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#21
Last post by Minus1 - Today at 04:30:54 AM
Quote from: Balor/SS1535 on Today at 03:51:34 AMAs a roundabout way into this topic, I can say that some of the times that I feel the least lonely are when I am engaging with noise people at shows (and, to a lesser extent, through forums like this---though the lack of "face to face" really limits things with that). (For context, I deal with loneliness very frequently.)
I think I have a lot more to say on this topic, but I need some time to collect my thoughts.
May I ask out loud, as you gather thoughts, if loneliness for you is "bad"?
I knew, even as a kid, that being alone was my preferred state. Oh sure - over the decades I did all the weddings, parties, everything. But most of that time I thought "I sure would like to be alone". And now, as an old guy, I embrace that.
And right now I'm doing Deathpile - G.R. loud, for the second time in a row, and who the fuck would be ok with that in the "normal world"? 😂
I dunno. Being alone / solo / single is often frowned upon in this world. But I think a great percentage of us are happiest this way.
How does this connect with Noise? I'm not really sure. But I can blast "strange music" whenever the fuck I want without pushback / guilt. 😂
Edit: I got carried away here. Sorry. Not the original post intent. I'll (thankfully!) stfu now, and lurk.
#22
As a roundabout way into this topic, I can say that some of the times that I feel the least lonely are when I am engaging with noise people at shows (and, to a lesser extent, through forums like this---though the lack of "face to face" really limits things with that). (For context, I deal with loneliness very frequently.)
I think I have a lot more to say on this topic, but I need some time to collect my thoughts.
#23
Last post by Minus1 - Today at 02:54:14 AM
Well, until now, I'd never heard Deathpile - G.R.
In my readings, this seems to either be hailed as a Noise Classic, or is pissed upon for being "True Crime Electronics". I'm always surprised when anybody accuses Deathpile of "glorifying" this guy. It's very easy to find a very intelligent Canady interview which will completely dispel such silly notions. I think some people also dislike what I will call "Narrative Noise".
Known Victims shows up here (on CD) as track 6 of 9. (It's a different placement on the LP, right?) I know that many dislike this 13min that "disrupts the flow/feel of the album". For me it's perfectly placed. I need a fucking break from "G.R." at that point. ("Break" might be the wrong word. Sorry.)
The vocals / subject matter steal the show, and perhaps the PE backing gets relatively un-noticed. I've read many accusations of it being "all the fucking same". They keep it similar throughout - but for my ears it is varied enough, pacewise, with some very carefully placed billowing, to carry the narrative well. I think just the PE here is compelling, (even in - in fact, especially in Known Victims) and deserves more love.
This is "Narrative Noise" done very well, imho. (Like Con-Dom - The Colour Of A Man's Skin.) A powerful start / middle (with Known Victims) / and end. Kenworth / You Will Never Know is a fucking brilliant way to close.
Normally I'm not a fan of 38min Noise. I like long-ass Noise. But here, 38min is good, thank you very much, Deathpile.
#24
Interesting topic indeed! For me noise kind of shares a bit of that same isolation factor and solitary interest that one might also get from black metal as well. I live in what was once a small town, that's now developed into fast growing and sprawling suburb, which is home to mostly new families and old people in their 80s, who have lived here forever. I think the lack of any type of "community" for any interesting anything is few and far between in a major way. Very seldom do I meet people who are into anything remotely interesting as far music or creating music goes and not that I'm out looking to be a part of social community to find it either. I think the lack of this at least for my say is when I'll create noise it's given me kind of a blank canvas of ideas as to creating, not having anyone else around to give pointers or influence in a communal sense. I feel very isolated within the town I live in. I don't really have a desire to connect with it as I naturally feel alienated by it to where I don't feel the need to approach it or engage with it on any level, which in turn can make the process maybe even more isolating, which can maybe be a good thing to..? I dunno. I've lived in different large cities before as well, so I've had an interesting contrast from living in different types of places, but no place has ever felt like home anyways, so maybe that leads to some sort of choice for self isolation or withdrawal from even searching anymore to find like minded individuals. I'd say most of my social interactions regarding noise and music with anyone who's also interested in such topics are always on this forum, very seldom do I have an actual in the flesh conversation with a person about music or music creation out in the world. Also, would like to mention Minnesota, where I reside is the most miserable place on the planet! From most of it's human inhabitants, down to the crippling cold weather, which will lead to even more isolation, whether you want that isolation or not, Ha! My mom told me once that when my great grandpa came to Minnesota from Finland that he absolutely hated it here and drank all of the time. I very much share that same exact sentiment. Anyone who lives here might share the sentiment as well or anywhere ice cold for that matter, the cold brings out the isolation and misanthrope, which in turn can help some of us find our path to interest in such music genres perhaps! Haha
#25
Last post by Minus1 - January 25, 2026, 11:06:34 PM
Hmmm. Interesting topic.
