds were being made...I'd say its pretty easy to understand how this was made, but he must be talking about different tracks with "unbearably high pitched tones."

It's cool that Steve Subterranean got a mention.  Not sure if he has in the past or not.  Can't remember.  His operation is an often overlooked jewel.

Trevor Paglen of Noisegate was mentioned an episode or two ago.  They talked about his cool book, "I Could Tell You but Then You Would Have to Be Destroyed by Me: Emblems from the Pentagon's Black World", published by Melville House.  I dig patches, so I found this interesting:

https://youtu.be/2_hv2YOJ8ck

Listened to the latest episode on Sickness' "I have become..." yesterday and really enjoyed the artist-in-his-own-words bits on certain aspects of the record.

Sickness episode was very good, I liked the format with the artist interview and label head discussing the various aspects about the release. Would be great if they can get others to participate in this format moving forward.

The Mason Jones episode had me going back and listening to Crash Worship ‎– The Science Of Ecstasy. Has anyone attempted to re-issue any of the group's material. Perhaps they aren't interested anymore which would be a shame. A box set or even some individual re-issues would be much appreciated.

Seems like K2 episode is online now. Good vinyl I listened not so long ago!

So far in 2021:

Bad Sector – Polonoid (with Kyle Wright). I like early Bad Sector stuff, but some later works, including his live gig I attended, was way too much leaning to rhythmic electronic music. Good discussions here, including story of the special edition coming with floppy disc containg file for screen saver, haha...

Maeror Tri – Language of Flames and Sound. OEC actually repressed this, nearly like the original. disc is just in more convenient plastic sleeve than just attached in middle of the die-cut brains. Really noteworthy album, that gets pretty noisy too. When noise CD needs to be repressed, it usually tells there is something unusually good there.

Sickness – I Have Become the Disease That Made Me. Talk about unusual and obsessive way of making noise! I know handful of people who just seemingly can't let go. Track is never finished and small tweaks are being made over and over again. I know this leads to different results, than just farting out random noises. Personally, always been somewhere in the middle. Rarely random, rarely edited too much. This is really nice episode, as it containt the Noisextra crew, but also publisher and the artists sharing their recollections about the album. Even when being track-to-track commentary, it is also partly interview that illuminated several things in Sickness that I don't think I ever read from interviews?

In Conversation with Mason Jones (Trance / Charnel House) Good interview episode, talking about Trance, his early 90's Japan tours, bringing over artists, arranging shows before internet era, doing absolutely noteworthy and important Ongaku Otaku magazine, and so on and on.

Esplendor Geometrico – Mekano-Turbo (with guest Shane English) This episode is unusual as it is rare case of nodding approval towards the old industrial tape blogs! I personally NEVER downloaded single rare tape. I was never part of that scene. Never had soulseek, don't even know how torrents work or what to do with similar file sharing software. All that said, nevertheless, it seems odd that such things seem to never be mentioned? One can glorify handful of tapes being dubbed or sold by distributor, yet blogs that made impossible material available for hundreds of people who had no idea such stuff even existed.... I know some prefer that there is no access to everybody. Insist that it is not the same to download and be really personally involved. Yeah, sure. But despite I personally have zero interest in downloading music, it would seem like crucial for history of genre to acknowledge also value of that side. Like guest of this episode, he concludes first time being exposed to EG, was on... was it Mutant Sounds blog? We are talking about things that happened c. 15 years ago. Seemingly not that long, but it's like people in 1990 talking about thing they listened back in 1975...

Premature Ejaculation – Anesthesia (with guest Charlotte Sartre) XXX actress with interest towards industrial talk here about Premature Ejaculation, as well as he work in the business, effects of both covid and pornhub scandals.

Listener Questions - I sent bunch of question for them too, and some appeared here. I have listened all their "publicly available" episodes, since Merzcast. That's a lot of giggles and plenty of noise information what can't be found elsewhere. It would be brilliant if they could gather oral history of noise -type of book. If anyone read things like Please Kill Me book, that seems pretty good format for noise book as well. Instead of author writing history, you got the oral history, straight from the sources. There are books about noise, but I feel there still is not THE book, that could capture variety of global noise. It is possible that such book could emerge, not from "academic study", but compiling oral history and publishing that as-is.

https://www.noisextra.com/archive/

Quote from: FreakAnimalFinland on February 25, 2021, 08:38:39 AM
It would be brilliant if they could gather oral history of noise -type of book. If anyone read things like Please Kill Me book, that seems pretty good format for noise book as well. Instead of author writing history, you got the oral history, straight from the sources. There are books about noise, but I feel there still is not THE book, that could capture variety of global noise. It is possible that such book could emerge, not from "academic study", but compiling oral history and publishing that as-is.

This is probably the best way, if not the only way, to properly get a definitive book done properly. An academically researched book might get you good information, but personal stories and recollections are so much more important and "real." Would love to see that happen one day. The only problem is Noise as an actual recognized genera is nearly the same age as punk (not counting the Futurists and all the experimental stuff from the early 1900s up until the mid-70s) and Please Kill Me was published in 1996. We are already 25 years behind and I'm sure a good chunk of memories are hazy and very, very hard to find publications from the time to gather for quotes. I'm not saying is cannot be done, but it will come with extreme difficulty. With the right help, anything can be done I guess though.

more from David Hopkins/Public Bath...

https://youtu.be/d-OOi6X8iBU

A friends label is working on an Oral History of 90s noise and already has collected many interviews and started to edit but its been a few years in the process and I don't think he has made a public announcement yet so I probably shouldn't say who. Based on the interviews he already has which I have been able to check out, I think it will be very interesting.

The whole process was started before the Merzcast/noisextra podcast, and I do think the potential overlap has maybe taken the wind out of his sails a bit, but that's just a hunch... he hasn't said anything to that effect.

Quote from: Warfare Noise on March 22, 2021, 07:54:17 PM
A friends label is working on an Oral History of 90s noise and already has collected many interviews and started to edit but its been a few years in the process and I don't think he has made a public announcement yet so I probably shouldn't say who. Based on the interviews he already has which I have been able to check out, I think it will be very interesting.

The whole process was started before the Merzcast/noisextra podcast, and I do think the potential overlap has maybe taken the wind out of his sails a bit, but that's just a hunch... he hasn't said anything to that effect.

I love Noisextra,really get a lot out of listening to it.

Books are ace, your friend needs to do it, the more the merrier.

loving it and their Instagram is one of my favorites

Latest episode is over hour interview with Joel of cult label SPITE.
https://www.noisextra.com/2021/04/21/in-conversation-with-joel-st-germain-spite-humectant-interruption/

It's good balance of acknowledging importance of label (whether editions were mostly 50, doesn't really matter), but also without downplaying it, realistically telling how it was teenage years enthusiasm, and more sum of things happening in the scene at the moment, rather than somewhat conscious artistic pursuit.

It is interesting notion to bring up, which is, or especially was the case in past when there was no instant feedback cumulating. One could be active in buying items, trading items, making sounds, playing gigs, without realizing how unique, pretty much one of a kind moment in time is happening. Joel talk how label basically was build on what was happening at the moment. This is quite different from a lot of label now, especially in re-issue climate, where one can cherry pick established names that has already "market" so to say. Back then, proposing 50 copies tapes to Mlehst, DBL, Ramirez, Grunt, Stimbox and so on and on, was just contacting guys who were out there doing stuff, and edition of 50 being what was realistic edition to make and get sent out there.

I could list several "moments" in history of noise that I am sort of missing. Not that current age would be hopeless, but it is very much possible that what happens now, is taken for granted - once again. It is far more easier to see more distant, such as experiencing pure torture of browsing through old catalogues. Seeing old letter from tiny label that put out bunch of tapes you'd be ready to pay decent money and back then passing it without thinking twice. I am often catching up with things that happened 10, 15, 20 years ago. Not out of nostalgia, but simply now being more in mood to check out things that at that time seemed not so interesting and also abundant. Now some of the stuff is seemingly non-existent. For example, it ain't flood of good noise 7"s in 2021! One just has to look back and be inspired in what era of noise & pe 7"s resulted, as opposed to for example endless bandcamp uploads.

Quotepure torture of browsing through old catalogues

Haha, remember 3-4 years ago through Google i was directed to an old RRRecords mailorder page, thinking it was the current -at first-. It's still up, This : https://rrrecords.com/catalogue-mailorder.html . Keywords: Zero Cabal, Grey Wolves, Dead Body Love, Thirdorgan, Spite etc. I understood it's too good to be true but i had to ask him to keep on my fantasy. Reality was as expected. Different, ugly.

Quote from: FreakAnimalFinland on April 22, 2021, 08:49:50 AM
Latest episode is over hour interview with Joel of cult label SPITE.
https://www.noisextra.com/2021/04/21/in-conversation-with-joel-st-germain-spite-humectant-interruption/

It's good balance of acknowledging importance of label (whether editions were mostly 50, doesn't really matter), but also without downplaying it, realistically telling how it was teenage years enthusiasm, and more sum of things happening in the scene at the moment, rather than somewhat conscious artistic pursuit.

Not uncommon, but I found that fascinating and cool.  Just doing his thing within a context.  His bubble.  And there were so many bubbles, though it didn't seem like so many bubbles, that it was easy, and likely, to not know about this bubble or that bubble.  Scratch your head and wonder, "How did I miss that entire thing that was happening?!" while now also thinking, "That's so fucking cool that it was happening, and I had no clue about it."  But I've come to appreciate that phenomenon.  Gems to be found later.  It was already pure gluttony at the time.

That was a good episode for many reasons.

Was listening new Noisextra episode with Maschinenzimmer 412 "Malfeitor" as target. Good one here, also because they had mr. Nordvargr featuring in the episode. Format was, I guess, sending bunch of questions to him via email and Nordvargr would record his replies alone (as opposed to more interactive live interview) and those were edited into episode. This is pretty good way to do it, if artists is able to do so. Instead of casual and relaxed talk, it would appear to be more thought & focused replies? At least it fits perfectly with bleak industrial album that laughter and fun times are reduced to minimum, haha..

So, after noisextra, had to listen the album. Its been loooong time since listened pre-MZ.412 stuff. Despite one can conclude it really is the 80's industrial, in its approach, feels like it survives the test of time better than some of later industrial albums. Nothing is -wild- here. It's just bleak, dark, mechanical, repetition of slamming drum machine beats, dark grey simple soundscapes, some odd vocals. My favorite track is the one with female moaning samples on the back. Idea, that never gets old!


Those into old Swedish industrial, I would recommend grabbing latest issue of Bardo Methodology, #7, with 6 pages long feature with Roger Karmanik. You'll have probably the best interview ever done with him, including full story of how CMI started, how it flourished, how it collapsed... and how it is back in business. Bardo Methodology is known for unusually advanced writing & journalist skills. Mostly metal, but there is other content, depending on issue. Print run of this magazine is thousands, so one is able to find it from a lot of distributors.

Weekly listenings of podcast has been done. From recent episodes some comments:

September, P.Children, The Haters, both good, but when Complete Works of Jonathan Briley with guest Kyle Wright came, it set the level a lot higher. A lot of interesting information and enthusiasm on quite different level. Also, no track-by-track talk, but approaching box set from larger perspective. I don't even have the box yet, but it makes one really interested:

https://www.noisextra.com/2021/09/29/complete-works-of-jonathan-briley-with-guest-kyle-wright/

Interview with Chad Davis of Subklinik is nice. I tried to look my shelves for some Subklinik to listen to, as I have surely distributed it during couple of decades, but didn't find what I was looking for.  Interview with Mortiis was fun. He is very chatty and talks a lot. Noisextra crew needs only to hint a bit towards topic of discussion and Mortiis takes it from there. A lot of funny stories, like making the early masks of blue-tac etc.  I am no fan of dungeon synth music. Nor I have any other Mortiis than old Emperor and noisier VOND stuff.

Conversation with Old Tower is a bit odd, since we're not talking about general outlines of Noisextra. Its not 90's nor noise. Of course Mortiis wasn't noise either per se. As opposed to Mortiis interview, there isn't that much of good stories or things that would interest me, but interviews always welcomed.

Macronympha "Intensive Care" CD episode is perhaps most inspiring. Roemers story how he got into noise is alone something that makes me want to record noise instantly.

Around the same time was recorded Macronympha/Grunt LP. Not sure when exactly Intensive Care was recorded, split was in 1997. Line-up was Roemer + Oliveira in both, with sounds from others too.  Couple years late Freak Animal put out Macronympha – Membranes And Black Holes CD. That is something I feel should be reissued. It was 300 copies almost 20 years ago, and I guess it is safe to say I fucked up the juicy macro-sound? Its not that I would have done something to it - perhaps exact opposite. Computer tech of the time was so primitive, no sound processing possibilities really. So, getting all-on-red chrome/metal master tapes from Roemer, and then just tranfering the sound via mini-jack cable to late 90's crap PC build-in input. Sound was just that. Nothing was "normalized" so the sound is quiet and thin on this CD. Of course you can crank up the volume, yet it is not exactly the same thing as having CD that is loud enough. So would be good to reissue this without additional boost, BUT, having it sound like masters did. We'll see...

Week ago Wiese in noisextra.
https://www.noisextra.com/2021/11/17/in-conversation-with-john-wiese/

He has been as fan talking about things, and there was also decent Harsh Truths podcast about him. There is a bit of overlap, talk of how path from hardcore punk, vegan shirts, etc lead into noise 7", font design and such things. I think there is different kind of emphasis what podcasts focus on. Partly the story is the same, what one may have heard in Harsh Truths, but Noisextra goes deeper into things like technical aspect of 7" making.
Last Finnish vinyl press quit in 1994, year when I started to put out vinyl. So I never pressed anything in Finland. It always felt amazing that there was actually vinyl factory round the corner and you could get friendly service doing white-label 100 copies singles...

2022 is opening new vinyl factory in Finland. I have my doubts about prices and amount of paperwork, but it could be good thing nevertheless!

Also, hot topic of noise CD's also reaches this interview, haha. Wiese concludes that when people say they didn't/don't listen, that then those guys must have been listening entirely different stuff than he did. Simply because ton of great noise was CD only. Perhaps nowadays a bit different, when most is online besides CD.

New Noisextra with Nocturnal Emissions was such a fun. Rare case of Noisextra crew not getting moment of silence, when mr. Nocturnal Emissions keeps on talking just about anything buy noise, haha. It's like first 30 mins gone and mr. Conelly tried to direct monologue with "sooo.. was this the moment when you started to record with NE?" -type question, but it does go more into early studies, work places, miserable conditions of early 80's London squats & abandoned buildings... haha. Well, it all sort of connects into band. It does take really about half way until you get to hear big of stories of gigs, tape networking. Really great piece about dropping Pump tape into.. was it Rough Trade -shop? some UK shop, and soon starting to get letters around the world, including Masami Akita! Unexpectedly, simply for dropping some tapes to physical record store locally, and fame travelled all around the world.
Good SPK stories too. Little bit of MB. There is very little about how music was made, but there is certainly strong element of participatory ethos, experimentation as opposed of commercial approach, and so on. Good stuff, can't complain when it is rare treat to get the true veterans of "industrial music" to talk!
I know some people appreciate more the later days, more advanced NE, as there are good stuff there, but this early total lo-fi industrial noise racket is closest to my own passion. All the stories of ultra primitive living conditions, no audience, no scene, just withnessing something new happening country where like he said "nobody had money, but that was fine as there was nothing to buy..." and then DIY culture emerges in new revolutionary way... I like the sound of that! Late 70's early 80's noise made out of whatever laying around...

I haven't made it all the way through the Netzach episode, but I remember the unassuming live LP from 1984 getting some distribution in the US.  When packaging was such a big factor, so I think the plain cover helped it fly under radars.  It's good.  Maybe falsely, but it gave me the impression, "This is a live band."  Probably some really nice chaos in a live setting.

Anyone have a list of albums from the latest podcast? A few slipped off my mind while I was listening

On a weekend road trip I finally got around listening this podcast. Browsed some episodes until I listen the Dominick Fernow two parter. Very interesting discussion, and I felt the same way with a lot of about what he said. Especially the talk about isolation and limitations, I've always found limitations inspiring more than having a lot of equipment to record. Boosts a lot of my 'creativity' when I just have a certain sandbox to play in have to carve my desired sound out of that. It was also funny to hear someone like Fernow with such long career talking about being sorry for his friends that come to see his gigs, haha. I can certainly relate to that. Interested to hear more episodes, this was an absolute 'banger'!

I am slightly "old school" in a way that I have never even been on Patreon site. I get the idea, and basically also like the idea, that you can directly support maker who you "consumer". Like myself, who have listened every episode of Noisextra for free of charge, thanks for the noisextra crew, hah. It would be certainly worth of payment like I pay for the albums I buy... Nevertheless, fact that never bought digital music either, nor almost never download stuff.. It also means I have not heard any of the trashwire episodes of Noisextra. Except the one(?) what was on public side earlier.

It was nice to listen entire 1h 40 min episode with Greh interviewing Conelly. I have sent them couple of times mail that it would be good to hear more of what they have done. Especially things like USA touring culture of first decade of 2000's. In new episode, we get some amusing anecdotes of that too. Topic itself is gear mike uses - which is basically almost zero gear.

https://www.noisextra.com/2021/12/29/trashware-mike-connelly/

Gear talk with people with no gear is probably even more interesting for me. I am sort of interested in gear, but in other hand, don't buy almost any, and don't use more than pretty much absolute minimum. I still got my first guitar, first guitar amp. I got the first multi efx unit. I no longer have my 2 first 4-trackers or stereo system I used for feedback loops back in 94-96. Otherwise I still have pretty much everything, many things in active use too.
I have had so little amount of pedals or synths, so I think I got all pedals I ever had in my life still at reh place/studio.
I could basically go back to do sessions with Grunt 90's equipment, where everything else is the same, but 4-tracker is not 100% same and microphone is different.
Even latest Grunt, it was so minimal gear, MS-20 and loop pedal, in some tracks hall-of-fame reverb, digi-delay and blues driver distortion. Nothing is "boutique pedals". Just the most popular, easiest to get (say: things that were available!) stuff. Besides that walkman, turntable, tape decks.

