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#71
Last post by urall - August 29, 2025, 03:12:38 PM
Quote from: post-morten on August 29, 2025, 11:42:41 AMQuote from: moozz on August 29, 2025, 08:59:42 AMLooks like an interesting book for sure! At least for me the (semi?) academic nature would be a put-off. And that might mean it is mostly text with minimal imagery. If this is an image-heavy book then for sure it will be worth the heavy price tag. Over 50 GPB to read how everything is about Duchamp or the Futurists is not my thing. Looking forward to reviews once it is out.
My mate that bought it says it's rich in visual content too. And for a book that purports to explore the imagery and iconography of the industrial scene, and how it ties in with art history, you'd sure expect it to be.
Here's a peek inside,
https://www.facebook.com/share/v/19Mu8b22j5/
Hah, i was looking out for this one as well, but it seems to be more text than i hoped, especially when it'll be too academic haha
#72
It was interesting episode. My personal experience in the art world (albeit being probably more limited and happening in Japan, where many of the people I have been talking to are of the same generation and maybe to some extent also familiar with works of for example Merzbow and Haino Keiji) towards noise/industrial has been mostly of excitement or interest instead of looking down on it. But that along many other things might be different in Europe.
#73
Last post by Theodore - August 29, 2025, 02:07:56 PM
Although looks interesting I am almost sure that if I read it I will understand nothing, haha. Part my bad English, part my ignorance, big part of what it is , as it is stated : "This book aims to introduce the visual and aesthetic elements of industrial culture to a general history of contemporary art by analysing ..." . Book's purpose, I don't care at all.
Also is author having a genuine interest in industrial or was it just a task / research / job ?
Interested to read reviews too, by fans, not 'art' guys.
#74
Live aural assaults, ebullient and indexical as ever, recorded in Japan (featuring Chris Groves) on Ebola Disco's side, coupled with Skin Job's lethally paced death trip industrial track 'Agony We Consume'.
Numbered / 100 copies on black vinyl. Features full pro-printed colour labels on the Skin Job side, accompanied by black toner labels on the Ebola Disco side. 180g 7" vinyl in transparent polyethylene sleeves.
SJ artwork by Fecromass.
Logos by Fecromass and Ebola Disco.
Layout by Minimal Impact, 2025.
Records are out, artist copies en route to Skin Job.
Copies have also been sent to Cipher Production, Scream and Writhe, and will be making their way to Skeleton Dust and Satatauhatta in time.
#75
Last post by L.White - August 29, 2025, 12:40:02 PM
yes: 18.00 (6pm) is right for opening the door!
#76
Last post by post-morten - August 29, 2025, 11:42:41 AM
Quote from: moozz on August 29, 2025, 08:59:42 AMLooks like an interesting book for sure! At least for me the (semi?) academic nature would be a put-off. And that might mean it is mostly text with minimal imagery. If this is an image-heavy book then for sure it will be worth the heavy price tag. Over 50 GPB to read how everything is about Duchamp or the Futurists is not my thing. Looking forward to reviews once it is out.
My mate that bought it says it's rich in visual content too. And for a book that purports to explore the imagery and iconography of the industrial scene, and how it ties in with art history, you'd sure expect it to be.
Here's a peek inside,
https://www.facebook.com/share/v/19Mu8b22j5/
#77
Tässä on tullut taas rakenneltua soittimia ja korjailtuja vanhoja keikkojen ja reissujen jäljiltä ja jotenkin alkaa taas jonkunlaista meluhammasta kolotella.
Kuuntelu on ollut lähinnä livekeikkojen varassa, mutta Taiwaniin muuttohässäkän jälkeen rahat on sen verran nollissa, ettei varsinaisesti ole varaa käydä niitäkään hirveästi pällistelemässä.
Kesäkuussa järkättiin läksiäiskeikka (tai oikeastaan 6-7 keikkaa putkeen) Osakassa ja sieltä jäi mieleen monetkin hyvät vedot, mutta etenkin Sin Tamonin popkornien valmistamisen vahvistaminen kontaktimikeillä, oli yllättävänkin musikaalista touhua ja tuoksuineen ja makuineen kokonaisvaltainen elämys.
Ensi vaikutelma Taiwanista on kyllä mielenkiintoinen, kokeellista musiikkia ja noisea ja muuta kolinaa on paljonkin, mutta ainakin vielä tuntuu että Japaniin verrattuna sellainen tietty vapaus tai omalaatuisuus on vähän vähemmässä ja tietynlainen genreytyminen selkeämpää, esimerkiksi no input hommia on paljon ja itselle ne ovat ehkä vähän tylsempiä kuin elektroakustiset ja/tai harsh noisemmat kamat. Mutta eiköhän tässä taas ole aikaa tutustua kaikenlaiseen ja tule nähtyä ja löydettyä paljon uutta ja hienoa kamaa tulevaisuudessakin. Sitten taas sellaisen vähemmän noisen vapaamman soitinmusan puolella on paljonkin hyviä soittajia joiden kanssa tullee soiteltua tulevaisuudessa enemmän.
