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#21
Last post by pentd - January 27, 2026, 11:31:32 AM
Achtung!!
Change of plans. Kartio set is cancelled, instead we have a set from AZURE ADMIN!
These are after all student concerts, it's a house priority
Elikkäs oppilasvoimin vedetään tällä kertaa, sehän on talon prioriteetti!
#22
Last post by pentd - January 27, 2026, 11:27:28 AM
Kiitos kaikille!!
Xlent evening displaying a variety of different flavors of noizu!!
#23
Oi!
Updated list in the first post.
Have a look, thanks!
#24
Last post by MT - January 27, 2026, 10:11:42 AM
Great topic! I think loneliness, or solitude, is common among noise fans. Just by being such a niche thing to be interested about. I've talked about this with other people, how in a way I cherish those early days of "noise loneliness". There was no Facebook, was not into zine culture yet, Chrondritic Sound forum seemed a bit too intimidating, posted there couple times but mostly read what big boys were discussing. But there was no outlet personally to talk about noise, it created an interesting insular state of mind. Living in a small town back then, there was hardly anyone to talk about anything remotely intellectual. There was no outside "noise" to dictate what album is good and what's not. Created this unbiased taste in the beginnings. Observe record sleeves throughly, watch live pictures online to get some kind of idea what's going on. Ordering stuff from distros on a hunch, or by relation to some other project. I am very happy I got to experience my introduction to noise and power electronics this way, discovering and wondering. Waiting for each album to arrive like Christmas.
Nowdays it's completely different, Facebook groups are great for sharing favorite records, this forum naturally (which I should post more to) and even Whatsapp groups with likeminded brigade of noise heads. It's a great way to communicate and share ideas, whenever you feel like reading them and replying. I have no time to "hang out" with noise people every day or even every week. But like Mikko mentioned above, gigs are great places to share thoughts, ideas of new recordings, new live gigs and in general create bonds with people. Maybe the excitement of hunting and discovering is somewhat diluted, but I believe can also be achieved, just depends on the circumstances of an individual.
And to answer the question of the topic; yes and no. Loneliness is needed to create the mindset, but it can also be helpful to have other push me around every now and then.
#25
This type of thing is very important to most, including also myself. Of course I would survive without noise gigs, sure, but the gatherings of likeminded, that happens frequently enough, but NOT all the time, is good.
At least to me it feels that when you got month or two between seeing people, you actually got things to discuss. I ain't the type of guy sitting daily for coffee, or friends couch, talking whatever. No thanks. It is more like people discussing what is happening, planning, even sort of brainstorming. Perhaps invitations to collaborate or whatever. Then everybody goes on their own ways. Often somewhat vitalized by idea that there is actually small interests to what they do. Someone asked for compilation. Someone asked if planning any gigs. Someone talking about the best Merzbow CD you just finally managed to get. Sometimes absolutely nerdy stuff. Sometimes more serious. Yet, at least I can't take the non-stop social scene thing at all. There has to be the balance of when you talk and when you do. And if nothing gets done, what is there to talk about? It's not some sort of obligation, of course, but it would feel weird if I'd go to gig, someone asks what's happening lately and I would be like "nothing...". It is without exception, when I return from noise gig, back home, there is intense will to create, play and record. Plan things and execute things. Yet, the certain amount of loneliness or at least being alone is mandatory to even get started anything worth doing. No point in jamming for fun, hah..
#26
Suosittelen! Esimerkkinä voisi hyvin olla se Noisecast jakso, jossa oli otettu kolme uudempaa kotimaista tekijää. Jos kielitaito on este, tai ei ole vielä mitään massiivista historiaa käsitellä, minusta jonkinlainen suhteellisen tiivis vartin pätkä missä joku esillä on erittäin hyvä. Joskus varmasti maininnutkin asiasta, olisiko jopa SI lehden esipuheissa, miten tavallaan huomaamaton muutos UG hommissa se, että tietyssä vaiheessa zinet olivat nimenomaan uusien ja vasta aloittaineiden artistien pelikenttää. Death Metal bändin ekalla demolla tai punk bändi ehkä pari keikkaa vasta takana ja ollaan jo esittelyssä/haastattelussa parissa lehdessä. On tavallaan jopa regressiota että lehdet keskittyy muinaishistoriaan ja legendaarisiin nimiin, sillä sinne jää heti jonkinlainen genren elinvoimaa dokumentoivan osuuden tyhjyys. Vrt esimerkiksi Noisextran kohdalla kun toimituksellinen rajaveto tehty yleissääntönä että käsitellään noisea vain ysärin loppuun asti. Toki hyväksyttävä, mutta samaan aikaan hieman hirvitti että neljännes vuosisadan taakse tuoreimmat noteeraattavat julkaisut? heh...