Mikes early style to first have mixer where everything is plugged in, then from output goes to Death Metal distortion and to amp. Its good one. On later era of Grunt live gigs, we'd sometimes have straight to PA gigs where line-sound is shitty, unless you have something after mixer to create saturation. I have this stereo tube pre-amp that creates neat analogue saturation when playing without amps or recording to tape. For more noisier stuff, I used sometimes just two blues driver pedals to get stereo out. Just good ripping sound and everything melting together and you can also tell sound guy that level is THIS. There won't be peaks, as everything melts into nice fat distortion.

Big part of gear always came from friends who wanted to get rid of something. Only gear I have REALLY ever hunted for, and tried to compare options and possibilities, is sampler for live gigs.

That said, it is funny to hear how clueless Conelly is after all these years. Just total gut feeling, with almost zero technical know-how. I have played with tons of gear, have many friends who have all sorts of things. Some of it occasionally bleed into my own work. Even like doing things with modulars or other complex gear. Useful to some purposes, but I really prefer the noise where gear is "hidden", not something where gear IS the noise.

Recommended episode!

Latest episode is sort of about MSBR "Destructive Locomotion" CD, but it is vastly more about AUM! One could say it is more kind of true crime podcast or observation of this Japanese cult, with little inspirational help from M.S.B.R.! I liked it.

I remember back in the day, there was some criticism towards the Japanese noise, that it didn't have the substance heavy approach like western industrial-noise, that nobody would cover things such thing as the gas attacks, and it required Death Squad to touch this theme. But like Noisextra mentions, there was Incapacitants and MSBR who did hint towards it. Perhaps did not use it in PE/Industrial style thematic, but acknowledged it anyways.

It is kind of amusing that back then criticism would be that artists would avoid current affairs. Nowadays, I think that there may be couple different camps of approach, but most of guys I know, are totally abhorred if some band/artists jumps straight away into contemporary politics and latest news. Like, lets say... you got some covid themed noise or perhaps some American presidential politics, I doubt there will be many people "finally!! yeah!!"..  haha.. Or some currently ongoing, or soon-to-be starting war covered on noise release...

Checked out a few recent episodes this week, its been a good way to start the day with some noise news & chit chat. The Format of a 3 person panel discussion grazing over the tapes they listened to this week and then a deep dive into whatever classic noise release works well. Book of the month club meets morning talk show vibes go well with my cup of coffee.

One of the episodes I checked out was posted on youtube with video feed and I must say that the visual element is my preferred method of podcast consumption. Body language counts for plenty and seeing the album art being unpacked seems essential to the "review".

https://www.noisextra.com/2022/01/12/chop-shop-steel-plate/

Chop Shop episode. I recall when I was always drooling on this, but RRR catalog at the time said "weight counts like 10 LP's". I'd check the postage rates how many USD to add per LP.. and in the end, always thought, I got to stick on ordering CD's at 3 for 20 bucks...
It took until probably 10-15 years ago, when was visiting mr. Putrefier, and his label was long gone, but not only I got to buy his unplayed DISTRO copy of Whitehouse Right to Kill LP, but I do remember that I also bought this Chop Shop. It is most likely the best Chop Shop release.

New one today:
https://www.noisextra.com/2022/01/19/questions-and-answers-pt-2/

QuoteThe tables are turned on Noisextra as we reached out to listeners to see if they had any noise questions for us. Inquiries concerning running a label, favorite releases, show memories and more.

Someone mentioned that episode they were going to do, somehow didn't work out, so here we have second Q+A episode.

I think sometimes that even the "veterans" of the underground publishing may need some advices, or perspectives on things like how to run labels. Like this question of how big royalties should be. Especially with pressed bigger runs, 20% sure, very standard. But, also especially with the CD, it costs next to nothing to press more. So giving more royalties is no problem. Guys who like to give out freebies to his friends, especially those who have lots of friends and associates, and can move 50 copies easy, and doesn't ruin labels possibilities to sell.. I think it can be wise just ask how many free copies you need. Even if band would need 100, and you only thought of making edition of 100, it really is just about the same cost to press 200, and give half to artist. You pay almost identical manufacturing cost anyways. Most of the time, in my experience, artists want less CD's than I'd be giving. They have no contacts, no distro, no gigs.. so they prefer to take handful of their own, and pick up other label titles for their own collection.

I think only thing what one can consider, is that will the artists undercut the price and ruin it for label. Trying to wholesale title for distributors when artists is retailing it for less than that... kind of annoying. Also if artists is so well connected, that he manages to sell album to "everybody" and label is struggling to break even may be issue to some.

I think that is related to talk about what label should be doing. Or could be doing. In WCN Koufar interview he mentioned now that he has had some level of success, suddenly labels try to leech on him. Guys you never heard of, wants to put out stuff. I do get that type of offers, and I often think... why? If I could do any day new tape, move up to few hundred copies over the years.. why I would do edition of 50 somewhere. All the people who in this day and age still interested in something, could be merely told "oh, its gone, better luck next time...". pff... no thanks.

I think it would be somewhat fresh attitude to see labels, who would think what I can do, what others can not, or do not do. Anyone can put out 50 or 100 tapes of band who someone else already made known "in the scene". Its far more challenging to wade kneed deep in mud finding new up & coming interesting artists. Or get the releases to places where artist or other labels don't. Reach new audiences, build something new. Not just walk on already established paths and create items for loyal group of buyers, but somehow push things to new ways.  When in episode they talk about digital distribution, and I think that's one element that of course anyone can have their own bandcamp, but if for reason or another, label has several thousand followers, it sure makes difference do you upload noise to your own bandcamp with zero followers. So even digital releases may benefit on being on label, IF label is good. If label has exact same people following what find your stuff anyway, its pointless of course.


What is best Lust Vessel question was quite good in illustrating that, labels popularity and appreciation was not only doing things good (sound and visuals), but also that it was new acts and unique to label? Whole early period is pretty much flawless. But in later part is great, but  suddenly Are & Miljö, Knækkede Stemmer, kakerlak, Grim, The Rita and so on... all great bands for sure, and nice presentations.. But it displayed no more the unique Lust Vessel.  Signing projects that are known from elsewhere and already kind of "established", and in a way could have been anyone else picking up the good active names of that moment. First 5 years just unique LV stuff and then... couple batches of kind of random international acts who were recording for a lot of different labels at the time. Of course, known artists need to get invitations too. It seems there is sometimes moments when some formerly "established" artists regresses into self published cdr's, simply because nobody asks them?

Nevertheless, to me it feels, that the old trusted artists are quite safe bet, but when there is new label, that has new artists, none of the old farts have energy or interests to wade through, that can create new interest. Just walking into scene, cherry picking good acts and often feels lacking vision and personality.

Isn't that about a label being a vanity project?  People wanting to be involved on a deeper level with their heroes?  "Wouldn't it be cool to do an Incapacitants release?"  That sort of thing.  If not that, they're thinking it is a savvy business maneuver to start off a label.  I don't think you can blame someone for either reason, but, as you said, it lacks utility in a larger sense.

Yes, probably. And also when I started out, I did both. Put out currently active projects of friends, but also reached out to guys that I admired. I did notice, that if I did Grunt/Love Hole split 7" type of thing, distros would ask 0-3. If I did Grunt/Aube, labels would ask even up to 50-100. Back then. It may have had little effect, but nevertheless, I always preferred to promote new and unknown and those that kind of became "roster" of label...  Even if it would be vanity project, I think it would be good in case when someone would be like "what I could do, that SOLMANIA would be appreciated in ways it.. should". And then do it. And not like offer split CDR with your own noise...

I think more businessmen in noise would not be necessarily bad thing. It would be great, if there was someone doing for noise, what Grey Area did for industrial! As much as there are great reissue happening, or new releases, I don't think there is that type of effort to push it beyond the "scene"?

I greatly enjoyed today's episode with Jeph Jerman. Great discussion of methods, "field recording" (as in, recording in the field), noise history, and future plans.

I am at the moment just starting it, but listened at night and fell asleep so quick, no recollectings other than them talking about how Hands To is correctly pronounces.

Episode before is good one too. Return to the Ground Fault, with focus on French electro-acoustic/field recordings works he did. Too bad to hear Eric is now retired from noise biz. He does sell inventory at discogs and so on, but no more new stuff to be expected...

There is a lot of interesting stuff at Jeph Jerman episode.
I wonder for example is the noise guys being surprisingly often drummers... real or just something that drummer sees? Like thinking Finland, and Bizarre Uproar started as drummer of hc/punk band that transformed into Aunt Mary. I was basically drummer, much more than any other instrument. Playing drums in multiple bands. Current bands, Mogao, Corral Shut, Touch Starved, Nuori Veri, etc etc.. all drummers. But then again.. thinking non-drummer noise.. there is vastly more?

Talk about different levels of listening, and focusing is very much valid points. I did stop writing reviews years ago, for sake of being able to focus on experience of listening, rather than figuring out how to articulate it. Later did discover that writing something, as opposed to detailed analysis may be better. Returned back doing reviews as it felt like it did help to understand and remember how something is. Then at occasions, returning to think that "intellectualize", analyze etc.. it does damage a bit the pure experience - if such thing even exists. Also, do you need to think the sound itself, or where the sound takes you. Not thinking of the piece itself, but is plays there, you acknowledge it, but are thinking or doing also other things...  

New episode with DAVE PHILLIPS is real good!

I have nothing against harsh noise makers in noise t-shirts and caps, talking of pedals - for example, but, there is quite big difference of flow of interview and the type of motivations and drives found from interviews such as this. Of course, it may be more about of type of person, than type of art/sound. He just expresses himself pretty fast and articulate. That ain't very easy for most. Man has been around, and perhaps interviewed fairly regularly?

It certainly is pretty much all talk about noise/experimental/field recording and directly related themes in his expression, even if very rarely they dive into specific technical aspects. It is funny that Dave concludes he usually uses his gear until it breaks. Anything handy will be fine, and often he doesn't really remember what model, what brand he is using.
In interview, as well as in his sound, it is quite clear how the idea and vision is the core, while tools are way to reach that.

Early years go real fast in this. It would be probably pretty easy to return to his work, even just focusing on something as simple as radio programs they did.. Now it casually is mentioned in one sentence that Schimfluch guys did radio show too. Man, that 10xCD box, it's nearly all pure gold. It would seem like topic I'd be happy to hear exclusive episode!

https://www.noisextra.com/2022/02/16/in-conversation-with-dave-phillips-schimpfluch-gruppe-fear-of-god-ohne/

Listened to the Dave Phillips episode last night as I could not sleep because of the severe storm that is raging over here.

Excellent episode. Besides Fear Of God I am not familiar with any of his projects or recordings, but the interview was captivating nevertheless. Authentic, inspiring and very emotional at times.

Jeph Jerman is one of the best episodes in a while.  Haven't heard the name Bernie Krause in a long time.  Lots of important names mentioned.  Love how he talks about sounds and things in general, but it isn't surprising.  An episode worth listening to a few times to absorb it all.

Dave Phillips is a good one too.  Class act.

Finally got to the Jerman episode, that was great. I was able to see that short documentary on him that he referenced a couple years ago (I seem to remember coming across it around the same time that Incapacitants one came out). It's a shame that it was taken down because it was really special.

Latest episode is really good for those who are interested in the old tape scene. Al Margolis talks full of enthusiasm, early 80's, mid 80's, running tape label, some mail art, doing things in 90's, CD era, current days, difficulty of running tape labels these days in same way like it was, and so on.
Not all nostalgia, not at all. I think many of this experience could be advice, suggestion of other ways to do things.

I think it would be brilliant, if there would be more of tape labels like there used to be. That would have catalogue in-stock, seemingly forever. Even in the way G.R.O.S.S. did it. A lot of things were first chrome tape, 50 copies, and then more copies. Of course all kind of limited, but I can't really get how nobody does it in way, that you'd pro-manufacture 50, 100, 200 or something, and have pile of covers and master for making remaining orders little by little, when/if they come. At least my own experience is, that GREAT noise tape sells always. It keeps selling little by little, year after year, even when you thought everybody must have got it by now. I think this would be sort of downshifting the scene - from hectic consumption, to something else. Many people have complained, that by the time, word travels that something is good, it is sold out. Sure we are not running out of good items to buy, but for artist or label, one would assume it would be great that when there is growing attention for item, then label is ready to do a bit more work that might not all seem just fun.

Like Margolis in episode describes, that amount of orders was so big at some point, that he had to ask Monday to be day-off from work. Less salary from day job, but Monday would be all about cutting tape covers, gluing labels, dubbing tapes,.. hah. I have feeling that it may have not been always FUN, but rewarding to see that one made a difference, even in global noise network and things happened, spread, cumulated, connections were established and so on.

https://www.noisextra.com/2022/03/02/in-conversation-with-al-margolis-if-bwana-and-sound-of-pig-music/

Is the SoP book available anywhere?  Even scanned online?

https://www.noisextra.com/2022/03/09/in-conversation-with-john-balistreri-slogun/

This was great! I've could have listened another hour and half, although of course they did cover entire career and a lot of things about Slogun.
Episode starts all kind of negative. Being retired, done with it, and describing how everything happened kind of.. not really even wanting to do, but just ending up doing, haha...  Or scene having changed, and it is no longer ours. And so on. However, it doesn't require much, when John is more enthusiastic and positive about how basically all things turned up. Lots of anecdotes, stories, details from early days,  pre-slogun , working in store with Mark Solotroff, bits of early days of graffiti, how his extensive touring/festival gigs and such started. Also true crime, self loathing, the loneliness of serial killers, and so on and on. Bits of baseball cards. Anecdotes include special packaging, Taint, Solotroff, Strict, Deathpile, etc etc.

His view of sort of golden era, when these mentioned things were happening, intimacy and personal contacts, physical unique releases, scene small enough, but still sort of big enough. Both locally, but also internationally. Then at some point, new people, new motivations, new backgrounds, and John concluding after specific incident that "it's over. Scene is not ours, its theirs..."

I can see if someone would feel that way, but I personally don't. I feel that for example, I am where I am, and if someone would not like, they walk away, not me. This is probably easiest way to get back to basics, if one prefers close circuit of slightly like-minded people. In some ways, not so many things have changed, if you just happen to live and experience noise like it always happened.

Slogun lyric book, would be definitely good thing to happen.

Have not made much of a point to keep up with Noisextra as of late, but have to say the Slogan interview is one of the best I can remember. There isn't really a minute that goes by that isn't thoroughly interesting. So much information covered, I could easily listen again.

Quote from: FreakAnimalFinland on March 10, 2022, 02:36:15 PM
I can see if someone would feel that way, but I personally don't. I feel that for example, I am where I am, and if someone would not like, they walk away, not me.

Unfortunately, that is how it is in the US. Even if you try to put on a show that is seemingly benign and someone takes offense, they will try to shut it down and, more often than not, succeed. I helped organize that Chicago show that John mentioned and was completely revolved around him coming out, so it was an utter embarrassment what happened. It forever changed my attitude on setting up shows for the worse. Sucks.

Quote from: PTM Jim on March 12, 2022, 07:41:26 AM

Quote from: FreakAnimalFinland on March 10, 2022, 02:36:15 PM
I can see if someone would feel that way, but I personally don't. I feel that for example, I am where I am, and if someone would not like, they walk away, not me.

Unfortunately, that is how it is in the US. Even if you try to put on a show that is seemingly benign and someone takes offense, they will try to shut it down and, more often than not, succeed. I helped organize that Chicago show that John mentioned and was completely revolved around him coming out, so it was an utter embarrassment what happened. It forever changed my attitude on setting up shows for the worse. Sucks.

Could you explain what did happen? Not a lot of info and I know for a while Chicago organizers have seemed to have to deal with a lot of bullshit from folks outside their scenes putting pressure on venues, neighborhoods etc when they wanna get butt hurt about shit that triggers them or whatever.

Did the dude get prosecuted? Beat down? Was it an act by someone being misguided and over zealous about how they felt about the music and energy thinking this was some WWE type shit? Or like fighting because he thought that's like the image he's trying to project? Total bummer that happened, not super shocked it was Chicago unfortunately.

Maybe he did he refer to same incident where Solotroff was surrounded by bunch of cunts who demanded some sort of explanation & apology for what he did with specific side project several decades ago. That story has curious element that who ratted out this type of ancient details to people who felt it would be needed be addressed these days. It basically displays, no matter what one would do meanwhile, 30+ years some sad loser refuses to pay attention what you've been doing, but always remember "oh, 30 years ago he...".  It is odd paradox, where someone seems to be obsessively interested in what artists has done, but really not interested at all. For such people one could just say listen a bit more industrial-noise, you might just learn something, bozo.

On positive note, there is a lot to learn on Noisextras episode with ERIC LUNDE!
https://www.noisextra.com/2022/03/16/in-conversation-with-eric-lunde-boy-dirt-car/

I don't know, was there a bit of pressure of WCN podcast interviews, that recently Noisextra has basically shifted from track-by-track album talk into interviews! I suppose they already planned this long before, as I recall they ask for suggestions for interviews probably year ago or so? Getting some input from listeners if there was some name they had not thought themselves. I recall they mentioned somewhere it was damn long list of targets that would take long time to get done even on weekly basis!

2022 alone has been like historically important podcasts. Thinking how last couple of months have been, damn! One could think where to go after Jerman, Lopez, Phillips, Margolis, Slogun.... Lunde piece here 80 minutes and very quickly gets to the point and deals with many things, early 80's, 90's, 2000's.. Physicality, language, computers, tape-noise, recording field, process of creation, mail-art, nature of album - release - .. gift!