I proudly describe myself as a 64 year old, happy, retired, divorced, single, loner, introvert, swimmer, walker, reader, film-loving Noisehead.
I know exactly ZERO people in real life who would tolerate me blasting Vomir.
So for me, Noise is a lonely hobby - a solitary pursuit - except...these forums!! 😂
I'd still enjoy my Noise sessions without these forums, but this place informs and expands it so much.
Now...did I arrive at Noise (around the age of 40) because of this state of being? I was much more sociable pre-Noise. Perhaps I decided that most people suck then turned to Noise? 😂 Nah! I dunno.
(The Ex loves Coldplay.) 🤷🏼�♂️
#26
I was listening to one podcast where professor of some sort of social-&health politics was discussing mainly about struggles of the lower economic classes. He did touch the topic of social isolation and loneliness, which made me think not about lower class generic population, but about how it manifests itself in noise.
I recall several episodes in noise podcasts, where notion of social isolation has come up. People growing in small cities or farms and so on. You got people who grew up in the rural areas. This doesn't mean automatically there would be loneliness per se, but it can mean things such as mere logistics of creativity, may drive one to experimental sound, when there may not be people to play music with. It is possible some are driven into creativity out of nothing else really than... having something to do. It would be possible they are alone, but not possibly lonely. It is also possible that they are indeed very lonely, very alienated, and some sort of morbid sound is almost... natural reaction?
This has been present in old times Black Metal. Many of the best bands or project were born in small cities, often "one man metal" or couple guys. Not born out of rock capitals of the nations. Punk, it has maybe some of it, but already more a lot more there is big city & social scene element there.
I don't think I am ever really lonely, as I like to do a lot of this alone. Plus to get to hang out or go to places with people or do something collectively is always something that can be done pretty easy when one feels like it. However, I do feel there is a strong effect of that this was not really a choice, but originally being in conditions where not much was happening in small town. Everything interesting happening sort of "elsewhere". Perhaps around the world. To have anything, or be involved in anything, demanded active attitude and efforts in communication. Therefore, conditions favor to being somewhat socially active (contacting people, writing letters, going to shows, etc) as there was nothing happening via passivity. Unlike now, when you could somewhat passively get just enough to... entertain yourself during days?
It makes me curious to think how much may have some sort of isolation, rural life, loneliness etc effect into noise creation or interest. Let's mention guys like GX of Haters just recently mentioning in WCN how he basically lives early life without any contact to other kids. You got The Rita, BDN, Marhaug, and many notable names who I recall talking about life in pretty isolated countryside. I always lived in city, born in relatively big family and always other people around, including always at least handful of locals into same sort of UG stuff I was into..
I could imagine there is plenty of things that could fuel to creativity, but I also realize there are plenty of people who do not get anything done alone. They need group dynamic. They need band mates, they need.. whatever input, people asking to join band, asking to play gig, asking to record something for release etc. People to actively.. hmm.. socialize with, or nothing happens. Doing recording in some sort of "vacuum" just makes it all pointless for some.
Any thoughts on matter? Will you create fueled by loneliness or too much time in your hands.. or possibly need the push from people around?
#27
Last post by DBL - January 25, 2026, 10:10:54 PM
These events were just added to the list:
7.2.2026 Bacchanal of Hörselberg - Elektroakustinen Installaatio @ Taidehalli, Helsinki
Event at Avanti! Chamber Orchestra's homepage8.2.2026 Bacchanal of Hörselberg - Elektroakustinen Installaatio @ Taidehalli, Helsinki
Event at Avanti! Chamber Orchestra's homepage19.2.2026 @ Sellosali, Espoo
Heli Hartikainen
Event at Lippu.fiVenue's event page30.4.2026 @ Kuudes Linja, Helsinki
Pharmakon (USA), Heli Hartikainen
Facebook eventEvent at TikettiRemember that this is coming up next thursday:
29.1.2026 Elektronimusiikkikonsertti @ Tampereen Konservatorion Pyynikkisali, Tampere
Jazzhand, Aku Karima, Kartio
#28
Last post by P.i.L.-Lu - January 25, 2026, 08:25:57 PM
Been familiar with Kalervo Palsa's art since early 90s. When I heard "Eläkeläinen muistelee" has been translated to English my immediate reaction was it is not a very good idea and I still think the same.
