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[Sissy Spacek – Raiser CD]

#11

NEW RELEASES ANNOUNCEMENTS / New Helicopter/Troniks: The Ha...

Last post by troniks - October 30, 2025, 07:55:27 AM

New on Helicopter/Troniks:
https://helicopterdistro.bigcartel.com/

Sissy Spacek – Raiser CD
A Bronson session of Phil Blankenship (The Cherry Point, Troniks), Charlie Mumma, and John Wiese, recorded in Los Angeles, California in 2013.

The Haters – Los Angeles, Not The Totimorphous CD
A survey of contemporary and historical performances in Los Angeles by The Haters, formed in 1979 by GX Jupitter-Larsen. From the liner notes: July 15, 2024: Staged at the Coaxial Arts Center GX, AMK, John Wiese, and Elden M performed together as The Haters. GX on modified transistor radio. AMK on modified turntable. John on modified magnetic tape. And Elden on modified rust. It was unofficially The 45th Anniversary Show. (#435) August 4, 2011: A 12 minute installment of "Loud Luggage / Booming Baggage" with GX, Jessica King, and Elden M performed as The Haters, operating amplified suitcases. Staged at Los Angeles Contemporary Exhibitions, (#373) March 12, 1991: Paper was cut. Paper was ripped. Paper was torn. (#116)

The Haters – New York About The Polywave CD
A survey of contemporary and historical performances in New York by The Haters, formed in 1979 by GX Jupitter-Larsen. From the liner notes: Feb 22, 2025: It was an installment of "Digging Through Time" staged at TV Eye in Queens. Performing as The Haters, GX scraped a shovel against a large wooden clock he was holding up, while John Wiese and Crank Sturgeon scratched and sanded their own shovels. The venue was well past its capacity. The audience smashed up the oversized clock after GX tossed it into the crowd. The audience demanded an encore. They were not disappointed. (#436) June 7, 2001: A variation of the "Dirwyn" performance (amplified calculator against a small fan). GX used his Untitled Title Belt for additional sounds. Staged at the gallery Scrape & Pry. (#284) Dec, 8, 1991: The first ever clici-clic performance. A "clici-clic" is a hand-held hole-punch mounted with a contact-mic for amplification. Three members of The Haters each used a clici-clic to pop hundreds upon hundreds of little holes through numerous sheets of paper & cardboard. Staged at the Generator gallery when it was still located in Chelsea. (#155)

Mitchell Brown/Paul McCarthy/Joe Potts/Alex Stevens/John Wiese – Porch Music 2xCD
In 2023, The Box gallery in Los Angeles, California, held an event of Los Angeles Free Music Society performances as "Porch Music", which included the group of Mitchell Brown (Gasp), Paul McCarthy, Joe Potts (Airway), Alex Stevens, and John Wiese (Sissy Spacek). This double album documents a studio session recorded at Paul McCarthy's studio, and the initial live recording of the group from The Box. Melting cinematic sounds. Cover art by Ace Farren Ford.

[Drew Dobbs - Sophisticated Savage K7 [1987, Sound Of Pig]]

#12

GENERAL SOUND DISCUSSION / Re: PLAYLIST with COMMENTS/REV...

Last post by Tribe Tapes - October 29, 2025, 10:32:20 PM

Drew Dobbs - Sophisticated Savage K7 [1987, Sound Of Pig]
Only solo tape from this Big City Orchestra collaborator. Casio SK and emulator noise, as such the looped uncanny approach shares commonalities with Hands To, albeit the Jerman approach is to create pure audio sludge. On this tape rather the loop work is more cartoonish, sometimes serving as a backdrop for sampled speech from television broadcasts.

The Peterson Mixes / EHI - Tow Series K7 [1995, Tapes Of Wrath]
Tapes of Wrath honcho using The Peterson Mixes alias for leftfield found tape collage, the EHI side is more traditional in comparison but still immensely enjoyable no-fidelity noise. The case is modified with the hub posts melted off and the entire thing covered in some sort of plaster, a banderole insert contains the tape itself.