As stupid as it may sound, I find myself being effected by existence of discogs. That sending out something, or putting out something, makes me cautious that now this will be soon listed as "album", while it is not. I fully realize how stupid and irrational the feeling is, yet it still have not really been able to not let it have small role when thinking should I let something leak into other peoples ears. Lunde is talking about some of the things he has made, and he concludes this is not release. He did it, sent out copies, but its no album. It was gift to someone. Just like mail-art sent out to 20 people, was mail-art. Quite separate idea from merch someone could buy. It is very inspiring to hear the perspectives of old timer, who certainly is involved, and is active in many ways, plus can sell you bunch of stuff if you're interested. But the art happens in other ways, than "music biz". I know I keep talking about same thing, but its perhaps due being in such place that I may see too much of music business, hah... It has its good sides, but also I am highly inspired about many things Lunde here talks about.

Quote from: FreakAnimalFinland on March 18, 2022, 08:23:22 AM
As stupid as it may sound, I find myself being effected by existence of discogs. That sending out something, or putting out something, makes me cautious that now this will be soon listed as "album", while it is not.

Users can edit the information in Discogs so if something is marked as an album you (or anyone else) can go and take out the Album tag which makes it appear in the Misc section instead.

Quote from: moozz on March 18, 2022, 10:01:54 AM

Quote from: FreakAnimalFinland on March 18, 2022, 08:23:22 AM
As stupid as it may sound, I find myself being effected by existence of discogs. That sending out something, or putting out something, makes me cautious that now this will be soon listed as "album", while it is not.

Users can edit the information in Discogs so if something is marked as an album you (or anyone else) can go and take out the Album tag which makes it appear in the Misc section instead.

That's a great point, but the post by FreakAnimalFinland about Lunde was a solid step in the direction of discussing the fact of noise releases being objects detached from the 'music business'. This could be a very important approach in the discussion of works, which could be helpful in moving away from typical conversation that is dictated by the discography or output of an artist as set out on Discogs. Where one draws the line between album, EP, tape, etc.

'Release' is one of the default terms I'd use ('work' being too pretentious), all the same it is great to hear it seems Lunde is hinting something about how the character of his decades-long output is made on his terms, not simply as products for a marketplace. Very inspiring indeed.
Thanks for bringing this topic up!

Quote from: moozz on March 18, 2022, 10:01:54 AM

Quote from: FreakAnimalFinland on March 18, 2022, 08:23:22 AM
As stupid as it may sound, I find myself being effected by existence of discogs. That sending out something, or putting out something, makes me cautious that now this will be soon listed as "album", while it is not.

Users can edit the information in Discogs so if something is marked as an album you (or anyone else) can go and take out the Album tag which makes it appear in the Misc section instead.

Depending on the length/quantity of the tracks, a demo can be automatically placed in the Albums section even if it does not have the "Album" field checked in the Format.

https://www.noisextra.com/2022/03/30/in-conversation-with-nico-vascellari-ninos-du-brasil-codalunga/

Nico Vascellari is one of the rare cases on Noisextra, I had very little clue on who and what he is. My assumption is, that what he does and what I usually follow, crosses over basically on one aspect. His work with Prurient. I have not intentionally set to buy anything from Vascellari, but happened to get something due Prurient connection.

Interview is fun to listen. Italian accent is great here. Some really good stories, plus his idea of private tour is very close to what I had in mind for Grunt for 2022! Not that I would be set such strict artistic frame on tour, but seems fairly close to what I had in mind. This guy did perform 20 gigs, in 20 houses, for only people living in the particular house. Whole thing documented and all gigs somehow different. Of course being actually legit artist, it would be documentary for Italian TV.

There are lots of things that I like what he is talking about. One being starting as a youngster in small town, and DIY being only way to get things going in place where nothing is happening. 

Quite mindblowing to hear when ND editor talks how print run of the magazine was even up to 3000 copies. Of course, times were different. I recall even ALAP #1 was 3000, which was way way beyond noise magazines normally are in 2000's. I guess with them, it was that it was exceptional writing there, distribution by proper dealer and so on.

What I talk to any zine makers now, even proper magazine with decent distribution, it is just a notch over basically any zine. If any zine debut issue can be sold 100, 200... and then a bit more established 300 or more.. and finally it seems like on the top of the foodchain are the ones with print run of 500-600 copies. But that's about it. Special Interests at its highest, has print run of 1000 copies. That was for SI#9. I am down to last 80 copies or so. After that issue was longer break, and most of all, the noise distribution infrastructure changed. A lot of bigger dealers who sold most of early SI issues, were no longer active. A lot of small labels, not having distro but having discogs account or bandcamp to sell from. That combined to rising postage rates. It seemed like times of moving 1000 noise zines is over. Not due lack of interests in general, but simply due lack of distribution possibilities. It is still quite amazing how wanted zines are, and how people order them all over the world, just to get handful of pages of noise information. And I am talking about all zines, not just SI. Anything I manage to get into mailorder, there are always people scattered all over the world who'd like to grab a copy to read.

ND operated from 1982 till the internet started to become more popular.

You can hear the entire story here:

https://www.noisextra.com/2022/04/06/in-conversation-with-daniel-plunkett-nd-magazine/

Quote from: FreakAnimalFinland on April 12, 2022, 08:13:51 AM
Quite mindblowing to hear when ND editor talks how print run of the magazine was even up to 3000 copies. Of course, times were different. I recall even ALAP #1 was 3000, which was way way beyond noise magazines normally are in 2000's. I guess with them, it was that it was exceptional writing there, distribution by proper dealer and so on.

What I talk to any zine makers now, even proper magazine with decent distribution, it is just a notch over basically any zine. If any zine debut issue can be sold 100, 200... and then a bit more established 300 or more.. and finally it seems like on the top of the foodchain are the ones with print run of 500-600 copies. But that's about it. Special Interests at its highest, has print run of 1000 copies. That was for SI#9. I am down to last 80 copies or so. After that issue was longer break, and most of all, the noise distribution infrastructure changed. A lot of bigger dealers who sold most of early SI issues, were no longer active. A lot of small labels, not having distro but having discogs account or bandcamp to sell from. That combined to rising postage rates. It seemed like times of moving 1000 noise zines is over. Not due lack of interests in general, but simply due lack of distribution possibilities. It is still quite amazing how wanted zines are, and how people order them all over the world, just to get handful of pages of noise information. And I am talking about all zines, not just SI. Anything I manage to get into mailorder, there are always people scattered all over the world who'd like to grab a copy to read.

ND operated from 1982 till the internet started to become more popular.

You can hear the entire story here:

https://www.noisextra.com/2022/04/06/in-conversation-with-daniel-plunkett-nd-magazine/

Interesting to read.  My highest print run was 130 copies, and my first ever zine was 15 copies (plus a 15 reprint sometime later), and yes these end up in a couple of international distro's but mainly posted from home to wherever I can connect to.  In the past I have sent copies to Singapore, Australia, even Africa, which was really great.  I know someone who is off to Antarctica next year, I can get a zine in their hands then I have covered all 7 continents!

Excited about this ND episode. The most anticipated and key source at the time. Would love to see all the issued collected, or at least all the issues prior to the final couple of massive ones.

Iugula-Thor "processcenes" tape, I remember back in the day, not being instantly caught by this. Wondering even why it was picked up for re-release, but over the years, uniqueness of I-T has proven to not only sustain its strength, but show that there ain't really coming projects like that...
https://www.noisextra.com/2022/04/13/iugula-thor-processcenes/

NSI "M Plays Havoc" episode is good one for being such obscure release and plenty of talk about hunt for unknown and totally obscure industrial tapes from the 80's.

Hermann Nitsch episode with Ryan Martin is full of neat information. Even after reading bunch of articles, books, interviews related to his work, it is really good one with enthusiasm and admiration for Nitsch oozing from all the people talking about his work. Ryan Martin has lots of stories worth hearing!

Suzy Poling, I was unfamiliar with. There is a lot of talk of noise/art/music, but also focusing more on near-death-experience of hers and other struggles.

Government Alpha "erratic" episode, those who want to hear this tape, during this summer should be out 5xCD box of G.A. that includes tape in its full glory, mastered by G.A. himself.

In Conversation with Jacob Kirkegaard is another guy I had no knowledge before. If it is someone working under his own name, I got serious challenge to remember anyones names. I would prefer to know them by works, attached to project name...  This guy has a lot of interesting stories, recordings of death, field recordings of chernobyl, all sorts of oddities
https://www.noisextra.com/2022/05/18/in-conversation-with-jacob-kirkegaard/

Mortal Vision "Nacht Musik" talk is nice. It is very hard to estimate how someone hearing this now, would feel about it? It is nice tape, and reissue LP should be widely available. As project produced only very very limited amount of stuff, it is far less famous than CCCC, Astro or such. For me, merely short piece on Come Again II was reason why I just wanted all that is possible to get. Missing only short comp track on Deadline, and the one split tape that came out 5 years ago.

Teatro Satanico episode makes me want to check out more of his stuff. Name is well known, but can't quite grasp any feeling how exactly any of the particular releases sounded like. Noisextra people certainly are fans.

Prepping for Tour with Black Leather Jesus, Moonbeam Terror and Straight Panic -episode is slightly unusual take. Its kind of mix of promotion for the tour that just got finished yesterday if all went according to plans. They interview all the touring acts separately, catching up some recent things, some personal things, and talk about touring as noise artist and what type of preparations, obstacles and such there are. It would be nice to get other this type of things. Perhaps after the tour -reports? Like mentioned in multiple topics of this form so many people acknowledge the void of information. Things that kind of create the sense of things happening, and feed energy into movement. Back in the day, it could be just Trance writing tour report for his visit in Japan or something like that, what is kind of immortalized among stories we know of Japanese noise. It would be odd if lots of shows and fest happen, and all we get, is 30 sec video clips that disappear into cyberspace.

The most recent episode Mental Descruction CD worship. This is tough CD for me. I did listen it not that long ago, just confirm can I get over the low-bit-rate sampling, bit crushing noises etc... and got to say there is challenges for that, haha.. At the same time, I like it, but there are challenges. It is something what has traumatized my brain on what "digital noises" can sound like.. hah.

Nice episode. I like the MD CD a lot. It was one of the first industrial CDs I bought way back when, and back then it just blew me away, so it's a very important album for me personally. Anyway, I like the in depth track by track approach including how they are able to talk about the more technical stuff and explain how some of these sounds were (probably) made.

Quote from: FreakAnimalFinland on June 20, 2022, 12:20:03 PMHermann Nitsch episode with Ryan Martin is full of neat information. Even after reading bunch of articles, books, interviews related to his work, it is really good one with enthusiasm and admiration for Nitsch oozing from all the people talking about his work. Ryan Martin has lots of stories worth hearing!

Yes, a great episode.  Unless you got there, you would never hear about all those little interesting details.  I went as far as getting an application for an Aktion, but it could never happen.

Quote from: FreakAnimalFinland on June 20, 2022, 12:20:03 PMThe most recent episode Mental Descruction CD worship. This is tough CD for me. I did listen it not that long ago, just confirm can I get over the low-bit-rate sampling, bit crushing noises etc... and got to say there is challenges for that, haha.. At the same time, I like it, but there are challenges. It is something what has traumatized my brain on what "digital noises" can sound like.. hah.

Mental Descruction are a sleeper, both in the CMI catalogue and in general.  I revisited them after the episode, and all their albums, and even comp tracks, are pretty darn great.  I remember Straw receiving some good talk and acclaim when it came out.  Recommended.

https://www.noisextra.com/2022/06/22/in-conversation-with-en-nihil/

En Nihil interview was nice. I got many things from him, perhaps earliest is the Pinch A Loaf tape 1995, that came under name NIHIL. Output in the 90's is not so huge, so I ended up with fairly good % of them without even trying to consciously collect anything.
1994-1997 I was perhaps more spellbound by power of Japanese noise. Or, lets say, not totally, but a lot of time the bleak, lo-fi, low-tech, dark and such was not such a priority, although when you look the years now, you got Con-Dom 7"s series, GW 2nd and 3rd album, GO mind control, remember...  and countless others coming. Nevertheless, in list of what I should purchase with little money I have, En Nihil wasn't on top of list as I associate it with dark ambient / death industrial kind of things, and it feels like I was focusing then more on thinking how to get Masonna, Gerogerigegege, CCCC, Merzbow,.. although plenty of PE as well. Ended up selling most of things I associated with "dark ambient", only to regret it later...

En Nihil tells the story from beginning, fairly short active phase in 1994-1997, and then comeback more than decade ago. Tells how he had pretty self destructive life for a while, quitting noise and trying to do something else, other type of experiences, and eventually returning to noise with more positive approach. I am sure positive just meaning more than creation is rewarding and creative, rather than sinking into hopeless destructive tunnel with no light ahead, hah. Creative & rewarding is obviously better if you ask me. That route to self destruction if often better as story, than as audio.
I heard some of the comeback stuff, but should probably check out the ones he mentioned to be possibly the best ones from new era.

Quote from: Zeno Marx on June 20, 2022, 07:00:16 PM

Quote from: FreakAnimalFinland on June 20, 2022, 12:20:03 PMThe most recent episode Mental Descruction CD worship. This is tough CD for me. I did listen it not that long ago, just confirm can I get over the low-bit-rate sampling, bit crushing noises etc... and got to say there is challenges for that, haha.. At the same time, I like it, but there are challenges. It is something what has traumatized my brain on what "digital noises" can sound like.. hah.

Mental Descruction are a sleeper, both in the CMI catalogue and in general.  I revisited them after the episode, and all their albums, and even comp tracks, are pretty darn great.  I remember Straw receiving some good talk and acclaim when it came out.  Recommended.

Mental Destruction was a fantastic live band. Headbanging jesus folk delux and the bit-rate wasn't a problem when you had crushing sound levels. The one I always go back to is the Sound Source tape. Those recordings are the closes to the live experience but still not close.

I remember the shock of seeing them "live" first on one of those.... Old Europa Cafe compilation VHS tapes! Exactly what described. Smoke machines, big stage, lightshow, long haired dudes moshing hard with noisy industrial loops.

There was No Fun Fest Slogun show, where guy of Villains did some guest vocals. It was high pitched long screams, that didn't sound like Whitehouse or something, but almost like King Diamond vocals over droning PE synth tone. Since seeing that gig, I have been thinking that someone would have to do one day power electronics/industrialnoise blending with heavy metal vocals. Not growls. Not screams, something in lines of early Helloween, King Diamond and Agent Steel! Perhaps also first ever PE songs with someone doing shredding solo works. As far as I know, there is actually couple harsh noise dudes who are also into shredding guitar solos. It may sound as joke, but I would think it could work out.

One of the most difficult names to write correctly. It is half & half chance will the letters go in right order, still after multiple decades, when typing: M L E H S T .
https://www.noisextra.com/2022/06/29/in-conversation-with-mlehst/

Great interview I listened instantly when it went public. It is amusing to listen to interview of artist, who ends up ditching his entire archive of masters to garbage bin, since it doesn't seem to matter. Nobody really cares, and other things to do in life. Meanwhile, there just isn't really way how appreciation for project could be visible. Most often no idea what someone is working on, what they have available, are they looking for deals, did they have deals and looking to get rid of items...? Output is so huge, that it is hard to pick up absolute favorites. Tape on SPITE, old collaboration with Macronympha, they remain my favorite, but should probably remind myself how did the tape on Nuit & Bruillard was. I have feeling I listened it couple years ago and liked..  7" on Self Abuse, mandatory of course.

They discuss a lot about the seedy and shady UK humor. Expressions, the sweaty and dirty, Sunday tabloid type of things. There used to be so much so British specialities even 15-20 years ago when you visited porn shops of London. Something so British. Men in diapers. Rubber fetish, that would present itself differently thank germany, Denmark or USA. British trannies and cross dresses. Certainly used to be dirty old men, nothing elegant. Food-mess, cake in the face type of erotica, etc etc. Mlehst or Smell & Quim are (or used to) charmingly representing that type of purely unique seedy and bizarre culture. In what other city than London, you would have shop like Janus, just focusing on school uniformed girls getting spanked? I think both the magazine and the shop is no longer there, but luckily have been there in times when physical XXX oddities existed. 
On one tour, Grunt was playing some shows that included Onomatopoeia. The man of Cheeses International. On one nightly drives back from gig, I mentioned few days ago, I had bought book at Soho area porn store, called Tricking With Daddy, but didn't realize it was gay incest, which made it kind of hard to enjoy during tour, eh eh... I said "gay incest, is not really my cup of tea" and Onomatopoeia could not stop laughing for hours. It was literally hours of drive, and Steve just looks at me, says "not my cup of tea" and burst into endless giggles...

What I feel about British noise, may not be 100% reality how it really is, but hanging out with some of these beer-monger, red faced, seedy gentlemen with sense of humor is something what I associate UK noise to be.

In the noise and industrial world, I wonder if younger listeners realize how influential CMI was at the time.  I'm curious how CMI is viewed now.  Has it been relegated to something like Projekt?

Quote from: Zeno Marx on July 03, 2022, 07:18:15 PM
In the noise and industrial world, I wonder if younger listeners realize how influential CMI was at the time.  I'm curious how CMI is viewed now.  Has it been relegated to something like Projekt?

My assumption is, that CMI has very solid appreciation and cult following in Europe. Also due little crossover with Black Metal, it gained vastly bigger audience than usual industrial labels could.