WCN alkuvaihe sisälsi enemmän uutta ja tuoretta. Noisecastiä ei toki ymmärrä kuin suomalaiset, mutta siinä tosiaan ollut jaksoa jossa ääneen pääsee artistit jotka vasta ekoja kassuja saaneet pihalle aivan äskettäin.
Quote from: Kuollutmato on January 26, 2026, 05:48:52 PMUmpio asteli lavalle karkkipussin kera josta jaetiin koko yleisölle maistijaiset. Karkkien jälkeen keittiötarvikkeet ja wokkipannu toimivat instrumentteina joita paiskottiin ja mäiskittiin menemään.
Näin tapahtuman järjestäjänä on kiva nähdä että tapahtuma vetää vielä kymmenkin vuoden jälkeen uusia ihmisiä paikalle. Ei ole ihan itsestään selvää että näin pienessä kaupungissa ollaan saatu tehdä noise-iltoja jo näinkin pitkään ja tällä hetkellä jopa kasvavalle yleisömäärälle.
Tosiaan omasta rapsasta jäi pois tuo Umpion hauskin juttu. Ufo-karkkipussi kiersi ennen keikkaa, artistin ohjeistaessa että kaikki malttaa pitää kätösessään ja pussi kieri koko yleisön, jäljelle jäi tasan 1 karkki ja kun pussi palautui takaisin Umpiolle, mies antoi luvan että nyt kaikki nami suuhun ja yhtä aikaa kun ufot tipahtaa kielen päälle, Umpio päräytti setin käyntiin. Melkoinen kollektiivinen kokemus!
Toivon mukaan Joensuus melut jatkuu tasaiseen tahtiin. Tiedän että monilla tulee jossain vaiheessa sellainen rutiinin kyllästämä ja "voisiko joku muu välillä" -henkinen viba, mutta toivottavasti sen verran antoisaa puuhaa etä jatkuisi. Etelässä on melko varmaa ettei keikoista ole tulossa pulaa. Itselleni on Joensuuhun sellainen "logistinen yhteys" että sinne tuleminen kiinnostaa aina kuin vain mahdollista ja noise keikat aika lailla paras syy vaikka matka ei ole kovin lyhyt.
#27
Quote from: prolapsedlielack on January 26, 2026, 09:56:00 AMI can definitely say that noise/PE/DI has become a "coping mechanism" for me. Artists like Disgusting Sanctum/Agonal Lust, Atrax Morgue or Navicon Torture Technologies have helped quell some of the heavier negative moments in life. Plus the friends I've made through it/because of it and the current relationship I'm in being based on our mutual interest in it have been a great motivator for a curmudgeon like me.
Quote from: Balor/SS1535 on January 26, 2026, 03:51:34 AMI can say that some of the times that I feel the least lonely are when I am engaging with noise people at shows
Bingo to this, meeting you in person (on accident!) is still a hilarious moment for me.
haha The total randomness of that whole night is still amazing to me!
#28
Last post by Bigsby - January 27, 2026, 05:47:32 AM
#29
In my work loneliness or solitude is among the main themes of the work, but it is also necessary in creating it, as it feels I can not see my own thoughts if my head is full of other people's noise, whether it be good or bad. Just like having your mind as a pond of water, if someone keeps walking in it and mixing the dirt from the bottom, it is impossible to see things clearly, and you need to wait for things to settle down to be able to work properly.
And also in this playing live has always been perfect for me, because it means I get to meet my friends in the context of what we all love to do, and then we go back to our own private lives after the thing is done.
#30
Last post by Minus1 - January 27, 2026, 04:24:50 AM
Quote from: Fistfuck Masonanie on January 27, 2026, 03:26:39 AMMerzbow & John Wiese - Akashaplexia
Finally getting around to listening to this anticipated and massive release.