Bob Marinelli - Sheen Of Hypocrisy K7 [1997, Not On Label]
A very early Marinelli tape, liner notes detail it as "vocal power electronics, organic noise performance" although power electronics in this context means granite slab noise as opposed to what you'd expect of the genre. The style here is more monolithic than the spastic pace of later releases, bearing more in common with Ramirez or OVMN tapes of the era, so it only makes sense that both of them are thanked here.

Other 90s era Bob Marinelli releases will soon be reissued via Tribe Tapes as part of the 2x CD Distorted Vision Collection, compiling both Bob's tracks and those from split partners Outermost, Flutter, Government Alpha, and Facialmess.

#13

GENERAL SOUND DISCUSSION / Re: Artificial Intelligence No...

Last post by Theodore - October 29, 2025, 08:33:41 PM

Graeme Revell of SPK said the new SPK album will be made with AI

Ελληνας εισαι, σωστα ; Εδω κολλαει ο Χιος κλειδωστε τους γερους και τις γριες μεσα και παρτε τους τα κλειδια.

Once read this a greek meme came to mind where an outsider journalist -scumbag nonetheless- during elections was saying 'Lock the oldsters inside and take the keys away from them' . Replace keys with computers here. Sorry, this is unacceptable.

#14

CLASSIFIED ADS / WTB Sirkut pedals

Last post by Tube Tentacles - October 29, 2025, 08:32:17 PM

If you have and want to put on sale one Sirkut Gnarler, Trembling Ho + and Ring mod X, Contact with me: kikekaos@msn.com

#15

GENERAL SOUND DISCUSSION / Re: AUSTRALIA - Industrial / n...

Last post by morbid_dyspepsia - October 29, 2025, 03:45:12 AM

#16

GENERAL SOUND DISCUSSION / Re: Artificial Intelligence No...

Last post by Thermophile - October 28, 2025, 11:46:56 PM

Graeme Revell of SPK said the new SPK album will be made with AI

#17

GENERAL SOUND DISCUSSION / Re: Neofolk

Last post by absurdexposition - October 28, 2025, 11:26:33 PM

There were moments/single tracks that were great on the Birch Book albums

For me, the best Birch Book stuff is the Werewolf's Eyes lathe with the cover of Crazy Man Michael. The other stuff, like covers of The Beatles, I can do without.

#18

GENERAL SOUND DISCUSSION / Re: Quitting Noise

Last post by Thermophile - October 28, 2025, 10:15:53 PM

I fully realize that there are very different kinds of people, with different kinds of motivations.
One quality is that people have phases in life, and they "move on" so to say.

I know a lot of people who were "punks" or "metalheads" and then grew up, so to say. They quit, totally. Just adjusted into what is generally expected from people in the society.

I have written about it, quite alot, some of it found from SI website too. Addressing question if what we are involved in is what in past was seen as "youth culture".

It is very very interesting perspective to realize how new idea is to be somehow committed to (sub)culture that is not all about minimum level of survival. That we have merely couple decades of examples of this. Formerly, it was some sort of rebellious transition moment, before there was something else and idea of grown up man committing some something besides feeding family just wasn't really option.

I was born to moment when to rebel was no longer like "summer of 68" or "summer of 77", but turned out into something else. It was no longer that brief moment, where summer or two you got adolescent idealism, what gets suppressed and you get back to line, so to say. Now what we have is life long commitments into something what in past was just anomaly before you got back in line.

I know a lot of people who are merely in search of something. They test things. A lot of trends. A lot of phases. Making couple noise releases is like fucking couple ladies. You know there are bunch of different kinds of ladies you want to try out and not settle on HNW.. so to say.

I am not here just to "try out things". Noise was never phase, not something that was "done", something I would get tired. I can understand there are people who just test things and realize there are more suitable things for them elsewhere move there. I was never like that, never quit anything, never quit liking something I liked, never felt disappointment nor regret of things I've been doing.