New episode is again great! XOME!
https://www.noisextra.com/2022/07/06/in-conversation-with-xome/

It's 80 minutes piece, that ends abruptly and I guess did it continue more at patreon? Lots of stories, that some are kind of common with many 90's noisers who I talk to. Some are totally unique stories that you will not hear anywhere else.
One very very common thing in older noise seems that noise makers start to create before they know about scene or genre. Or they may know one or two isolated things, but having no idea that there actually exists something bigger. Probably mentioned this before, but I don't think anyone FA releated noise guys in Finn noise was really in the scene back in early 90's. Unseen Noise Death was familiar with Atta, Audio Stench, and such. Creating harsh electronics from roots of hc/grind/noisecore. Bizarre Uproar also, I doubt he had heard or got any real industrial noise when early works came out. Harsh noise was born out of some sort of internal will to push things further and futher. Same with Grunt. While stuff like "industrial madness?" tape (1993) may seem like it is just prototype of what noise tapes could be. Metal junk, radio noise, down-de-tuned guitar noise, etc. photocopies scrap metal photos as cover and all that, in reality, when that tape came out, there was no idea "noise scene" existed. It was pretty much Einsturzende Neubauten, MITB and formerly mentioned Finnish bands that I knew of at that time. Visual presentation or ideas had nothing to do with what are "scene expectations". Same was with bands like Bizarre Uproar. He just naturally leaned into xxx, gasmasks, corpses and whatever.
Only after sending this tape to grindcore tape trader in Czech Republic, saying that I would like to put out Grunt 7" some day, but I don't think there are any people in world buying this kind of noise. In couple weeks I received letter asking what the hell I am talking about. There are lots of labels putting out CD's and LP's and hand written letter included "contact these guys" and addresses of RRR, Endorphine Factory, GROSS and few others.
Just like XOME describes the revelation what was it Subterranean catalogue resulted, it was just this type of simple letter giving contact info to world formerly unknown & unheard. It is just result of living as teenage in small town, in country like Finland, with likelihood of seeing/hearing of underground culture being nearly zero.

Xome stories of Japanese scene of the mid-late 90's, where he lived few years, of course mandatory hearing. His role with harshnoise label/forum/website and all that, good to have documented. Story of Death Squad gig in Japan is funny.

I do find it curious that Xome & Greh are so firm about noise forums being full time job and impossible to manage. I have some theories why it happens in some boards, but during decade of running SI, I have had to kick out like 2-3 people, delete perhaps less than dozen messages, and most of topics tend to remain fairly civilized and drama free. I guess it is also more likely that drama tends to happen these days in social media, rather than forums that have slower pace?

Quote from: FreakAnimalFinland on July 10, 2022, 12:47:28 PM
One very very common thing in older noise seems that noise makers start to create before they know about scene or genre.

In a way, for me it was almost exactly the opposite. In my ignorance I'd long assumed that the shit was de rigueur for, like, ages. Such that I'd never felt the urge to do what "had already been done, to death". There was this weird point, and it was weird, that I had to acknowledge that fuckers were not, really, doing the shit. Not to the extent perceived. Nowhere near. That the sense of an international phenomenon, much encouraged by a few radio shows running concurrently on a few different college radio stations, was, possibly, not quite developed to the extent then hyped by a few fuckers with tongues firmly lodged in cheeks. Took me a while, but I got there. And when I did, oh man, was my face red.

Good memories, but also, good memories of wondering what rock all these folks who professed to not know shit were living under.

I've only listened to the prurient episodes and enjoyed them a lot despite the hosts. This is probably nitpicking, but I can't get over the very american small talkesque style that this podcast has. Everybody is laughing all the time at everything and being too cheerful for no particular reason. I feel like there's three american metalbros talking about Iron Maiden rather than noise. Of course the conversation can be casual, but I just can't stand the over the top reactions to everything. Maybe I'm just too used to Mikko's style in SI podcast and sarvilevyt podcast which I enjoy very much.

Probably petty to complain about this, but I'm surprised nobody has mentioned this before, I think? Maybe I should give white centipede podcast a try?

Quote from: SIEGSIEGSIEG on July 20, 2022, 05:01:24 PM
Probably petty to complain about this, but I'm surprised nobody has mentioned this before, I think? Maybe I should give white centipede podcast a try?

congeniality and diplomacy. Don't want to come too hard with the criticism. We're a sensitive lot.

Probably has a lot to do with English as a first language as opposed to knowing it as a second language. That very direct straight forward style of communication you perfer is clunky and unnatural to native speakers and would probably be perceived as rude or at the very least odd (especially between two Americans speaking)....

that said, I do get the idea that what makes English a particularly challenging language is the loose style and indirect/roundabout way of communicating ideas and concepts which is probably frustrating. There is also a common criticism of Americans that they are too enthusiastic (everything is always great or awesome). Again though, this is probably due the second language vs first language and slang. I think it's the same in probably everywhere in the world.

I think the giggling quality of podcast has been mentioned, but anyone who has listened bunch of episodes, will know that there are big differences there. Check out basically any interview episodes of 2022, there are plenty, and pretty much every episode is.. hmm.. how to say, serious? It's not like there would be constant laughter and yelling going on. After so many interview episodes, it was almost as if you need some Noisextra chuckles for change, where you get the joy of noise besides the information, insights and historical stories.
haha...

Now latest episode, I don't think there is any of the loud chaotic chatty quality.
https://www.noisextra.com/2022/07/20/in-conversation-with-fennesz/

It is slow paced, informative conversation with Christian Fennesz. I have no idea how people in "noise scene" followed things like Editions Mego -scene? It should be no news, that for me, whole idea of "computer noise" and artists working under their own names, is by default uninteresting. It is no obstacle I could not get over and appreciate, but if I'd be choosing what to buy, what to put on CD player, there is directions where I tend to lean to.  Any time people would be praising certain types of artists, I would kind of know that it ain't for me. They may be great, but I just don't have the urge to check out "mego artists".

All that said, Christian Fennesz has good stories, its good to listen to and his approach seems quite different from die hard tape noise underground.

Like he tells story of touring with Mike Patton, and instead of doing soundchecks, they preferred to spend time with fine dining. Going to michelin star level restaurants to eat well, instead of hanging out at venue waiting for soundchecks.

I have once been in michelin star level restaurant. At middle of different courses, waitress brought bowl of some sort of lemon liquid. I slurped that, down the hatch, and when waitress returns it turns out that bowl wasn't part of menu. It was just for washing your finger after you ate the chicken that was just served to table. Haha... fuck.. Well...  I ain't Mike Patton, so..

Thanks for the comments guys and thanks for the recommendation Mikko.

I enjoyed the Fennesz episode very much and also listened to the Jacob Kirkegaard episode which was also very good. Slogun episode seems great so far also.

https://www.noisextra.com/2022/08/10/in-conversation-with-jim-orourke-fenn-oberg-sonic-youth-gastr-del-sol/

This latest episode with Jim O'Rourke is really nice. 1,5 hours, where they focus pretty much on the... industrial-noise side of things. While Sonic Youth gets mentioned in URL, sure some guitar stuff gets mentioned, but it is most of all countless nuggets of information of early days industrial/experimental/noise and improv scene things. Organum, Merzbow, Mego crew, Sounds of Pig, touring, living in Europe back in the 80s/90's when Dragnet, Staalplaat and such were on highest. All sorts of things and man is full of excitement. Time runs fast and at the end of episode they talk how this interview barely made it to late 90's and there would have been couple decades worth of stuff to discuss. Maybe sometime, somewhere. It clearly seems that returning guests would be nice, since any time you do interview, after its done, there is countless things that suddenly pops up in your mind that should have been discussed...  yet "noise media" being as small as it is, you might not get many opportunities over the years!

RE:  Jim O'Rourke

This is a good example of why I'd like to see a chronological list of all the releases talked about in each episode. Into the episodes when the artist talks 95% of the time.

https://www.noisextra.com/2022/08/24/in-conversation-with-john-duncan-part-1/
https://www.noisextra.com/2022/08/31/in-conversation-with-john-duncan-part-2/
John Duncan episodes mentioned in other topic. Both good, but can be added that also leaves ton of things to discuss. I would be interested to hear of all sorts of things related to running label and such in detail. He put out so massive amount of stuff, but also moved from place to the another, so how to run labels and move from continent to another...
I've seen him play live, and talk in panel about LAMFS, but didn't talk to him at all. Awkward moment, where one has piles of records and read books of this guy, and artists has no idea of who who you are. Then interaction would be most like "hello, I like your stuff a lot, thanks!" haha..

In Conversation with Bill Orcutt (Harry Pussy)
https://www.noisextra.com/2022/09/07/in-conversation-with-bill-orcutt-harry-pussy/
I have never been that much into "this side of noise", but it is clear how influential Harry Pussy is for many people. Also very revealing how names such as Thurston Moore pops up frequently, as a guy, who helped to popularize not only specific noise bands, but also genre itself. These days, it seems as if rock'n'roll biz has very quickly the mentality of "pay to play, warm-up slots for sale!" -attitude. One of the many mechanisms for music biz to suck dry any money there is to be made. Even in fairly small underground, in some genres you'll be paying for the "exposure". I don't know was it yet like that with Sonic Youth, who probably could have done it. Rock bands lining up ready to pay for exposure. Instead, Thurston would get some obscure new interesting things happening to play. Totally the thing to admire. It would be curious to see what sort of math for example contemporary metal bands do, when thinking the little extra money would be better than reputation of being the guys who introduced audience to all sorts of new or overlooked wild bands..?
I personally never been Sonic Youth fan, nor I have that much solo stuff either, but would be quite interested to read/hear about his path of clearly consciously advancing other peoples work and noise/UG culture as a whole.

Various Artists – Good Alchemy Video
https://www.noisextra.com/2022/09/14/various-artists-good-alchemy/
These review episodes are becoming much more rare occasions! Was assembling some release packages while listening this, and the descriptions and enthusiasm just made me really really want to go and make noise instead of assembling release....

In Conversation with Mike Harding (Touch)
https://www.noisextra.com/2022/09/21/in-conversation-with-mike-harding-touch/
About 80 min interview, covers Touch label and related. Being around for so long, man got many stories to tell. As a finn, it is funny to listen how Mika Vainio, Sähkö, or such are being pronounced. There are good and revealing details of kind of obvious, but nevertheless often forgotten changes in society what affects the underground art. Even as "small" thing as affordable living in London. When the era of artists squats is gone, suddenly, how the money & time is spent changes very quickly. Old time tape edition sizes and all that is quite amazing.

In Conversation with Rat Bastard (To Live and Shave in LA, Laundry Room Squelchers, Scraping Teeth)
https://www.noisextra.com/2022/09/28/in-conversation-with-rat-bastard-to-live-and-shave-in-la-laundry-room-squelchers-scraping-teeth/

I guess in most cities, or countries, you got someone who is like duracell bunny. Never stopping, always funny to talk to, always pushing things forward. When I listened to Rat Bastard interview, it seems like if you'd have to put try to explain such thing - just listen to this. For sure, there is nobody just like it, but there is this one type of person, what you probably recognize.

https://www.noisextra.com/2022/10/05/noisextra-at-the-vintage-synthesizer-museum/
Interview with guy who runs the synth museum. Which is not just the museum, but place you can book hours of time to play and record with lots of vintage synthesizers. This type of place would be perhaps what is needed for me. I don't really feel passionate about synths to level of hoarding them. Even now, with MS-20, CS-20, and couple of contemporary toys, I don't really feel much else is needed, when possibilities of these are yet to be taken into full use.  But if there would be place, to go to make some source sound tapes and such, would be nice. Los Angels, sadly quite far away!

https://www.noisextra.com/2022/10/12/randy-greif-golden-joy-club-with-guest-shane-english/
I am almost missing the Noisextra episode where they get to talk things like recent listening.  While in wcn, I sometimes wonder how it is so difficult to name some good recent listening, or perhaps it is because request is for new-ish stuff? But in noisextra these briefly described recent listenings are good things, especially in this episode it probably takes like third of the duration actually. Just casual talk about things they got, or what was published recently. Besides Atrax Morgue, Death Squad, Coil, Crawl of Time, Asmus Tietchens, and so on, also several names mentioned I have not heard or been exposed to.
Randy Grief is the main topic of episode. I have feeling his work has been discussed in SI forum long ago? Back when I started to explore noise and experimental music, Randy was found in a lot of compilations. LP on RRR was cheap and always available. I always associated his work among the RRR's "non noise" side. As not only he had the 1987 LP on RRR which is great, but also tracks on RRR's compilations like Testament, America The Beautiful, RRR-100, God Bless America, The Amazing H23/RRR ep,...    While always liking what I hear, nevertheless, if there is artists working under his own name, there is just some thing, why I hardly ever really start to collect that type of things.

Quote from: FreakAnimalFinland on October 15, 2022, 09:49:18 AM
In Conversation with Rat Bastard (To Live and Shave in LA, Laundry Room Squelchers, Scraping Teeth)
https://www.noisextra.com/2022/09/28/in-conversation-with-rat-bastard-to-live-and-shave-in-la-laundry-room-squelchers-scraping-teeth/

I guess in most cities, or countries, you got someone who is like duracell bunny. Never stopping, always funny to talk to, always pushing things forward. When I listened to Rat Bastard interview, it seems like if you'd have to put try to explain such thing - just listen to this. For sure, there is nobody just like it, but there is this one type of person, what you probably recognize.

Rat is definitely "that guy", indefatigable, and what a character.  Met him once before a TLASILA gig in Montreal, and after introducing myself just asked him one innocuous question, "how did it go crossing the border from the US?" and I swear he just talked non-stop for over half an hour in response, and could've kept going — but just totally funny and entertaining, so many stories.  Him and Tom Smith were such a force together in TLASILA (and TS himself was incredibly prolific regardless, up to the end), and hearing Rat also just makes me disappointed that the Noisextra crew never got Tom on the phone for a good long interview.  An artist like no other.

https://www.noisextra.com/2022/10/19/in-conversation-with-zoe-dewitt-zero-kama-korpses-katatonik-nekrophile-rekords/

QuoteZoe DeWitt is a bona fide legend of industrial culture and ritual underground. We were thrilled for Zoe to sit down with us to discuss the entire history of Nekrophile Records and her projects Korpses Katatonik and Zero Kama. We get into many aspects of her work, from musical output to fashioning instruments out of human bones to her work within the occult and much more.

If you have read for example Nekrophile box set book, you have heard many of the stories before, but nevertheless, it is absolutely great to get some old timers telling stories of their works, running label back in the day, making of bone instruments and so on.

https://www.noisextra.com/2022/10/26/atrax-morgue-feat-morder-machine-deathshow/
Traditional Halloween extra with Atrax Morgue related. The best in this are absolute when Tara is reading Marco interview quotes, that illustrate the morbid and unusual state of mind of artists. Good episode.

https://www.noisextra.com/2022/11/02/in-conversation-with-jg-thirlwell/
Briefly touches his part in playing with William Bennet in Come. Stuff about Steven Stapleton and Coil, obviously his own Foetus stuff and wide variety of things. He vehemently opposes being "industrial music artists". haha. Lots of small nuggets of information here and jumps quickly from 70's to current days, so covering that long career in hour barely possible!

https://www.noisextra.com/2022/11/09/contact-microphones-with-crank-sturgeon/
Monstrous 2hours 45mins episode, originally Trashware episode, now for all public. Greh and Crank Sturgeon talk that kind of takes focus point in contact microphones and piezzo technology, but even if you are not tech guy, it touches a lot of things about noise culture, noise making, live, recordings, field recordings, recorders, and so on...

https://www.noisextra.com/2022/11/16/on-location-at-luff-2022/
"Greh had the opportunity to play the Lausanne Underground Film and Music Festival in Switzerland this October. In its 21st year, this festival features experimental music and a variety of films and workshops. Greh spoke with perpetual LUFF attendee and former performer Dave Phillips, curator Francisco Meirino (aka Phroq), co-founder Thibault Walter, and performer Mark Vernon about the festival itself and some performances."
Short interviews that are decent. Phillips and Meirino I am familiar with and have their stuff, but the others never heard of. And same with the fest! It is not purely noise fest, even if it has experimental noise too, and generally that type of things tend to happen in other realm I rarely see or hear. It is amusing to think how much importance one often puts into harsh noise show that happened couple decades ago and had 20 people there, while kind of "big events" that have noise cross-over happens all the time. Besides the obvious names, what I know of scene in Switzerland? Not much! Was just watching Government Alpha and couple other Japanese artist to go play at festival in Turkey. Festival in Turkey flying bunch of Japanese noise acts to play? wild. Wouldn't mind reading some reports of that!

A couple things about Foetus.  The nonchalant way some of these old cats talk about just running into, or just hanging out with, the bigger names we still know now.  These scenes were so, so small.  They can't realize how fascinating that is 40 years later.  Same for the poet societies, the Beats and Merry Pranksters, etc.  Second, I was hoping they would have spent some time on the Hole and Nail albums.  They were so out there while being accessible.  Interested in hearing the thinking behind those.  I can no longer deal very well with the show tunes aspect of that material, but I remember them fondly.

https://www.noisextra.com/2022/11/23/killer-bug-brutal-rainbow/
After lots and lots of interviews, it is good to hear some "noise reactions". Favorite moment is the sound of liquid dripping, splashing and Tara firmly insisting it must be piss. KB / Endo interviews are being read from zines. Freak Animal from the 90's and Night Science from next decade.

https://www.noisextra.com/2022/11/30/merzbow-christoph-heeman-sleeper-awakes-on-the-edge-of-the-abyss/
Merzbow appreciation returns to Noisextra. This has some good nuggets of info, and also Noisextra folks looking into timeline of Merzbow releases, and pointing out that this particular one belongs to moment when Merzbow actually didn't have ton of releases coming out, but almost some sort of break on otherwise nonstop flood of noise.

https://www.noisextra.com/2022/12/07/year-end-2022/
Besides the Noisextra crew, there are bunch of other people who submitted lists of their favorite stuff. Jim Haras, Dominick Fernow, Richard Ramirez, Sean Ramirez Matzus, and many more. It is always fun to hear how different and how kind of "local" the good stuff lists are. Like mentioned in the SI best of 2022 topic, I think it is most of all enlightening to hear the lists of people who follow other type of labels, other type of countries and so on. Over here, Finn noise of course tends to dominate. No matter how good stuff comes out on USA labels, I would suspect a lot of Finns know the stuff they have easiest access to. Objectively I feel it is good too, but when talking about 100 tapes, it really is just random people here and there who will ever hear it and even smaller amount who are tempted to write about it.

https://www.noisextra.com/2022/12/14/in-conversation-with-hunting-lodge/
Long and good interview with Hunting Lodge. Two members included and they will talk about early days, later days, end of group, how they feel about coming back to play live and would it ever happen and so on. Now after some good early Hunting Lodge reissues (although, many of us have been buying reissues since Dark Vinyl days or VOD boxes...), this is good to visit for more info about their early days.