Finnish philosopher/cognitive scientist Tere Vaden once made a book as Kalervo Palsa at its center. Even the name and cover of the book was taken of Palsa's work. According to Vaden, Palsa's art is rooted to Finnishness in general and to northern Finland peripheral locality in particular. I think translating Palsa's written/cartoon work to other languages cannot really be understood among people outside finnish culture sphere.
It is true not many finns were into Palsa and his obscure art when he was alive. But accepting doesn't always mean understanding as disapproving doesn't always mean not understanding. Wider interest/acception of Palsa's art during the 21st century hasn't change the general attitude. Only rise of degree in ignorance and tolerance in society blurs this vision.
Palsa's art is often transgressive which can be partly so because of the northern environment both in nature and culture he lived most of his life. Sect of Lutherical Christian church, Laestadianism, organized life and power and Palsa saw through its double standards. Or perhaps he was just irreversibly opposite to normal way of life. His art was the way to take part/comment this social life where scale of topics was stretched wide from locality to problems of humanity in general.
I guess most people disagree with me, though, and that's why "Eläkeläinen muistelee" is pushed to global sphere. It's the same in selling Finnish northerness/Lapland/snow for tourists nowadays. This wholesale of northerness/winter to the world with multimillionare celebrities spreading the word in social media is just pornographic in nature: even the furthest parts of the world must be exposed and sold to masses as the world is collapsing under consumerism, climate change and biodiversity loss.
The lowest common denominator is the very key to the idea of globalism. This banality slowly eats the locality up.
But when pornography in Palsa's art was a way to question and comment on the locality Palsa loved and hated and was ultimately inseparable part of, pornography in the form of travelling industry uses places, people and way of life like bodies and literally makes people homeless when apartments serve as air B n' B accommodation instead of homes for people.
Of course, this is one extreme of continuum where everything can be reduced into profit/non-profit. But as Tere Vaden has stated, Finnishness has been retreating/vanishing for long time now, it has been on that path for centuries or even millenias. Whereas part of the 4th world and indigenous peoples, Sami People in Finland, fight for their survival, Finns literally sell themselves out to extinction.
#29
Quote from: Wainhouse on January 25, 2026, 08:30:10 AMQuote from: Balor/SS1535 on January 25, 2026, 07:04:03 AMQuote from: Wainhouse on January 25, 2026, 06:17:04 AMMy mailbox waits for Untitled 11. In the meantime, I had a thought: are there any zines about the internet? Opinions if so?
Noise zines specifically? I don't know. But if you mean "zines" generally/broadly (and are willing to extend that to blogs----which can be sort of like zines?), then Dennis Cooper's blog is probably the best.
I did mean physical zines. Noise related or otherwise.
Why I asked for zines about the internet - it's because I suspect it unlikely that a physical zine would cover topics of experiencing things on the internet.
I'm looking at Dennis Cooper's blog, but the topics seem to be mostly art criticism and theory (at my first glance). His writing is strong, thank you for the recommendation.
I figured it wouldn't quite be what you were looking for.
(As a side note, the thing about Cooper's blog is that he doesn't really "write" any of it---aside from maybe the "escort" advertisements. The entire thing is closer to a sprawling collage of stuff he finds online and then juxtaposes in interesting ways.)
#30
Last post by Minus1 - January 25, 2026, 06:07:33 PM
I very much agree with:
"...pretty much anything released in the last seven years (2009ish+) is going to, pretty much... UTTERLY FUCKING SCORCH. An improvement in the recording gear or a freeing from the echo chamber? Either way, the sound is marked by a distinct harshening of pitch, a searing viscosity that is just so much more jagged and piercing- HARSH, make no mistake..."
In my S+W musings I noted this rather distinct shift from a "softer, more muted, echoey" feel to "sharp, clean" production - the latter which I fucking adore.
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