The two artists share a number of releases together now, but they have all been mail collabs or live recorded performances to this point. Never an in studio release before. I'm very curious about what that process was like. What kind of concepts or boundaries did they discuss before hitting record, if any, or is it all off the cuff?
When I first read that this was recorded in a single day, I imagined the two sitting in a room and fleshing out a vision for an entire multi-disc album and completing it in that same day. Which seemed astonishing.
Now listening, what seems more likely, is that the two jammed in studio and then John took those recordings and edited or arranged them together for the final product. I would be very surprised otherwise with how highly articulate the sounds are and how they transition at what would be a "telekinetic" pace for a live collaboration.
Disc 1 | Garden Path Sentence:
Highly erratic and fast-paced audio collage. Many details flow in and out of focus, piano and percussive samples, manipulated tape warble, and/or vinyl tabletop abuse. At times, it reminds me of Masami's 80s output in the more dadaistic realm. There is a segment that feels like getting sucked into a tornado. Glimpses of voices cut through the wind, and great samples of glass shards and debris are flying about. As the 45-minute track progresses, it transitions flawlessly in and out of new segments. Some are harsher, some focus on looped and sampled elements from a wide variety of timbres and resources. It never dips into completely familiar or expected territories and kept me actively listening throughout. There are no lulls. Always something squiggling under the microscope to zoom in on. New details are being introduced and just as quickly and cleverly pulled away.
Disc 2 | Bleskam (Action Sphere / Maya):
This transitions nicely from the first disc. A little more subdued audio collage starts things off. Not as frantic and fast-paced as disc 1. Sounds like an old record needle jumping from vinyl to vinyl and catching small pieces of melodies, but never lasting long enough to identify a source. Actually reminded me of Max J Eastman a bit. It transitions into this Alice in Wonderland-like nightmare with chiming clocks, psychedelic bits, and a loop that sounds like it originated from the basement of an insane asylum. This disc feels strikingly similar in spirit to something like a modern-day Batztoutai with Material Gadgets, which I was really surprised to hear Masami do in this day and age. I really enjoyed this disc, and it's my favorite so far.
Disc 3 | Glass Has Vanished:
Disc 3 starts off ominous... a bass tone undulating at a low volume. Mechanical creaking loops in an unsettling fashion. What sounds like radio play creeps into the mix. This isn't the first time on this boxset either. I can't tell if it's tried and true old school radio play, or just the way samples are sliced and diced. It certainly replicates that feel, which is another factor of this release that reminds me of experimental 80s Merzbow like Batztoutai. From there, we get one of the rare instances of some sweeping noise filters or more traditional pedal like harsh noise. Not a lot of that across the discs so far. Everything I've described above has already happened in the first 5 minutes. While this disc is not a straight-up harsh noise track, it has the most harsh noise elements of any of the discs so far. My other favorite element on this particular disc is the haunting and dissonant use of church organ in the second half. Bizarre and fantastic.
Disc 4 | Higashiikebukuro Bouquet Divisions:
Bubbling, percolating, and squiggly synthesizer soup with white noise blasts. Easily the harshest start to any of the discs. The first two hours were just warm up! John and Masami start cooking with gas now. All of the previously mentioned elements through the discs, like loops, sampling, and other audio collage is still very present on this disc. Everything is just kicked up a notch on the harshness meter. It also really builds into a schizophrenic frenzy with how quickly the sounds are spliced in and out. There is also this screeching string instrument introduced that really cuts through the mix. At the peak of madness... it cuts out, and we get the closest thing to silence across the 4 discs yet. John and Masami tinker with more microcosmic details and mechanical jerky loops which build back up gradually into new frenzies.
I mentioned earlier, but I have been extremely impressed and surprised by this release. I wasn't sure what to expect and assumed it would be more of a collection of "live" long-form improvised pedal and laptop noise jams similar to the recent EKA Varna, but more thought-out and thematic than that release. However, what we get is a highly detailed, articulated, and meticulously arranged amalgam of audio collage. Somewhat similar to 80s Merzbow dadaist releases like Batztoutai. Very nice.
Aw Man, great writeup! Thanks. My fav of last year.
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