Just came online today, yet to start listen:
https://www.noisextra.com/2022/12/21/coil-winter-solstice/

https://www.noisextra.com/2022/12/28/in-conversation-with-anthony-di-franco/
Listened Di Franco interview from Noisextra. Really great casual discussion, and could have easily listened another hour. Things from early days, being teenager interested in DIY punk Crass and such and due the crossover getting exposed to industrial & PE. It is kind of funny to hear from the veterans about it, who were there. Like when Di Franco mentions he was already a bit younger, and that 82-84 thing had pretty much disappeared by the time he got exposed to it. There is moment when he talks about buying fostex 4-tracker when he was 15, and that changed the game. Not just radionoise, but actual psycedelic noise creations and when cranking up the input, everything sounds great. That's the thing with early E.Acid I like a lot. It is very strong and punchy. He mentions how going into real studio later on was far more challenging to get good sound.
After interview, I went to his bandcamp to listen new JFK album. It is all beats basically, but cold industrial vibe, not really dancefloor beats. I like it, but it also makes me think, what if guys who can now do this type of stuff, would still decide to run the final mix through analogue 4-track. Get that juicy and punchy, noisier dirtier sound added to digital clarity? JFK new one is good, but to apply that old revelation he talks in interview, it ain't regress - I'd call it progress.
Anyone hearing some of my 2022 works, they all have that. When final mix is done, it just gets better when you run it one more time through 4-tracker. Same can be heard in finn noisers like Moozzhead, Aprapat, Vanhala and so on.. Of course all noise, but the revelation that despite massive amount of plugins out there, who ever engineered some of those old 4-trackers or even tape decks, could be granted some sort of Saint status for gift they gave for noise. Hah....

https://www.noisextra.com/2023/01/04/cock-e-s-p-greatest-dicks/
Cocks get mentioned so many times and bizarre stories, that this must be one of the sleaziest language episode in history of noisextra, as they generally tend to keep language pretty clean. I mean, have you ever heard curse words and such from the civilized podcast hosts? I doubt it!

https://www.noisextra.com/2023/01/11/hydra-power/
Reviewing through Hydra "Power" CD. Listening this episode made me write lengthy piece on upcoming SI magazine. Hydra always great, unfortunately so little of his output is available. Track on Sounds of Sadism is MANDATORY.

https://www.noisextra.com/2023/01/18/the-japanese-american-noise-treaty-with-mason-jones/
Mason Jones returns as guest and topic is talking about compiling the legendary JAPANESE AMERICAN NOISE TREAUTY 2xCD for Relapse Records. Good stories about how compilation was curated, how to approach the thing, how Relapse was working at the time, all sorts of lost stories of things like importance of fax machine in noise scene. I never used it, but I know plenty who did, and in this episode Mason tells story of his old Japanese visit, how people would fax eachother maps before they come to visit, due navigating without it in 90's Tokyo would have been impossible. Little bit talk about collab with Aube and his perception of Japanese scene at the time and so on. Some talk about who should have been on comp, but wasn't and so on. It all shows how much work was put on something like this and how seriously compilation was taken. No surprise it is good, and no longer that easily available despite large pressing.

https://www.noisextra.com/2023/01/25/contagious-orgasm-the-flow-of-sound-without-parameter/
They were talking about not finding Contagious Orgasm interviews for any background infos and yes! Unfortunately artists never gives interviews. Have asked, doesn't want to do, lets the music speak for itself. Not bad idea, sometimes! Genocide Organ, Anenzephalia, comes as some of names who would be nice to hear of, but very unlikely you will ever get.
So, noisextra crew telling what they think of this album. I am vastly bigger fan of old Contagious Orgasm, but for example latest tape on New Approach that just came out, really good first side!

https://www.noisextra.com/2023/02/01/mortar-self-titled/
Murder Corporation side project. Waiting my copies of re-issue arrive. Was never huge fan of Mortar, but I do have them. Murky and suffocating in quite unique way. Noisextra crew going track by track details of this bleakness..

https://www.noisextra.com/2023/02/08/chris-watson-weather-report/
still to listen. Last week was busy, but will get to it... Just reminder for myself!

https://www.noisextra.com/2023/02/15/in-conversation-with-gerald-stevens-erinys/
This is the thing I like with Noisextra. I guess for some newbies it may be situation of "Erinys? Who?".. and just not knowing why should one care? Well, there is beauty in acknowledging guy who basically did one relevant CD release in very specific time. They talk about the weirdness how Erinys got to be released by Tesco, who before this, wasn't really that much associated something like Erinys. They talk about contact mic's, like how Gerald's web info page with contact mic building instructions was how Greh got started with that. Gerard mentioning his dislike for some sort of info gatekeepers who wouldn't want other noiseheads know their gear secrets and he being opposed view. Ready to throw good info for anyone who may need it.
They talk of early days of CDR, funny story of officially licensing images for CD cover. Early mailing list talk. Nuisances of sending promos and so on.

New episode is nice!

https://www.noisextra.com/2023/02/22/in-conversation-with-jack-sargeant/

QuoteJack Sargent, author of Deathtripping: The Cinema of Transgression, Against Control: Essays on William Burroughs, and the forthcoming Industrial. Surreal. Outsider. (working title) book on Jordi Valls (Vagina Dentata Organ), visited Los Angeles and sat down with Greh for a conversation on Burroughs' influence on industrial culture and insight on Jordi Valls' art practice.

Of course his work as author is well known for most industrial noise folks from era when some sort of transgressive movies and weird art went pretty much on same channels as industrial culture sound. Good news of Vagina Dentata Organ book and such.

In Conversation with Christoph Heemann was commented on Heemann topic.

Hair Police – Mortuary Servants 7"
"llness is running around the Noisextra studios, so for this week we are releasing a patreon episode covering the Hair Police "Mortuary Servants" 7." Mike and Tara discuss its background and history including the cover, the recording, driving to pick up the records, the strange pressing of the B side and more. Early days, gnarly times."
https://www.noisextra.com/2023/03/08/hair-police-mortuary-servants/

Still not having patreon account, so hearing this for the first time. Conelly couple talking about early Hair Police 7" and sharing stories about how it was pressed, what it took to get it done, cover art, touring scene couple decades ago and so on. In a way it is shame that Noisextra crew feels they can't really talk so much of their own things in public episodes. Certainly some information leaks here are there, but like discussion at WCN podcast topic, that certain type of noise touring -phenomena would be great to hear, and who guys like Hair Police probably toured way way more than most of noise guys? Also magnitude of USA touring is so bizarre. Think of central Europe, where you can drive from country, through bunch of another countries and do show then. No problem crossing half europe in one day. If you take a boat from Finland to Estonia, if traffic is fine, you can drive all the way to Poland during one day with no challenge whatsoever. Through entire baltic countries. If your ass-stamina is good, you can probably drive to germany. Stories you hear from USA, is like 10 hour drives to play in someone shitty basement and next 10 hour drive to another. Even in this episode, they talk that driving to pick up 7"s was "only 3 hours". Now that there is vinyl factory in Finland, and it is 100km from where I live, I still hesitate is driving worth it if I was to press things there. If bluntly talking about your own things seems little ackward, I think some sort of Q+A episode wouldn't hurt. It would be fans of the podcast asking things, not hosts self-promoting, hah...

https://www.noisextra.com/2023/03/15/maria-zerfall-tote-zone-with-guest-sean-ragon/

Maria Zerfall passed away in February and Sean Ragon (Cult of Youth) had the idea to pay tribute to her with an episode. He chose the "Tote Zone" cassette to discuss which we used as a jumping point to get into her very mysterious discography. Zerfall was a true force of 80s and 90s industrial tape culture and her mark will forever be felt.

It's good episode. Also funny to listen occasionally, since the Noisextra staff is such a well mannered, that they won't curse or use profanties, and Sean is so excited that sentences are very often like "fuck, this fucking tape is the shit man, the real shit, ..fuck!" -kind of dialogue.

For me Zerfall became familiar when MDP started to reissue her stuff. Back then, didn't seem like anyone cared. Very little sales and stuff was in stock for ages. Not sure what exact moment this stuff became very wanted, but I recall talking to friend saying that you should just grab CD anthology from discogs, it must be like couple euros each. And turns out it ain't "couple of euros". My memories are from 20 year ago, when every dealer had probably too many Zerfall CD's. But now, Kopfkrieg 2xCD, 1 for sale 49 euros haha...

But one gets the point, when looking at Maria Zerfall In Phase Pervers – Ich-Katastrophe CD. As soon as it doesn't appear at discogs in Maria Zerfall main discography, but as separate project, you can grab this CD, multiple mint copies for 7-12 euro. It is great CD. All that music is on VOD vinyl box, so if you have the box, CD is not must. If you don't have VOD box, this CD is absolute must. Some of best of her works there and doesn't overlap with Kopfkrieg 2xCD.

I do not know how it sounds to german listeners. All the little bits and pieces they translate lyrics in this Noisextra episode seems good to me, and I like her vocal style and all that. I have been told by one german guy who mentioned can't listen Maria Zerfall because of the way of delivery was certain type of dialect, not only of specific region, but of social group.. Even if not contect, but possibly tone / delivery known from feminist post-punk nagging? I don't think that was exact words he used, but something very similar. I can't hear that, nor that would be problem for me, good naggers are good. While MZ vinyl box goes down smoothly, with zero problems, I can imagine if there was similar vinyl box of Lydia Lunch rants, I may not sit through that in one session. I do wonder if for fluent german language speakers MZ has qualities rest of us can't really hear?

Last few have been great episodes. Especially the Zerfall one was excellent.

New drinking game; every time Mike Connelly says "Yeaahh" you take a shot!

https://www.noisextra.com/2023/03/22/s-core-my-candle-has-died/
Possibly my all time favorite S*Core. Episode consists bunch of references to interview in SI#12 (http://www.nhfastore.net/si12 ). Only existing S*core interview conducted within... 20+ years?! It was done via letter mail, in Japanese, by Teito Sound Company boss Takahiko. At the same time inspiring, but also melancholic reading due the S*Core being gone.
This LP too, I doubt anyone has the masters and only small quantity of LP exists. That's how its going to be, and perhaps in S*Core way some stuff you let go, so new things can happen. S*Core probably doesn't exactly know how inspiring material has been to many people.

https://www.noisextra.com/2023/03/29/brighter-death-now-innerwar/
Listened latest Noisextra and picked up year 2000 album of BDN into evening playlist. Simply because it must be one of the albums I have least memories. Classics are classics, but despite I have this one as LP and CD, didn't have that clear memories of it. Well, it is BDN allright! Sound he is very much known of, and amusinly enough, like gets mentioned in noisextra, we all know what he used as gear. He printed lists of gear in Innerwar sleeve for example. Regardless of that, even if he'd basically spawned sub-genre of its own, none of those bands really sound like BDN does. Also curiously, in Rogers interview, he mentioned that he doesn't understand artists who can just choose what they sound like and do that. He says when he does stuff, it just comes BDN. Its not sound he has chosen to do, but it is what comes when he starts to make sound and can't make something else. I doubt I have ever read any artist say that. Perhaps that is the crucial difference of BDN and those who just consciously try to emulate the master... ?
Episode did evaluate Innerwar meaning in BDN discography. Its brutality in sound, CD being on Relapse, being featured on Gummo film soundtrack, etc etc.. Perhaps episode could have discussed also little bit of context of genre itself. BDN as one of the biggest reasons why certain subgenre even exists. Not that he was totally alone creating the sound like this, but certainly for a lot of folks, I'd think it is safe to say, early SPK, Nekrophile Recordings and such were not things they were exposed to - but CMI and along it pitch black cold morbid sound of BDN was heard by a lot of people outside the core of industrial music. Now handful of decades later, it all seems old tales, but I am pretty sure that what to us seems 100000% obvious, there must be hundreds of new people along thousand(s) of Noisextra listeners who may be "what is this band?!" who could benefit from few nuggets of "obvious information"... ? There is great piece of writing on Bardo Methodology magazine (don't remember which issue, one of later) where lots of curious BDN/CMI related info is found.

Quote from: FreakAnimalFinland on April 01, 2023, 08:36:09 AMAlso curiously, in Rogers interview, he mentioned that he doesn't understand artists who can just choose what they sound like and do that. He says when he does stuff, it just comes BDN. Its not sound he has chosen to do, but it is what comes when he starts to make sound and can't make something else. I doubt I have ever read any artist say that.

Really?!

QuoteYou know what I'm into, man? Scooby-Doo shit. I love that guy. Except Scrappy. He's a dick. I hate that shit.

- R. Stella

Quote from: Andrew McIntosh on April 03, 2023, 04:29:30 PM

Quote from: FreakAnimalFinland on April 01, 2023, 08:36:09 AMAlso curiously, in Rogers interview, he mentioned that he doesn't understand artists who can just choose what they sound like and do that. He says when he does stuff, it just comes BDN. Its not sound he has chosen to do, but it is what comes when he starts to make sound and can't make something else. I doubt I have ever read any artist say that.

Really?!

Yep. Especially these days, I think most artists choose what they do. Form side projects for specific style. It's not like they'd start new project, and it always just.... comes the same.


https://www.noisextra.com/2023/04/05/in-conversation-with-blister-pack/

Noisextra back with interviews! Nice one here. Very much recommended episode for those into 90's noise! What and who is Blister Pack? Well, good enough project that when Killer Bug came to play in USA back in the 90's, he had requested organizer to get this band to same bill!
They talk about the 90's life in rural mountains, not having any "scene" around. Funny story how the guys got to know eachother. Talk about videos, serial killers, noise, cluelessness, good little mentions of Macronympha, Artware, Gerogerigegege and so on.

At some point they start to talk that there are some number missing from discogs listing, and supposedly some didn't really happen, but then 004 did happen "we don't talk about it".. haha! Partners in crime discuss it briefly and other one asking Did we release IT?! Well, yes in deed!
Perhaps they prefer it remain unmentioned, unlisted, but out of curiosity, first of all, I walked to my record store and pulled out copy I had for sale for decade or so among noise tapes, away from any sweaty perv's who might be willing to buy it now.. Have to put it to trade list at some point. and returned home to listen my own copy I have. Weirdo 90's noise by Blister Pack dudes. One side more experimental approach in noise, other side more harsh. Not phenomenal, but stuff I like as it is so out of norm. As far as I understood, first 10 copies in very special package and this 2nd edition was... 15? Or 50? I think 15. I got my copies from Artware, which is label they talk very fondly on this episode.

Excellent.

https://www.noisextra.com/2023/04/12/mb-aktivitat/

Hour talk about classic MB stuff. Some nice quotes, like how The Haters, Masami and MB got to know eachother etc.

In recent times, in Finland has been quite big discussion about "art criticism" and its crisis. Triggered by the biggest newspaper publishing absolutely crushing review of poetry book of former ice skating gold medalist. Book was of course funny, and deserved the criticism, but of course it was widely also considered to be pure misogyny and bullying. Elitism of some sort. And whatever. All the different media houses and journalists, artists and people in general engaging into discussion what is "art criticism" and does it have role anymore.

Some people mentioned that indeed, people usually do not get what is "art criticism". Review isn't really question of did you like it or didn't you, but evaluation, examine or assess, nature, quality, value, importance. It may be opinion of the reviewer, bound to certain moment and state of mind, sure, but the "review" is generally the dialogue between art and reviewer, which could spawn further dialogue among people who are part of the same cultural milieu. It could be the honest non-commercial voice, since it is not just the sales pitch.

The review episodes of Noisextra clearly fill that type of function. Track by track examination of what it really is that is found from MB, often loosely put into context of time and artform where it operated. Background infos and so on. I like. Plus feel there could be easily more talk about things that is being mentioned in episodes. Even if Noisextra works in form of free flowing talk, this examination of cult noise records, and little hints to other things (like lets say: Dark Vinyl CD's!) function nicely as art criticism. Some always think criticism translated as adverse or disapproving comments, but that ain't what criticism is.  Rather analysis of the merits and faults of a work. After critical evaluation, it can be all just positive praise. Like tends to be in Noisextra, when they pick up seemingly their personal favorites that may be... flawless? hah...

https://www.noisextra.com/2023/04/19/dave-gilden-discussion-with-jim-haras/

Greh not in the new episode, but Conellys + Jim Haras do the good job, talking exclusively about David Gilden. It is not review, not a normal jim haras interview either, even if it touches a bit of Fusty Cunt, Deterge, his goregrind/noisecore youth and such things. Not much is known about David Gilden, so apart of briefly mentioning drug use, there isn't any persona stuff about Gilden really. It is all about the noise he made, how to get some of it, how good it is, who had it, how it was "distributed" (as a lot of the upcoming box is unreleased private stuff). Episode talks about how to do reissues with respect. How to approach graphics. In this particular case also challenge when many releases were indeed private tapes handed out to friends & associates, and not a "releases" with cover art.

One thing, what is perhaps a bit "hot" subject about reissues what would be nice to see discussed, is: Who authorizes? How they become "legit" if artist has died? What you do with royalties, if anything? I do not mean this Gilden box really, but just like Industrial Recollections did Monde Bruits box. There was authorization, and master tapes, all original art, from close long time friends and associates of Iwasaki. 100 CD boxes were sent out mostly to Japan, for people involves. Some got just the personal copies as nod of appreciation, some got more to spread to all people involved. Price was kept as reasonable as possible. Design as original as possible. Samples previewed and so on. As little changes as possible, so not to step on toes of artists, just replicate his vision (and sound) as 1:1 as possible. In some cases, you don't have family members to ask from. Not friends to ask. Not former labels to "license", no actual master tapes. It is also possible there are people, you just don't know them. Think how sucky was some of those bootlegs that appeared, like MSBR/K2 split vinyl bootleg consisting some of his lamest live recording. Both artists would have  G R E A T stuff in abundance, and then just putting out whatever, few years after MSBR died and during K2 was on short hiatus due work commitments. I think being open about it, and discussing with people, you might also know if artists actually had handed out masters to someone.  In few years we might be in situation where a lot of older noise artists are dead, and I'd hope then active labels would have certain level of respect and vision. What is the way to handle reissues in situation where artists is no longer here.

