WHITE CENTIPEDE NOISE PODCAST

[Bloated Slutbag]

Mark Durgan of PUTREFIER on WCN Podcast!

Pt. 1 - https://youtu.be/wwBAmsXrNAk
Full Episode - https://www.patreon.com/posts/mark-durgan-of-121419512

Putrefier, truly one of the greats, possibly the greatest! Such a spare and accomplished discog, all of it to be coveted and treasured, and due compliments to Dear Leader and Industrial Recollections for the efforts to bring the putressentials to more and much starved earholes.

One interesting detail, which gets semi explored in the episode, is that Putrefier might be the only project with a clear line from the pe-ish Broken Flag era to harsh Japanese noise. Who among the BF contingent could boast split/collabs with projects (then at the top of their games) like K2, Thirdorgan, Endo- the latter of whom Putrefier convincingly dethrones in two short tracks, no small feat! But also for the prime mover to have worked directly with Andy Bolus, Romance, John Wall, and, of course*, The New Blockaders. And to have pretty much killed it every time. I'd chalk this to up to a seemingly fierce passion for the sounds proper, forever seeking that preeminent sonicsensual moment, to go beyond scathing, to indelibly sear the sweetest sonicsensualities into synapses. We pray for fire.

* What jumps out at me, and it jumps out less than 5 minutes into the episode, is namecheck of The New Blockaders & Organum Pulp 7inch (in the full episode it later gets held up to the camera as 1st among the Top 5). Pulp is described by Mr Durgan as representing a sort of quintessential amalgam (and if I may adlib a density or richness) of acoustic and electronic elements; a rarity, he says, even in the Broken Flag days. Well I'd not call it a stretch to submit Pulp as crucial for so many...

...including me! Though in my case it would be via the Ohrenschrauben comp (as a certain sorry sod duly notes in his WCN episode), the untitled TNB/Organum submission later revealed to be Pt. 2 of Pulp (Pt. 1 finds its way onto the seminal RRRecords comp-cum-TNB-anti-tribute, Even Anti-Art Is Art, That Is Why We Reject it), to quote self,

Darkly majestic, industrial strength, noise nightmare, deep cauldrons, of boiling, blood sweat tears, impossibly dense, sultry, so sweetly suggestive of some sickly claustrophobic harsh purity without ever needing to actually be harsh (though if such necessity were manifest, listen no further than Wrack). Just the kind of thing I hoped to hear, but so seldom did, when I would encounter the term "industrial music". This was the shit, the brown barometer against which so much else would be measured, and found lacking.

(more comment on Organum-augmented comparables further down the page)

Edit. Ha, missed this but it seems like Rupenus does not want the influence of this gem to go unremarked!

The New Blockaders / Organum 'Pulp' (Aeroplane Records, 1984):

''Pulp' is the King of all Noise 7"s. All other Noise 7"s want to be 'Pulp.'' Ron Lessard, RRRecords

''Pulp' is proof that the 7" record can still be relevant.' Gary Mundy, Ramleh / Broken Flag

'The most savage aural-attack I've heard. Relentless musical violence.' Paul Lemos, Unsound

'Clear proof that Noise music was not invented in Japan.' Evolver

While I'm going nuts imbedding links, this probably needs to be linked to LIFE's seminal Ferial Confine and similar thread...

Ferial Confine to me is sort of the ultimate combination of sounds and ranges from abrasive to concrete and the sound is heavily processed but in a way that is organic, confusing (in the best way), and cerebral. All vague words that could apply to experimental music at its best, but fans of FC should know what I mean by this.

The first track on Side B of "Full Use of Nothing" might be the best example of what I mean. Everything lends itself to the vinyl perfectly and you have concrete sounds cutting into the mix naturally without taking away from the crazy processed sounds.

What other stuff would you put in this general category? I think this area of true NOISE meets concrete sound is probably the closest thing to perfect for me and it's rare to find something that has that wild edge without going into total scrap metal banging, etc

...not least because the other project Mr Durgan namechecks at the start of the episode is Ferial Confine, and (here and now, in retrospect) I think it would be difficult not to draw parallels between the massive and epic sounds produced by by Putrefier, The New Blockaders [& Organum], Ferial Confine, Hum Of The Druid, and others directly and indirectly named in the above thread.