#78
UNTITLED #10
Always nice to see Junkyard Shaman noticed. His art here. Perhaps in full color could be better? It seems like full color may have been advantage, like clearly is in Weston Czerkies artwork that absolutely needed color to be there.
Eva Aguila a.k.a. Kevin Shields, Hate State, etc. Mexican female noise. Clearly artists background here and plenty of things to say. Canadian early days cassette culture doesn't get into noise yet, but more like weirdo post punk thing. Ghost Taco, female artists with routine of having SM57 microphone in her pussy for source of noise. She writes in length. There are questions that follow more than one page long reply, hah. A lot of stories about DIY punk house ethos and such. Very good. Jonas Torstensen from Denmark who talks a lot about being young noise maker and fairly primitive use of gear etc. Briefly visits themes of gender confusion at young age. The Nausea & Echthros is discussion between two sound makers, one being female other as indigenous person. Good stuff. The Nausea LP was very good, other fellows works don't know too well. TAC is the old artist from the 80's. Perhaps some know him from Pure/RRR disc, but he's been around all the time and perhaps even finns reading this know him from TAC/Max Eastman tape that Satatuhatta put out some time ago. There is talk about that collaboration, but also his career since mid 80's. Great stuff. At the end five page MK9 interview. After following his things since the mid 90's and having heard almost all of it and following closely what he has been doing, I wasn't sure how much interview will give, but it was great reading! I was slightly cautious will there be rants about most popular daily politics, but no. It gets briefly mentioned, but overall we get all the interesting stuff we are not bombarded by news and social media. And surely not advocating that noise folks should praise escapism and indifference towards what is happening in the world, but there is really line between are you concerned about injustices of the world, or are you part of social media machine that sucks out all the energy from human mind, just voluntarily multiplying the contagious addictive "news information".
Anyways, great issue! Could be among the best. And tip for the people who are always nagging about women or minorities or such not getting voice in noise in the "scene". You better place order to get this magazine now when they're indeed giving what so many have indicated they are waiting for.
ROCKER #9
Did they change printing place? Or did place get new stapling machine? They sure did improve few things: Lay-out is in theory "the same", but most of flaws and crooked details have been fixed. Margins look good, font size good, all things more in balance. GRANT talks about his work, both noise and mastering. Sunk Heaven, queer female POC artist goes on rants, which is fine, but when I was eagar to hear what kind of noise she makes, it is actually more like beat oriented sung/rant vocal electro-music. Noisy at time, but not noise. History of Leather is good interview, but again, there is that specific approach to noise where anything is noise. They explain it well in interview. USA, certain age, when you got DIY live house, and there is loud punk band, performance art, improv, and harsh noise project - its all "noise" and they embrace that spirit. I, on the other hand, while being very flexible what to call noise, punk band really is a punk band and it is absolutely sucky to go to gig to see art school kids playing with toy pianos while wearing furry costumes and we should pretend this is NOISE in same sense as noise in context that for example SI is using the word...
Freak World story here is sort of same type of thing, but covering live event of same name, where countless weirdo artists get together, some of it being noise.
God Is War interview is track-by-track commentary of the new album. New album has indeed vastly better production and songs than some of the stuff I have, but like in interview they mention its sort of dub music, and I have very very limited tolerance to listen "beats" and "effects". I am quite sure there is way bigger "scene" out there where this stuff finds fans compared to noise or PE guys. Profound Lore is probably label that can get it into ears of vastly bigger crowd?
Then the usual review section comes in the end. Plus there is neat live show report. With out-door live photos, it is actually feature I'd like to see more!
It is pretty good issue, but from my own perspective, when I buy "noise zine", I hope to get noise stuff. I suppose Rocker, like No Rent is not like die hard noise publication.
#79
Last post by moozz - August 29, 2025, 08:59:42 AM
Looks like an interesting book for sure! At least for me the (semi?) academic nature would be a put-off. And that might mean it is mostly text with minimal imagery. If this is an image-heavy book then for sure it will be worth the heavy price tag. Over 50 GPB to read how everything is about Duchamp or the Futurists is not my thing. Looking forward to reviews once it is out.
#80
Hospital has Deathpile G.R. reissues up for sale.
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