Of course, it is possible just let it be. Not everything needs to be reissued or made public, yet like in Maria Zerfall episode few weeks ago, Jean Ragon mentions that sometimes, when you have this rare tape, that may exist.. just one. Or couple. And it feels like for sake of artform itself, it feel mandatory to make this heard. That regardless nobody ever heard it, yet, it is simply too important piece of noise/industrial history. Not by its status or role in history, but simply for what it IS. That you, as owner of original tape, that might be one of only ones in circulation, have suddenly some sort of obligation. Of course this is debatable, but I do agree, that if you happen to have original GO acetate or Masonna ltd 2 copies lathe, it feel that it is far more than "your property", you may just throw away if you feel like it. What is the obligation exactly, may be hard to define. It may be just like Sean had - make sure recording survives, to cultivate the artform, celebrate legacy of artists and aura surrounding them. Treat them like works of art would have been. Not as disposable consumer junk you will just throw away when you are tired of it.

It is good to hear that no mastering for Gilden. I have a feeling, that at some point looking back at current age of noise, there may be regret in why old noise was made fat, crunchy and well balanced...  if it wasn't? With CD format especially, if listener can't turn volume button to make it louder, it would feel odd. It only makes sense if you are in volume competition in streaming services. Not wanting to sound quiet between something else. For CD, you could easily preserve all the grit and ruggedness what made stuff good in first place.


There is brief discussion mentioning forums, that this Gilden box idea has been going on for ages. They discuss when did troniks/chondritic forum end, when did SI start and so on. Well, SI was launched december 2009. About 2 months after the 1st paper magazine. At first it was probably couple months more like invite-forum, although if you found it, you could log in it yourself. Nothing was hidden. (Still today, no hidden private forums, all visible to lurkers too.) troniks/chondritic was going on probably still year or two until shut down after the final meltdowns. After that, when social media, predominantly facebook was becoming what it is sometime same years, it did change entire use of forums that tried to launch themselves after it. Digital footprint, some abhor it, but then again, in this episode Jim can't quite remember when exactly box was started to be made. According to forum post found with search, it must been since 2016. Troniks/Chondritic board long gone that time.

Quote from: PTM Jim on March 07, 2017, 12:27:47 AM

Quote from: Otomo_Hava on March 06, 2017, 10:55:18 PM
David Gilden

In the process of doing this one. Been at it for about a year now. Most of it is going to consist of private tapes and such moreso than reissue material. Planning on it being massive though!

https://www.noisextra.com/2023/04/26/masonna-noisextra/

Noisextra doing noisextra after being excited about Hospital productions/NWN fest announcement.
For me, Noisextra was never that "huge" Masonna album. Sure it is good, but hearing before that Mademoiselle... and Noskl in ana, Shinsenna clitoris, and bunch of others, Noisextra was of course good, but far from favorite. Even when one can't deny, that there could be strongly biased approach, of liking what you heard first, there is probably more. Now with dozens of Masonna reissues happening in recent years, we have had opportunity to listen his works that may have been formerly unavailable. Listening some of earlier tapes, you hear that his cut up skills and source material he had done, was not reached its peak. It took bunch of tapes before he mastered that style. For me, personally, 1990-1993 seems like peak. 1994 - who knows how it sounds, when he just created massive Mini Disc series ltd 1 copy each. 1995 onwards the pace was MASSIVE. Just ton of stuff, which were pushed even more distorted, noisier, also that more "static" approach (compared fast cut jumping). I can imagine people would pick favorites from that are too, but a bit less distorted 90-92 era sounds juicier and more fat in my ears. Of course, never sold any Masonna away. All been good, missing few of the major releases, but not many.

I have a feeling, that next year, Japanese record stores may have flood of noise fanatics coming to clean up all what is remaining, hah..

https://www.noisextra.com/2023/05/03/tetsuo-the-iron-man/

After listening this episode, decided to order Tetsuo blue ray release. I have the dvd before, probably some VHS copy, but such a classic UG film should rewatch sometime soon... perhaps from blue ray disc. Still remember when Tokyo Fist came to theatre in Lahti, and we went to see it with some fellow industrial-noise enthusiasts. Expecting some Tetsuo type of thing.. but it is not exactly that. Not a bad film, plus same guy making music. Noticed that there has been soundtrack LP released couple months ago. Placed order for that too.
While I am not excited about a lot of movie talk, TETSUO TALK, somehow doesn't get boring for me, as I somehow associate it strictly into realms of industrial culture. And very much Japanese industrial.

https://www.noisextra.com/2023/05/10/controlled-bleeding-distress-signals/

Often you hear discussion why not this or that been on noise podcasts and there should be this or that.. but it is funny how big and small noise is at the same time. Small enough to get impression that its realistic everything can be included.. yet big enough, that even Noisextra, who are THE podcast for the old noise, this episode is their first Broken Flag release and I guess first Controlled Bleeding release? Of course both been mentioned here and there occasionally, but it just shows clearly how even the milestones and kind of the most obvious of the obvious have not been even covered after years of doing podcast!

Listening already the opening soundclip of the episode, one thing that is not addressed on the episode is the question: I would be interested to know how many times Controlled Bleeding recycled this early sessions? It is clearly many times exactly same source tape being used, if not even the same. This part here, Knee & Bones, Phlegm Bags Spattered, CD on Hospital prod and bunch of other oldies, lots of different names and very much recognizable moments...

Quote from: FreakAnimalFinland on May 11, 2023, 06:06:48 PM
https://www.noisextra.com/2023/05/10/controlled-bleeding-distress-signals/
[...]

I would be interested to know how many times Controlled Bleeding recycled this early sessions? It is
clearly many times exactly same source tape being used, if not even the same. This part here, Knee & Bones, Phlegm Bags Spattered, CD on Hospital prod and bunch of other oldies, lots of different names and very much recognizable moments...

There's a post around here in which I try to break down the overlap between the three above-mentioned, but which also concludes that the drastically different mastering renders quite the different end product in each instance. Still it seems clear the bleeding never really stopped...

edit
Here's the post (https://www.special-interests.net/forum/index.php?topic=2596.msg21879#msg21879).

https://www.noisextra.com/2023/05/17/haus-arafna-children-of-god/
One could list countless of records noise related, that I have not heard. Quite a lot of bands and labels I am certainly familiar with.. but even from new hot bands, I hear everybody talk about STAR for example. Yet to hear anything. From old bands, there must be a lot, especially if shifting a bit to different side of expression. Noise from more DJ music side of things? Noise from more free-improv side? etc
Meaning that nobody has heard it all. Nevertheless, when this episode starts with talk that Greh has tried to get Conellys listen Haus Arafna "Children of god" for 20 years, and finally succeeds them to do so... it is kind of funny thing, that you got one guy who has always been passionate HA fan, and two who hears it for the first time. When "Children of God" came out, it felt so advanced in visual presentation and sound, but for someone who never heard it... can't quite step into their shoes.
One of rare Haus Arafna interviews is in DEGENERATE #1, conducted by Keith Brewer. Issue came out in 2001, with Death Squad, Streicher, Mnem, Drape Excrement, Allegory Chapel Ltd, Anemone Tube, Iron Justice,.. Even back in 2001, it wasn't like you'd expect to get HA to agree for interview. Just one page interview with photo, but nevertheless!

https://www.noisextra.com/2023/05/24/in-conversation-with-ron-morelli-l-i-e-s-records/
Just like said above, as soon as things are not exactly noise, it is possible I have not heard of it. Ron Morelli name I know, but as he is far more of DJ / Club music kind of thing, I doubt I ever even heard his stuff before or remember it? I listened to some after interview, liked some of it and didn't like some other stuff. Morelli talks his story from being guy going into Agnostic Front and Madball gigs, playing with and being into power violence like Spazz, Infest, Crossed Out and becoming more italo disco hoarding DJ and eventually being at the club thinking "fuck this!" and wanting to go into something else than making a dance track.
He talks about various thing through-out the interview. Sound making is very synth & drum machine oriented approach, but also very hands-on & home studio thing.
It is funny that guys like myself have that idea of what is "club music". Like Morelli mentions here that all sorts of stuff is being played. I know mr. Fernow played all sorts of fierce industrial-noise in his sets. Even Finn names like Strom.ec would be blasted in big Clubs. Even total harsh noise. Nevertheless, entire culture feels quite alien to me. It would be curious topic though. The cross over of noise and club music. Would read about it, if people who know about it would write something.

https://www.noisextra.com/2023/05/31/thirdorgan-jinzoningen/

This is one of the very best Thirdorgan releases and feels like it would mandatory someone would reissue it on CD. It is not that long I gave spin to it and admired a lot. Noisextra folks can sum up a lot of things that makes it quite special. This old style of manually tweaking volume, panning and such details is quite uncommon in noise. There is some of that in older Merzbow too. The odd feeling of "making noise", as opposed to editing. Like it is mentioned in this episode, credits do not mention anything about "editing". It talks about mixing. That whole thing of creating in heat of the moment - of course a lot of artists are doing it. Results just rarely resemble the way some of the 90's acts were doing it.

I was listening this new Finnish act Commando 15, and while it sounds absolutely nothing like Merzbow or Thirdorgan, it has moments of "ooops!", where as simple thing as sudden volume fader control appears to be major "compositional" element. Just like Masami may be twiggling pan button or volume slide of mixer to create that quite uneasy and disturbing effect that can't be quite achieved by "maximum loudness" -approach. The unexpected, odd decision, reaction to something - like turning down feedback that is just about to get out of hand, but then.. doesn't. Such thing not being cut out, but remaining there as part of noise piece.. I like.

Any patreon members have comments for the bonus? How was the Harbinger talk?!

https://www.noisextra.com/2023/06/07/various-artists-the-beast-666/

Now that VOD has reissued it, lots of people have had access for physical copy of the comp. Of course, as part of Nekrophile Records box set.
Funny moments in the episode is talk how Tara & Mike talk about how didn't really know who exactly were in COIL until quite recently. Not that would be surprise. While you think we all should/could know who was in Coil.. but then again, who was in Cabaret Voltaire? Who was in Test Dept? etc.. Even SPK, I can't tell any names except Graeme unless checking discogs.
It has really changed so much, that you could click links of artist and their history, what all bands they were in, find next project, next label and lists of discographies...  while in past it was like getting bootleg tape of Mnemonist and thinking what the hell is this?!? Zero idea who it could be, and information pretty much nowhere...  But even now, I don't remember any info or details of Mnemonist either, apart from music they do.

Mnemonists, well, that's something I'd hope Noisextra to deal with. Still active as Biota, certainly would be interesting to hear details of their work...

https://www.noisextra.com/2023/06/14/in-conversation-with-joachim-nordwall-ideal-recordings-borft-records/

Nice interview with Joachim of Borft and Ideal Recordings. When often associating Ideal as being one of those "big labels", caused by organizing gigs, fests, running store in Fylkingen / EMS building, putting out lots of big names and so on and on...  It is very curious to hear that after all, it is really more mentality of small noise label. And that he also kind of get back to this. Putting out small edition CD's of his close friends and associates. Adamantly keeping it as it is, not trying grow or be like proper business.

He mentions having feeling as he used to be everywhere, scattered all over the place, and now feels like would be better to focus. Not so spread all over the place. Sounds familiar, kind of taking things back to basics. Also name dropping some new names that has been exciting to buy, Shredded Nerve was it?

60 mins first part of the Kristian Olsson interview! With this first episode, we barely get to Alfarmania! It is early days, early Swedish scene, youthful energy and nihilism, anecdotes and stories of Blood ov thee christ, Blod, Proiekt Hat and so on... Patreons has extra piece, and next week 2nd part of the Olsson interview! Excellent.

QuoteIt was a honor to speak with Kristian Olsson to have a very deep discussion on not only his history, but his thoughts and philosophy on the underground. Our talk demanded it to be a two-parter, so for this first part, we go over Kristian's early days, starting Survival Unit, connecting and working with Blood ov Thee Christ, and the newly announced Survival Unit/Grey Wolves collaboration tape. In next week's episode, we get into Alfarmania and so much more. These episodes are highly important history lessons and ones that are not to be missed.

For the ExtraNoisextra segment on our patreon, Kristian talks about Kommando RJF and the importance of Roger Karmanik. This 20 minute segment immediately follows the Blood ov Thee Christ story on the patreon feed.

Well done. I'm sure he talks about his more scurrilous rip-off adventures in thee 2nd part, probably behind a paywall.

https://www.noisextra.com/2023/07/05/in-conversation-with-kristian-olsson-part-2/

Part two online.

Quote from: nusjut on June 30, 2023, 02:51:50 AM
Well done. I'm sure he talks about his more scurrilous rip-off adventures in thee 2nd part

Yes. He does not articulate it clearly, but mentions that during his career lots of fuck ups and failures he is not proud of, and to combat this situation, future books will be sold in ways he is not handling the shipping. Making it faster and more secure for people to get what they ordered.

I think 2nd part is even more interesting and it does go deeper into things like media control, censorship, industrial culture traditions, black metal as extremist counterculture as opposed to metal brotherhood, and many other things. Of course, as usual, one could have picked up just one tiny element of interview and expand it into couple hours. Shocktilt gets talked, but compared to amount of stuff issues have, how exceptional they are etc, one could have probably done episode of making of fanzine and the nature of postmortem culture it attempted to documents/pay homage to. I probably said it before, but with newer guys who have less stuff to discuss, 1-2 hours seems enough. With guys who have decades behind, it is hard to make editorial choice: What should be focus of interview. Two hours with Olsson goes fast . Its great listen, yet also... more? How? When? Knowing that the untold story of nordic power electronics is something that can't be discussed in public, yet there is all the time feeling that...  there would be absolutely good stories that could perhaps elaborate the lure of dark side and nature of counterculture?

Fully agree about how time flew during both segments, this could have easily gone on and on. The first part had pretty outrageous stories from the past, while the second covered his present activities. Very curious about the upcoming book. Also very glad he spoke about current affairs, social control and how underground (counter) culture should be in direct opposition to totalitarian power grabs.

Both episodes were great. Anecdotes about some old live shows and activities were fun, but even more enjoyable was the second episode's look on current state of things. Definitely could feel the time crunch in the second episode and as echoed above, would've loved to hear a lot more. Haven't had the opportunity to familiarize myself with his zine works, but looking forward to the new book. The mentioned Manhunter book was a good read, too.

This week's Drew McDowall episode might be favorite in recent memory. It was great hearing about the early and mid stages of such influential acts. I'm a huge fan of all of his work and am eager to hear more about his time with Coil next week.

oh yes. Part 1 here: https://www.noisextra.com/2023/07/12/in-conversation-with-drew-mcdowall-part-1/

It is kind of curious how different times were still in fairly early years of 90's. That "Operation Spanner" they talk when talking about Mr. Sebastian and modern piercing, was still active court case in early 90's and Mr. Sebastian got 2 years in prison for doing genital piercings for clients. A lot of stories of these were in magazines like Skin Two etc.
It feels quite odd now, but of course, 30 years is after all quite long time. Back then, also in Finland, you'd get sentence for distributing even regular hardcore pornography VHS tapes. Usually sentences were vastly smaller than possibilities of cash profit, so stores kept on going as usual, even if they were illegal.

Quote from: FreakAnimalFinland on July 13, 2023, 07:43:36 PM. That "Operation Spanner" they talk when talking about Mr. Sebastian and modern piercing, was still active court case in early 90's and Mr. Sebastian got 2 years in prison for doing genital piercings for clients.

Alan didn't get a custodial sentence. But they were indeed quite odd times.

https://www.noisextra.com/2023/07/19/in-conversation-with-drew-mcdowall-part-2/ (https://www.noisextra.com/2023/07/19/in-conversation-with-drew-mcdowall-part-2/)

Second part continues with focus on Drews role in Coil, recordings, releases, casual talk about processes - both technological and leaning to occult. Now that both parts are online, it's good to listen in one after another to keep the flow.

Again, a very enjoyable two-part interview with captivating stories around Coil as well as interesting trivia from the old days, like mentioned above. Being of another younger generation, the stories sound more surreal and difficult to imagine from today's perspective.

Good episode with Lussuria / Rogue State. I find thinking that the actual history or how one got into it, is discussed so often, that this interview gets more interesting when it dives into more current days. Making of stuff, releases, especially the operation of Rogue State. It could be perhaps worth to test, how to structure interview in way that it would not start with beginning. See what parts of beginning comes up in the interview when time is right. Of course not bad as it is.

I can also relate to Jims love/hate feelings of live shows, hah. The travel, the compromises with gear, all that. Despite playing live is rewarding and even rehearsing multiple times week to get things work out... but then thinking would I play overseas anymore.. probably not. There are other ways to do noise and be active, like also Rogue State examples nicely illustrates.

https://www.noisextra.com/2023/07/26/in-conversation-with-jim-mroz-lussuria-rogue-state/ (https://www.noisextra.com/2023/07/26/in-conversation-with-jim-mroz-lussuria-rogue-state/)

Continuing our coverage of those playing the Hospital night of the NWN/Hospital Japan Fest, we had Jim Mroz of Lussuria in the Noisextra den for a great talk. We discuss the history of Lussuria, how he came to the noise underground, the importance of the Hospital store, founding Rogue State University, and so much more.