[WCN]

OUT NOW! New public solo episode answering questions posed across social media and Patreon: Recent listening / Are you really starting a distro again? / Have you thought about putting on shows more now that the studio is coming together? / Lesser known & underrated cut up artists / How excited are you? / Can we expect any interviews with Japanese artists in the near future? / How does someone start out approaching labels for the first time? / Who's your favorite Canadian? / What made you get into noise initially? / Favorite G.R.O.S.S. Tape / Etc.

GRAND OPENING OF WCN STUDIOS - FEBRUARY 22
TUCHMACHERSTR. 47, POTSDAM, GERMANY
13:00 - 20:00

https://youtu.be/uuTd04M2JTc

[Balor/SS1535]

Going off from a discussion in the boxset thread---WCN, have you thought about/tried to interview Merzbow?  Any chance of that happening?

[Theodore]

Yes Oskar, Near Earth Objects was sold to me.

Interview suggestions : Phil Blankenship, Will-I (Cthulhu, Aussaat)

Edit: Entre Vifs / Le Syndicat guys.

[k.p.g]

Interview suggestions : Phil Blankenship

I get the impression that he is not interested in talking about himself in interviews (I say this because I know he was on Merzcast before, which is more so geeking out about Venearology).  Such a shame, as the impact of Troniks is undeniable.  Would be great if he agreed to it.

[FreakAnimalFinland]

New episode has many good pointers, even if they are somewhat already discussed things, I would say that question of how to get your stuff released on labels, is pretty crucial these days. It is so damn easy to make some sort of contact, so when people often lean to the easiest, that means exactly impersonal "check my soundcloud" -messages spammed to random people.

Sometimes when people ask advice, you also got to consider if they are actually looking advice or is it simply chit chat. Anyone who thinks about asking advice may be healthy to first ask themselves, am I really asking for advice and ready to change something or is this just hoping validification for something I am doing already?

My own perspective is somehow pessimistic about this, since I think, problem is most of all in character of person, not in lack of knowledge. Even if you look the guy straight into eye and explain step by step how he could proceed, next thing he'll tell you is probably that he sent his modular synth file links to Tesco, Hospital and Skeleton Dust and you are like... awww fuck, did I just waste my time on absolute retard?

One would assume all the big steps really is about figuring out what it is that you want and aim for with your work. Both musically, but what it means to you. Approach your own work as listener. Approach the labels as listener. Do you like the label? Do you buy their things? If not, why you are contacting them? Is your work even remotely in the same field. Or, if you are sending lame 1:1 copy of labels most famous releases, you think they need that? Releases may be famous simply because they were unusual and amazing at the time. Copycat release decade later may not be "unusual" nor amazing.
 
I know it can be purely tactical move. You know some labels get things done, others don't. Some get your stuff sent out around the world, others don't. One might be totally uninterested in everything else. That, often correlates with their own work. When you got a lot of hopes and a lot of opportunism, those qualities tend to make your own work sucky.

So, in the end, feel like it is good to give advice to people who have no idea, but the actually best thing is to keep underlining that spirit of noise is bound to its creator to such extent, you need to have some sort of idea what YOU want. One may not know what they want, but simply following your own instinct and being interested in things tends to lead the way. I am sure nobody is interested in being guy who is spamming IG DM's of random dudes begging to listen their works.
Like Oskar explains, it is simply reality, that you can't expect anyone to listen your work, especially if you sent it randomly and without doing any personal work on research.  Like every now and then I got people asking contact address for Filth & Violence so they can send link to their promo. Dudes, if you are fan of the label, you know he is not running label like that. Especially not now. In other hand, there may be local ways to do. If you live in Canada and do good noise, you may realize that sending your best works to mr. Geddes may be good idea. Or the Finns who are honestly into making noise, probably know the guys who are always interested to check out new Finn artists, hah..

Sometimes you simply don't have a clue. Especially in old days, when all you knew is address where to send tape. Now that you can quickly do some research and get to know stuff, even in places like this forum, one could quite easily start to proceed from abundant information into questions you want to ask yourself.

[WCN]

OUT NOW! Kevin Gan Yuen of SUTEKH HEXEN and EERIÆRMOR

Kevin Gan Yuen is the central member of SUTEKH HEXEN, an experimental noise-heavy black metal project based in the Bay Area that features a large cast of rotating collaborators. Their new album Primeval is out now on Cyclic Law and Breath Sun Bone Blood. Kevin also has a solo dark ambient project called EERIÆRMOR, and runs the label In Solace Publishing.

Full episode: https://www.patreon.com/posts/kevin-gan-yuen-123530871
Part 1: https://youtu.be/c1JEN1c2PHg