Right now, listening SLOGUN, just after listening DISSECTING TABLE, and drinking little whiskey with it. After day of various types of activities, I am sure there are a lot of things I should do, focus and do more, but "quitting" something ain't happening. I rather feel that what I consider to be "industrial noise", both as a sound, plus as worldview, is just so much more that just about anything there is.

I never quit listening other types of music, but indeed, I listen LESS of something. All music genres, I don't need to be listening daily, weekly, or even monthly. I like it, but I don't necessarily need to listen all types of music all the time. Noise, in other hand, since I discovered it, I was always into it. Maximum amount of not listening noise, is being in conditions where I do not have access to stereos or noise releases. That means, just days, maximum of couple weeks when simply being in conditions of not being possible to listen. 

That said, even if I'd spend hours in day doing so, I get to do plenty of things BESIDES listening records, cds, and tapes.
I can't see myself "quitting noise", but if someone else does, and find something better, fine! To me, noise feels compatible to almost anything, so I am really puzzled to hear people moving away from noise for sake of "family" or "work" or whatever. As if you'd need to really make choise between those things?

As for being part of "scene" or being "visible", I dont think that matters so much.

We have had a similar discussion on this forum I think. I made the argument that rock/punk/metal genres are inherently about youth, youthful energy, youthful rebelliousness etc. Once fans/musicians get older they either move on or display a certain amount of devotion which is about "staying true" to their roots, "rocking hard" and maintaining that youth spirit at advanced age.Rock/metal bands immediately lose fanbase if they change or experiment. Those who move on, they precisely connect it with their youth and that's why they lose interest once their youth is gone, it was just a "phase".
This is something absent from certain music style such as classical music or experimental music where the arch of evolution remains open or is even desired, supposedly.

#19

GENERAL SOUND DISCUSSION / Re: Early industrial / post-mo...

Last post by Clinton Foundation - October 28, 2025, 09:06:44 PM

DDV – Tragala Perro! / A Sound Atlas Of Venereology
Pacific 231 - 1983-86 Compendium / Broken Flag Epoch: The Live Sessions reissue (his early LP's are great as well)
Hallow Men - Burial of the Unheard (comp from 80's)
Esplendor Geométrico - 1980-1982 (and other work from 80's)
Jonathan Briley - Collected Works
Birth Of Tragedy - Death Survives (Sound Of Pig will do reissues, or at least was last year for US customers if you reach out)
John Duncan - First Recordings 1978 - 1985
Trait - Inspirationals
Zona Industriale – Requiem
Laxative Souls
Cranioclast
Deviation Social
Etat Brut
Coup De Grace
Maria Zerfall
Browning Mummery
The Dadarotator
Diutesc (80's work if you know where to look, not on discogs as tracks never came out)
The Sound Of Hate Vol 1 / 2 (which originally released 1989 even though not stated on discogs)
The Decay Of The Angel (New Strength Recordings International Compilation)

Some of these recommendations carry over to later 80's but still capture the "early industrial / post-mortem sound", a lot of these are obvious but worth mentioning for those that don't know.

[Lucas]

#20

GENERAL SOUND DISCUSSION / Re: WHITE CENTIPEDE NOISE PODC...

Last post by k.p.g - October 28, 2025, 08:23:18 PM

This one was good.  I think it takes a certain kind of strength to be the type of live performer that he is, and that can be just as admirable as being a savant in studio.  Having played together a handful of times over the years, one thing I can attest to is that Lucas maintains a calm in the live setting that most artists lack.  I've seen his pedals break, his modular rig not turn on, venue pressures, etc. and he just goes with it.  If there are any nerves from him when it happens, you cannot tell.  I am not sure I can think of any other performers who can take malfunctions in their live set like him.  Makes it all the funnier to hear that he cried during his first live performance where everything fell apart and he declared he would not do that again - hah!

Hearing early experiments and what they entail have me curious to the sound.  Would especially love a record of turntable fuckery as he describes it.