For the ExtraNoisextra segment on the patreon, we discuss the recent arrest in the Gilgo Beach murder case. Jim gives the full background story of the recording of his 7" based on the case, including a wild story about actually going to Gilgo Beach. This 15 minute segment is in the middle of the episode on the patreon feed.

https://www.noisextra.com/2023/08/02/aube-purification-to-numbness/

QuoteAfter a slew of interviews (with plenty more to come), we head back to our goal of covering every CD on Pure with Aube "Purification to Numbness." The single source landscape of Aube hit is harsh way on this album. We also discuss the "Luminescence" VHS, and Greh talks about seeing him live in 2001. Aube forever.

For the extra long (over 40 minutes!) ExtraNoisextra segment on the patreon, we talk a ton of recent listening as well as some recent shows.

This Aube was among very early Pure discs and early Aube experiences too. I had some of his water source stuff before and the VCO felt little less nuanced source compared to water. Not bad though. Plenty of those VCO recordings from Aube and perhaps this ranks on top due being earliest of that source.

I had pleasure to see AUBE live once. He was playing mixer and effects. All live hands-on approach and constant small modulation and adjustment. While of course you can do that on laptop too, but there is different visual impact when you see the mixer-efx action going on, and that as delicate and elegant as Aube is, indeed he is not editing and doing playback of prerecorded stuff, but building his stuff out of source he is working on.

This applies to his recorded works too. Feeling that he actually plays it, not edit on screen like a lot of later days noise can be. It makes one think how crucial element is not watching how it is, but hearing and feeling it. How different it is when that slowly growing piece is growing while you make and listen and not result of editing.

I saw him in 2007, and to be honest i can't recall much of the actual sounds today. But it was not a highlight.

One of the early VCO works for sure. But earliest was Density 100 from late 1993. He used VC with glow lamps on Flash-Point prior to that. Following Density 100 was E-Power and Emotional Oscillation, also VCO works prior to Pure disc.

One Aube-related thing i never bought, was the Ukiyo disc. Used to be dirty cheap on discogs, now it's standard CD price. Any words on that?

Quote from: FreakAnimalFinland on July 26, 2023, 01:16:19 PMGood episode with Lussuria / Rogue State. I find thinking that the actual history or how one got into it, is discussed so often, that this interview gets more interesting when it dives into more current days. Making of stuff, releases, especially the operation of Rogue State. It could be perhaps worth to test, how to structure interview in way that it would not start with beginning. See what parts of beginning comes up in the interview when time is right. Of course not bad as it is.

I can also relate to Jims love/hate feelings of live shows, hah. The travel, the compromises with gear, all that. Despite playing live is rewarding and even rehearsing multiple times week to get things work out... but then thinking would I play overseas anymore.. probably not. There are other ways to do noise and be active, like also Rogue State examples nicely illustrates.

https://www.noisextra.com/2023/07/26/in-conversation-with-jim-mroz-lussuria-rogue-state/ (https://www.noisextra.com/2023/07/26/in-conversation-with-jim-mroz-lussuria-rogue-state/)

Agreed! Though in a different genre entirely I saw a post by Vernon Reid of Living Color posting images of his pedalboard after TSA rifled through it. It's the thing nightmares are made of. The one thing that wasn't asked when they jumped onto this topic and something that I would love to hear these various artists talk about is the difference between touring in the US versus the rest of the world. I've been hearing stories about the BLJ/Rita tour and them scraping by from town to town yet the overseas tour that Richard is arranging seems to be in places of more for lack of a better word "prestige" or has the promise of a better if not guaranteed return?

WILT

https://www.noisextra.com/2023/08/09/in-conversation-with-james-p-keeler-wilt/ (https://www.noisextra.com/2023/08/09/in-conversation-with-james-p-keeler-wilt/)

Noise, ambient, live show talk, different labels & distributors get nod of appreciation. Nice little nugget of info is that WILT name was also partially nod towards BRUTAL TRUTH song under same name.

Funnily enough, it was always my favorite Brutal Truth song. Heard it first on:
https://www.discogs.com/release/564651-Various-Monsters-Of-Death
This comp version is VASTLY better than it is on the debut album. Just heavier, thicker, and more brutal!

Quote from: FreakAnimalFinland on August 09, 2023, 03:02:53 PMWILT

https://www.noisextra.com/2023/08/09/in-conversation-with-james-p-keeler-wilt/ (https://www.noisextra.com/2023/08/09/in-conversation-with-james-p-keeler-wilt/)

Noise, ambient, live show talk, different labels & distributors get nod of appreciation. Nice little nugget of info is that WILT name was also partially nod towards BRUTAL TRUTH song under same name.

Funnily enough, it was always my favorite Brutal Truth song. Heard it first on:
https://www.discogs.com/release/564651-Various-Monsters-Of-Death
This comp version is VASTLY better than it is on the debut album. Just heavier, thicker, and more brutal!

This was a cool interview. Def. worth a listen. Keeler is an interesting person.

https://www.noisextra.com/2023/08/16/in-conversation-with-dan-burke-illusion-of-safety/
 (https://www.noisextra.com/2023/08/16/in-conversation-with-dan-burke-illusion-of-safety/)

Burke mentions getting diagnosis, like lots of people do these days. Quick paced thoughts running in your head ain't really all negative when thinking underground art creation, hah! It seems pretty clear to hear from the interview the type of character who has a lot of things in your head and busy getting them out. Lots of little stories, again the length of career is so long, you can't really expect anything to be dealt in great detail. As soon as Tesco CD gets mentioned, I feel like "just hold right there! Few more details of early Tesco deals and relation to Euro industrial of the time"? But what all to squeeze in 65 minutes (+patreon segment)?
It is great to get old timers in Noisextra when WCN has often been with more recent artists.

QuoteIllusion of Safety is one of the longest running projects in the industrial noise underground, and Dan Burke was cool enough to sit down with us and go over his entire history. From seeing the final Throbbing Gristle show in San Francisco, to creating the IOS world with all its collaborators, Dan has stories and insight for days. It's another mandatory history lesson on Noisextra.

For the ExtraNOISEXTRA segment on the patreon, Dan talks about taking music lessons and how it's inspired his current approach to IOS and all his sound work. This segment is in the middle of the episode on the patreon feed.

Quote from: FreakAnimalFinland on August 21, 2023, 08:53:52 AMhttps://www.noisextra.com/2023/08/16/in-conversation-with-dan-burke-illusion-of-safety/
 (https://www.noisextra.com/2023/08/16/in-conversation-with-dan-burke-illusion-of-safety/)

Burke mentions getting diagnosis, like lots of people do these days. Quick paced thoughts running in your head ain't really all negative when thinking underground art creation, hah! It seems pretty clear to hear from the interview the type of character who has a lot of things in your head and busy getting them out. Lots of little stories, again the length of career is so long, you can't really expect anything to be dealt in great detail. As soon as Tesco CD gets mentioned, I feel like "just hold right there! Few more details of early Tesco deals and relation to Euro industrial of the time"? But what all to squeeze in 65 minutes (+patreon segment)?
It is great to get old timers in Noisextra when WCN has often been with more recent artists.

QuoteIllusion of Safety is one of the longest running projects in the industrial noise underground, and Dan Burke was cool enough to sit down with us and go over his entire history. From seeing the final Throbbing Gristle show in San Francisco, to creating the IOS world with all its collaborators, Dan has stories and insight for days. It's another mandatory history lesson on Noisextra.

For the ExtraNOISEXTRA segment on the patreon, Dan talks about taking music lessons and how it's inspired his current approach to IOS and all his sound work. This segment is in the middle of the episode on the patreon feed.

Indeed this was a fun interview. I dig the historical perspective. The one question that both podcasts seem to avoid is how these people get by. Obviously, noise doesn't pay the bills, or does it? Agreed 65 minutes is too short and I enjoy their 2 part episodes but then they would have to reign in the guest with more precise questioning and lead them down that interview path. Do the 3 of them sit in the same room when they interview their guests or is everyone on a zoom call?

https://www.noisextra.com/2023/08/23/synth-clean-and-repair/
I would suppose this episode would be better watch than listen only audio. On video version you can see them doing the clean & repair, not just listen. They repeatedly give disclaimer of not being professional synth tech guys, but episode being advice on the level what they do. For guys such as myself, who never cleaned nor repaired any gear, it is good reminder that some of this low level things like crackling volume buttons or such ain't that big deal. Or blowing a bit of dust from gear that is 50 years old by now..  It is also curious to hear the discussion that people supposedly look down on Yamaha synths and always praise Moog and Korg... maybe! My two "major" synths being ultra common noise synth Korg MS-20, but besides that, Yamaha CS-20M. Latter has so different functions than Korg has. It has very specific sound. And GREAT sounds, I may add.

https://www.noisextra.com/2023/08/30/audio-drudge-6/
Another unusual episode, where instead of noise albums, Noisextra crew discusses Audio Drudge issue 6. 1995 magazine and they'll each deal with different artists being interviewed plus talk all all things related. Reviews, artists ideas, importance of zines, ads, the difference of re-visiting zines decades later. Seeing reviews of things that didn't ring a bell then, but now, its like seeing you had the ads, the reviews of great releases already then, yet it took decade(s) to really get to know it.

In this episode Noisextra crew asks the audience any suggestions, what type of content should be done. Besides the usual things they have been doing. I would think some things could be for example:

-Noise distributors (with someone who was there back in the day, and still around, who may discuss the changes and developments)
-Noise zines (they've had ALAP and basically Onkagu Otaku and Bananafish.. but from SI forum you'll find the "noise zines that have existed" topic that lists huge amount of other stuff too.)
-Noise videos (they have had some, but maybe if finding also people who used to put out VHS or later dvd)
-Noise gig or fest organizers. Be it something like recollections how it was to get something such as No Fun happen, or just the noise gig organizing especially pre-internet.
-Noise tour organizers. When the first long tours started, some of stories has been in noisextra, but it would be neat to hear more.
etc etc..

Plus, lets say even collection of reports of visiting something. Easy example could be audio tour diary done on the spot while it is happening. Or, trip to Japan into Hospital fest. One could easily record on any device, talk about.. visiting noise shop(s), fresh impressions of gigs just seen, quick talks with people.

I have no idea how many people would be into such things, but I certainly would like to hear details if anyone visited Japanese shops with noise sections, how they are now, what types of prices you pay, what types of stuff you have there on shelves right now, etc. That would be among the top discussions if some of your friends visit japan. What did you find, where, what else was there. There is so much of noise labels, artists etc, but actual physical stores carrying noise, those are anomaly that is disappearing in history.

Jason Mantis would be an interesting interview.  From running the Celtic Frost USA fan club to early zine(s?) to his metal band(s?) to Malignant to Audio Drudge.  I believe he was mentioned in the Cryptic Slaughter doc on FOAD for doing something I'd never heard of before (and now can't seem to recollect).  He's had his hands in things for a long, long time now.

I've just recently gotten into Noisextra and am slowly working my way backwards in reverse chronology. Excellent stuff! Very in depth and knowledgeable without any excessive academic baggage. Just pure passion for the subject. This is probably mentioned somewhere already, but is there a reason for not playing any music on the show? A conscious decision, or legal/copyright issues? I for one would enjoy a talk with John ZeWizz about his personal journey. From running a Rolling Stones fan club to Sleep Chamber, Women of the SS, etc.

I suppose it is also for copyright reasons as you will hear podcast on every platform, and these days AI quickly detects music that someone has copyright..

Like new episode, I suppose all names that come up here are classic industrial music in a way that it probably has copyright that even short clip would block it from many platforms?

https://www.noisextra.com/2023/09/06/in-conversation-with-paul-bee-hampshire/

QuoteFrom providing homemade Manson shirts to John Balance and David Tibet to buzzing around the Psychic TV world to narrating Genesis P-Orridge's autobiography, Paul "Bee" Hampshire has been all around the world, heavily within the UK industrial scene. Bee tells us his life story, which includes briefly being a pop star in Japan as well as working at an early 80s fetish club, and gives a cool different history of the strange world of the 80s and 90s.

For the ExtraNoisextra segment on the patreon, Bee talks living in Thailand, working on Thai radio, and make electro music while living there. This 20 minute segment is in the middle of the episode on the patreon feed.

About 2 hour episode with lots of neat stories from early days of industrial. Even more interesting it gets when they do start to discuss not only history, but even the intent and process of doing, and proceed into importance of interview (like this one they are doing) itself. Bee mentions how a lot of things are so subconscious that many times you don't really (need to) think about it while making, it just comes. And only in interview, when pushed into situation of explaining these ideas and work itself, it is moment where you kind of explain to yourself something what formerly was merely subconscious.

They do discuss things like the early 80's industrial music research, where you got no access for information really. Talking David Tibet having access to library archives where he couldn't get anything out, but would record things on tape and bring them out and meetings with discussions about all these things with the others (TG, Coil, Psychic TV, C93 ...circles). Proceeding into discussion how people used to travel hundreds of kilometers just to see image. While now, a lot of things are diluted, and we excess of everything is so huge, that now importance shifts rather into emphasis on intent. To clarify what it means, one can listen interview. Very much worth for anyone into UK weird culture, industrial music and so on.

Quote from: FreakAnimalFinland on September 07, 2023, 02:41:35 PMI suppose it is also for copyright reasons as you will hear podcast on every platform, and these days AI quickly detects music that someone has copyright..

Like new episode, I suppose all names that come up here are classic industrial music in a way that it probably has copyright that even short clip would block it from many platforms?

https://www.noisextra.com/2023/09/06/in-conversation-with-paul-bee-hampshire/

QuoteFrom providing homemade Manson shirts to John Balance and David Tibet to buzzing around the Psychic TV world to narrating Genesis P-Orridge's autobiography, Paul "Bee" Hampshire has been all around the world, heavily within the UK industrial scene. Bee tells us his life story, which includes briefly being a pop star in Japan as well as working at an early 80s fetish club, and gives a cool different history of the strange world of the 80s and 90s.

For the ExtraNoisextra segment on the patreon, Bee talks living in Thailand, working on Thai radio, and make electro music while living there. This 20 minute segment is in the middle of the episode on the patreon feed.

About 2 hour episode with lots of neat stories from early days of industrial. Even more interesting it gets when they do start to discuss not only history, but even the intent and process of doing, and proceed into importance of interview (like this one they are doing) itself. Bee mentions how a lot of things are so subconscious that many times you don't really (need to) think about it while making, it just comes. And only in interview, when pushed into situation of explaining these ideas and work itself, it is moment where you kind of explain to yourself something what formerly was merely subconscious.

They do discuss things like the early 80's industrial music research, where you got no access for information really. Talking David Tibet having access to library archives where he couldn't get anything out, but would record things on tape and bring them out and meetings with discussions about all these things with the others (TG, Coil, Psychic TV, C93 ...circles). Proceeding into discussion how people used to travel hundreds of kilometers just to see image. While now, a lot of things are diluted, and we excess of everything is so huge, that now importance shifts rather into emphasis on intent. To clarify what it means, one can listen interview. Very much worth for anyone into UK weird culture, industrial music and so on.

I'm having a hard time getting through this one to be honest. Silver rubber suit, blah blah blah.... I feel like the crew was a bit unprepared for this and let Bee run on and on....

Quote from: Confuzzled on September 08, 2023, 04:51:17 PM

Quote from: FreakAnimalFinland on September 07, 2023, 02:41:35 PMI suppose it is also for copyright reasons as you will hear podcast on every platform, and these days AI quickly detects music that someone has copyright..

Like new episode, I suppose all names that come up here are classic industrial music in a way that it probably has copyright that even short clip would block it from many platforms?

https://www.noisextra.com/2023/09/06/in-conversation-with-paul-bee-hampshire/

QuoteFrom providing homemade Manson shirts to John Balance and David Tibet to buzzing around the Psychic TV world to narrating Genesis P-Orridge's autobiography, Paul "Bee" Hampshire has been all around the world, heavily within the UK industrial scene. Bee tells us his life story, which includes briefly being a pop star in Japan as well as working at an early 80s fetish club, and gives a cool different history of the strange world of the 80s and 90s.

For the ExtraNoisextra segment on the patreon, Bee talks living in Thailand, working on Thai radio, and make electro music while living there. This 20 minute segment is in the middle of the episode on the patreon feed.

About 2 hour episode with lots of neat stories from early days of industrial. Even more interesting it gets when they do start to discuss not only history, but even the intent and process of doing, and proceed into importance of interview (like this one they are doing) itself. Bee mentions how a lot of things are so subconscious that many times you don't really (need to) think about it while making, it just comes. And only in interview, when pushed into situation of explaining these ideas and work itself, it is moment where you kind of explain to yourself something what formerly was merely subconscious.

They do discuss things like the early 80's industrial music research, where you got no access for information really. Talking David Tibet having access to library archives where he couldn't get anything out, but would record things on tape and bring them out and meetings with discussions about all these things with the others (TG, Coil, Psychic TV, C93 ...circles). Proceeding into discussion how people used to travel hundreds of kilometers just to see image. While now, a lot of things are diluted, and we excess of everything is so huge, that now importance shifts rather into emphasis on intent. To clarify what it means, one can listen interview. Very much worth for anyone into UK weird culture, industrial music and so on.

I'm having a hard time getting through this one to be honest. Silver rubber suit, blah blah blah.... I feel like the crew was a bit unprepared for this and let Bee run on and on....

I didn't find many issues with it. I'm often listening at 1.2x speed, so perhaps that helped with any rambling, but I overall found it rather interesting and worth it for all the anecdotes. Brion Gysin dancing around and raving about Heathen Earth is a great image.

And for me, the rubber fetish club stuff certainly would have been thing they could have talked even more! The original Skin Two club, before such magazine even existed. Name dropping mr. Atomage but not really full stories of that, even though I'd assume there could have been. It is not noise, but certainly plays role in industrial culture.

Like in case of Finland, entire fetish club scene is way way later than UK, but it nicely ties into works of industrial noise. Like in case of Nalle Virolainen, who pioneered the body modification, primitive tattoos and such..  Regardless that he is not involved in noise at all, influence ties tightly into older generation of noise makers. Läjä Äijälä being both noise makers himself, but also bringing the rubber perversions into comics, hardcore punk, art, etc.  I would not be surprised if some noise makers outside Finland would be like "who cares", but in the end, to really see where certain culture existed in way it did, can be enlightening when you realize the environment they existed etc.

Quote from: FreakAnimalFinland on August 31, 2023, 10:06:30 AM-Noise tour organizers. When the first long tours started, some of stories has been in noisextra, but it would be neat to hear more.
etc etc..

Suggested many times, and I guess others did too..

https://www.noisextra.com/2023/09/13/noise-on-tour/

Casual talk about things related to touring.  I would guess that one element of especially youthful years of touring, which is barely mentioned is the sheer amount of drinking & other substances. I suppose in some cases when you hear that touring is no longer as fun as it used to be, may be simply result of not wanting or being able to, be doing that couple weeks in a row, haha..

I mostly play sober, as keeping things pro, hah, but going on tour with no drinking would be like... what's the fun in that?

https://www.noisextra.com/2023/10/04/inanna-storm-i-iii/
Look into old Swedish dark sounds, discussions between Mike & Tara and another session with Mike & Greh.

https://www.noisextra.com/2023/10/11/in-conversation-with-lasse-marhaug/
This one real treat for rare occasion of Norwegian noise at any podcast! 80 minutes with Lasse, dealing things since his very early stages of UG metal and noise involvement and continues via label works, live stories, noise making, magazine making and so on..  Obviously another example how impossible to squeeze in anyone into podcast without feeling there would be ton of thing to discuss. Testicle Hazard gets covered a bit and some of his latest releases too and man mentions Personal Best 10 under work.

Two new episodes are less about noise, more movie soundtrack, game music etc.

https://www.noisextra.com/2023/10/18/the-last-house-on-dead-end-street-with-adam-higgins-of-vombis/
"we talk to Adam Higgins who released the soundtrack on LP. He tells us how the record came together and how he figured out where all the tracks came from. After he heads back to work, we get into the movie itself. It is very appropriate listening and watching for the darkest month"

mr. Higgins is fast talking enthusiast.

https://www.noisextra.com/2023/10/25/atrax-morgue-death-orgasm-connector/
When this album came out, I remember being quite shocked. It is so digitally clean, so sharp, so minimal, so deranged vocals. It took long time to REALLY get into it, yet album stands as 100% unique album in this genre.

https://www.noisextra.com/2023/11/01/in-conversation-with-ross-tregenza-the-texas-chain-saw-massacre-video-game-cyberpunk-2077/
"Video game composer and sound designer Ross Tregenza joins us to discuss the process of creating all the sounds for the new Texas Chain Saw Massacre video game and maintaining a faithful atmosphere to Tobe Hooper's 1974 film. Tregenza's soundtrack plays separately from the game as an excellent dark ambient album rich in tension. We discuss how he got into the industry, his work for Cyberpunk 2077, varying levels of chicken agitation and composing for games in general."

I may have expressed my dislike for certain things so often, should rather just ignore, hah. This sound designed, has reel-to-reel and analogue gear and many things very common with "noise makers" of what I generally prefer.

https://www.noisextra.com/2023/11/08/in-conversation-with-andy-ortmann-panicsville-nihilist-recordings/

QuoteWe had a great time catching up with our old friend Andy Ortmann of Panicsville and Nihilist Recordings. Andy has been doing it since 1992 with no signs of stopping. From his beginnings in St. Louis to relocating to Chicago, we go into his entire noise history. Ortmann has worked with innumerable artists and his passion for the underground has never wavered. Head thru a portal to the outer limits and forget about the return.

For the ExtraNoisextra segment on the patreon, Mike pulls out a compilation VHS that Andy made for Mike over 20 years ago. We go through the entire contents and have a blast heading down VHS memory lane.

Nice interview episode. The old days. Andy talks about making anti-records before seeing any anti-records and so on. Its funny Andy talks about learning how to fill forms to offer CD for Bestbuy who then orders 200 copies noise CD, hah!


Many early FA releases not being very interesting for most of dealers. Finnish noise wasn't always wanted. It would be more like putting all your funds to finance vinyl records and distros would take 3 copies... Then Aube/Grunt 7" comes out, and I get order for 100 copies from RRRon, but I could only send 90 to RRRecords, who pays in cash. 50 copies order from Anomalous. Aube royalties went to Japan.. since pressing was merely 200.. I got like couple dozen copies that didn't go to Japan or USA...

Back then, foolishly had no idea about certain "demand hierarchy" in noise and expected similar zero reaction as there was for Finns. Funny thing with that was that I didn't even hear what material was before it was pressed. I simply trusted Aube will be good as he always was back then, but didn't have means to listen DAT master, so I just sent Aube DAT and Grunt c-cassette to factory to be pressed. Masters stayed at factory, so vinyl 7" is only thing that really exists.

Not really related story to episode, in other way than was surprising in same way as having Bestbuy buying huge amount of CD. These days it would be probably even bigger surprise to get order of hundreds of copies of one title, though!

New episode is very good! It would be great if something like this would be applied more often. Here they do have multiple Skin Crime members involved, but also label boss mr. Hospital. It is not like chaotic group talk, but they have recorded couple conversations and edited them together. It has the free flow of podcast format, but hint towards "document" type, where Fernow pieces are here and there in middle of conversation when they fit in.

Despite several people being there, it does not become hectic or chaotic chatter. Very good episode for anyone into SKIN CRIME!

https://www.noisextra.com/2023/11/22/in-conversation-with-skin-crime/

QuoteNoise History class is underway with a full-to-the-brim episode focusing on the Skin Crime s/t LP on Hospital Productions from 2003. We had a conversation looking back on this time with Pat, and appropriately (as you'll hear), Mark jumps on out of nowhere near the end. We talked with Dominick leading up to the episode and insert his recollections and thoughts on releasing the very first Hospital LP throughout. Part "in conversation," part "audio documentary," all SKIN CRIME.

For the ExtraNOISEXTRA segment on the patreon, we hear a lot more background from Dominick including Peter Lee's involvement, the idea behind the center labels, and a story of laying out the LP with his teacher. This segment immediately follows the regular episode on the patreon feed.

I really enjoyed this one. It combines their album review and interview formats. I thought it worked really well

https://www.noisextra.com/2023/11/29/early-lexington-noise-shows/

QuoteMike and Tara take a trip back to their earliest days in Lexington, KY and discuss some memorable shows and events from that time. A show at Club Seal that ended at the hospital, shows in the street, in tiny apartments and more. Never let the fire of the maverick days go out.

For the ExtraNoisextra segment on the patreon, we discuss some of our recent listening including a release that very much pertains to the regular episode.

Many times in past requested Noisextra folks talk about themselves, and now recently not only Mike and Greh were interviewed in WCN, but also bunch of these more personal episodes came. For me it is very interesting moment where some of the well known players in genre start out of... almost nothing. And little by little - OR most often, in fast paced leaps they become the kind of core forces and people who sort of lead the way, hah.. Even if Tara has been present in countless Noisextra (and Patreon specials), I don't think I ever read or heard interview with her. That should be good, when would get interviewed alone!

QuoteIt's been referenced many times throughout the years on Noisextra, especially on our recent Skin Crime episode, so we felt it was time to finally discuss the "Adventures of Huckleberry Finn" VHS. "Huck Finn" documents the 1997 tour featuring the Haters, Emil Beaulieau, the Haters, Skin Crime, Crank Sturgeon, and Angst Hase Pfeffer Nase. It's an absolute classic VHS and we got some inside info from some participants. Get lost on the back roads with us and "Huck Finn."

For the ExtraNoisextra segment on the patreon, Ron Lessard granted us permission to put up the entire VHS. Head over to the Noisextra patreon to view in full!

https://www.noisextra.com/2023/12/06/adventures-of-huckleberry-finn-vhs/

There are so many similar stories with mine. Getting VHS from RRR first, that happened before internet, before seeing photos of anyone... and asking who are you in this VHS and RRRon writes "I'm the one with bald spot", haha..  Noise in era when that wasn't describing half of the guys...
Listening the discussion revolving around the video, makes one think that documenting noise shows these days could indeed have little bits of off-stage things.

Quote from: FreakAnimalFinland on December 08, 2023, 12:21:26 PMhttps://www.noisextra.com/2023/11/29/early-lexington-noise-shows/

QuoteIt's been referenced many times throughout the years on Noisextra, especially on our recent Skin Crime episode, so we felt it was time to finally discuss the "Adventures of Huckleberry Finn" VHS. "Huck Finn" documents the 1997 tour featuring the Haters, Emil Beaulieau, the Haters, Skin Crime, Crank Sturgeon, and Angst Hase Pfeffer Nase. It's an absolute classic VHS and we got some inside info from some participants. Get lost on the back roads with us and "Huck Finn."

For the ExtraNoisextra segment on the patreon, Ron Lessard granted us permission to put up the entire VHS. Head over to the Noisextra patreon to view in full!

https://www.noisextra.com/2023/12/06/adventures-of-huckleberry-finn-vhs/

There are so many similar stories with mine. Getting VHS from RRR first, that happened before internet, before seeing photos of anyone... and asking who are you in this VHS and RRRon writes "I'm the one with bald spot", haha..  Noise in era when that wasn't describing half of the guys...
Listening the discussion revolving around the video, makes one think that documenting noise shows these days could indeed have little bits of off-stage things.

I may have to contribute to the Patreon to watch this as I don't have a VHS anymore unless Ron has it for sale on DVD?

I don't think dvd exists, but when someone actually digitizes it, could have been good to do dvd.

https://www.noisextra.com/2023/12/13/various-artists-excelsis-a-dark-noel/

QuoteThe season's bells were ringing for us to cover the classic Projekt Records compilation "Excelsis: A Dark Noel." The original dark Christmas comp, it ranges from ambient and abstraction to more traditional takes on holiday classics.

Label that I do not have that much stuff. It is curious thing that back in the day, label would make huge pressing and item would be available so widely that people who normally are not exposed, could be. Like in Finland, for reason or another, there was a lot of Extreme label various artists CD "Untitled (ten)". Back in late 90's you could find it in Anttila discount bins for like less than 1 euro/1 usd. Merzbow and bunch of others on it. Who knows how much was pressed and why they were masses of them among cut-outs & overstocks, but I know for fact that some guys first heard real noise by randomly picking up this CD from supermarket.. I am sue Excelsis..... comp on Projekt may have exposed countless people to Arcana, Autopsia, Attrition etc.. Not exactly noise, though.



https://www.noisextra.com/2023/12/20/zoviet-france-gris/

QuoteThe decision was made to leave the house and look for inspiration. What transpired was the discovery of a 10″ by a very important historical project — "Gris" by :zoviet-france:. It was a sign to dig deep into the band, one that Mike and Tara are admittedly not insanely familiar with. So come along on our journey in discovering this fantastic 10″ and diving into :zoviet-france:.

Tara and Mike doing episode without Greh. Not talking only about this 10", but a lot of other things.

https://www.noisextra.com/2023/12/27/behind-the-green-door/

New episode is really good. It focuses solely on Green Door, house venue that Greh was running couple of years in Detroit.
I have said it before, but perhaps it is thanks to SI forum and living over here, that Finnish shows got so much attention while I don't hear almost at all about shows elsewhere. When Purgist & Maaa was running the noise site with video streams of shows etc, you got to see videos, pics etc. Of course one can say that having a noise show, for people who were there, is more important than documenting and writing about it.
Nevertheless, back in the day, I was reading about European power electronics/industrial sets, live reports about Daniel Menche playing sand with contact mic, stories of Hijokaidan shows, Ongaku Otaku doing Mason Jones Japanese tour reports, Death Squad mailing out live information, Whitehouse live gigs often commented with few lines of text, etc etc etc...   Of course 2023 is different, but back in the day, there was nothing happening in Finland that I was aware of, and had to travel to Sweden to see Con-Dom - to catch my first noise show. It was that "oh... live noise is done like this!". Even more curious was the early 00's when this USA house gig scene started. I had visited metal/rock gig local guy organized in concrete basement he lived in, but even that didn't really make me thing you could run entire noise scene without public venues. Now it feels 1000% obvious that of course that's one way to do it, but here in nordic countries, you'd have pretty big support for underground culture. Even if it feels not being enough (haha..), when you hear stories from other side of the world, often there is nothing and over here you got youth houses, funded spaces, funded art spaces, bars that may welcome you, and if nothing helps, then renting whatever "social hall" is possible. But house shows? I did play one this year, but in general it seems to happen less. Perhaps main thing is that you don't want bunch of scumbags to come to your house.
This is one element that Greh talks about. People trying to steal stuff. People behaving like cunts. You do non-profit house shows giving all money to artists and crowd just leave mess behind.
Anyways, back to thing that I have mentioned before that some of the annual fests in Europe or live gigs in Finland get covered, but very rarely hear about shows around the world nor anyone says there is some place where people would talk or post info about them? Of course, if it is worst possible "local noise" event, where you got meaningless hobbyist gathering, then fine.. over here most shows then to be known recording artists who have even albums out and recognized around the world - at least in small circles. Of course estimation could be made that it is anomaly caused by couple people who like to write and platform where is urged to do so... and remove couple of those elements and you'd hear nothing?

So, that said, glad there is Noisextra and that they started to talk more about things there were involved. Of course I am familiar with Green Door, even have live releases recorded there, but the magnitude of shows, the conditions, all that, gets either forgotten or been clouded in first place how much there was! Not that I need crowds of random mess makers to my reh place or garage, but it is nice reminder for spoiled Finns that doing noise shows in cultural centers, bars and galleries is not only way to go, but there is also options of total DIY.

I started reading japanoise this past weekend, and the author makes a good point with the "grass is always greener" analogy. We all think that noise scenes in other countries are more united and prosperous when, in truth, they're just as fractured as our own. I agree about not wanting scumbags in my home. That is why I never host my family for the holidays.

https://www.noisextra.com/2024/01/03/noise-new-year/
This was the wrap up of noise year 2023 and all sorts of casual talk. Return of "recent listening" also good.

https://www.noisextra.com/2024/01/10/various-artists-noise-forest/
Unusual episode, since it is rare occasion Noisextra would feature short clips of tracks. Noise Forest comp and all the talk about Japanese old scene, plus hyping upcoming Hospital fest. This comp certainly is like master example how unique everybody was, but not only unique, but recognizable. You simply KNOW instantly who plays. It won't take many seconds to know who it is. Of course one could argue that it ain't always positive if X delivers just the X, and no surprises... but many of these fellows do have quite vast and diverse, yet still recognizable style.

https://www.noisextra.com/2024/01/17/ain-soph-kshatriya/
AIN SOPH is not noise by any means, but within the European industrial / noise / power electronics scene, this type of stuff was always featured at lists of same distributors, often same labels who put out the noise. Ain Soph quite varied stuff and some of it is very very good.

https://www.noisextra.com/2024/01/31/in-conversation-with-davin-brainard-princess-dragon-mom-time-stereo/
Good episode talking about gigs that happened before the "basement shows" thing. Noise happening at rock venues, talk about noise being sold at record stores, etc etc. It is curious how they talk about all these places being stores that certainly had section of noise, but that shops would get by with usual rock roll. Mentioning even places like RRR, noise is like tiny slice there and it's Rod Steward LP's that sells, haha. Don't know about that.
I find it utterly weird, considering how big countries often are, with pretty large population, and that one could not really operate underground store? Like over here in Lahti/Finland, of course, if you really think about it, having store open 5 days a week, that sells almost exclusively underground stuff, with just little slice of random 2nd hand mainstream shit, would seem completely unrealistic. But really, even noise been always one of the most remarkable genres that sells. Compared to that, mainstream stuff is absolutely pointless.  Could easily just throw everything away. Which I often do. Welfare for cats -fleemarket is couple meters away so one can donate all the mainstream bulk junk away. Probably have to do little purge now after typing this. Of course one can estimate that costs for rent, may be so vastly different - like Hospital store in Manhattan. Or money you need to generate to get by. Perhaps small town weirdo store has more chances to keep going!

Hearing trumpet episode is hysterical.

"His name is death squad! and he doesn't wanna stay with either of us"

"I talked to John Cage about jean jackets. I'm not gonna ask him about his music"

"You have an incredible memory!" / "I've been lying. We only played that one show"

A story about being in a NYC skyscraper with Neural and supermodels while "looking like homeless people that Neural- 6 feet tall and decked in leather- had taken pity on"

Funny border crossings too.  A performance where  they weren't even there, instead enjoying thai food down the block while the gear played behind a curtain hahaha Wonderful storytellers. Fantastic episode.

Yes, very good episode! One sometimes forgets how old people are getting. I don't feel old, nor I am really, but when these guys who sound both young and enthusiastic, are telling stories of things that happened 40+ years ago or so.. and one says he's been collecting records since.. was it 1965? And he mentioned he's 70. Damn!

https://www.noisextra.com/2024/03/20/questions-answers/

First time Noisextra keeping this long break in their history. Back in business with listener questions. They spend half episode talking about recent listening and other things and eventually get to reply some questions.

https://www.noisextra.com/2024/04/24/nwn-hospital-productions-japan-fest/

About 1,5 hours of stories from the Hospital/NWN fest. I am quite sure many have heard multiple stories or seen the live videos and such, but Noisextra style total noise fan approach to event is very nice to hear. Already before it happened, I was guessing it COULD have similar historical significance as something like No Fun Fest had. Different, but in a way historical event that so many people around the world gather for the fest, and it is about doing something that has been never done before.

Of course seeing the meaning, may require being there. I remember well what was the vibe in NFF merch area, backyard with all the people getting to meet who very rarely see each other. Of course same in other noise related fests. Of course, expecting to see lots of folks this weekend in Finland too, but as our country is so isolated and remote place to come, some of these more "international" events are even different when it may be almost like gathering of "who is who of noise" so to say. Time flies so fast. Funny how Mike mentioned seeing Grey Wolves last time like.. 25 years ago. He did little collaboration with GO.