WHITE CENTIPEDE NOISE PODCAST

[Cranial Blast]

OUT NOW! - Howard Stelzer on WCN Podcast

Howard Stelzer is a Massachusetts based composer who uses an arsenal of tape machines and cassettes to create dense and narrative tape music. Howard has been active since the mid 90s, releasing his music on labels such as Chocolate Monk, Troniks, No Rent, as well as his own imprint Intransitive Recordings, which was active from 1997 until 2012, and collaborating with a wide range of artists to make up his eclectic and prolific catalog. Part 1 on Youtube/streaming, full episode out now on Patreon.

Part 1: https://youtu.be/MToOVOrqTT8
Full episode (video): https://www.patreon.com/posts/howard-stelzer-126625454
Full episode (audio): https://www.patreon.com/posts/audio-version-96-126625803

I really enjoyed this episode. This is the first time from the podcast, that I've kind of felt some connection and or some shared parallels with another artist and even more specific in regards to his first early experiences with noise curiosities and approaches to noise through tape recordings that are kind of similar to my own in some ways. I've never heard his stuff before, but I'm curious to hear his material now.

[WCN]

OUT NOW - Iggor Cavalera on WCN Podcast!!!

This week my guest is Iggor Cavalera, the founding drummer of pioneering extreme metal band SEPULTURA from Brazil. Iggor has a long history in extreme music, and in recent years has become involved in the noise underground, releasing and performing a blend of experimental electronics and percussion, and collaborating with various noise artists. We conducted this interview in person before his gig in Berlin, where he was playing as part of his solo European tour.

Full episode out now on YouTube and streaming: https://youtu.be/enib1tqGYwI

[HateSermon]

Sick episode. He said something like hearing 30 seconds of a noise intro/outro on a metal recording and wishing it went a little longer. I'd have to say that that's kind of what my intro to noise was. Hearing samples and harsh segments from Dystopia or Neurosis, for example, and remembering those short segments being some of my favorite parts of those albums. Realizing that that could be a genre in itself and that it already exists, I just had to figure out where to begin looking.

[FreakAnimalFinland]

Of course when you are my age, with connection to metal scene, Sepultura was one of names you simply could not miss. I used to own things up till Chaos A.D., but nowadays I think only thing I have left is Bestial Devastation original 12"! I remember moments when friends just REALLY needed Sepultura stuff and I needed space and can't have it all... Even right now, can't really access my metal LP's from alphabets O-W, since in front of them is several meters of other LP's waiting for solution where to put stuff when there is no room in the LP shelves, hah..

Originally I heard some of Iggors noise and was not very impressed by the sound, but lately approaching the split with Shane Embury with a bit caution, I was surprised how good it is becoming! I do think, that (for my taste) a lot of artists could experiment more with recording process, rather than sound making gear and related equipment. Something to add personal touch into production itself, that can be crucial when neat electronic sounds and clean sound-card line-in makes a lot of stuff sound alike.

Anyways, interview, very good! There are so many things that resonates. Never ending passion for underground music, not really caring if something you are making is "big", even if people may know you from something vastly more visible projects, doing something personal in small editions is not somehow "lowered standards", but simply keeping your creativity where it matters the most. Not as music biz commodity, but more like personal communication or art.  That is one of the good things, that he also clearly follows other artists. It appears that a lot of people are excited about "gadgets" that make sound, yet only if its their hand that pushes the buttons. Iggor name drops sort of obvious like Ramirez, Merzbow, TG, and so on, but it feels he is indeed way deeper in exploring experimental sound overall.

One has to link Brigada Do Odio Iggor mentions. I would bet that even if recording is older, vinyl was released 1985? Back in early 90's this LP was already super cult item among people who were trying to track down roots of noisecore. I think Sore Throat name dropped it in old interviews? I got tape from one Finnish friend at the time and then got original LP from Brazil from one of the nihilist noisecore guys. BDO side really lasts just 5 minutes, but band tried two different mixes and some members liked the first mix more, while others liked the other mix and as solution, they put both there. So in 11 min duration of their side, you'll hear material twice. Youtube upload has slightly annoying little "drop outs" there, but it is really worth hearing if someone has not heard this pretty damn early chaos noisecore antimusic blasting.

https://www.youtube.com/watch?v=UaycVAT_Ojs

[FreakAnimalFinland]

Almost laughed, but stayed in mere smile zone when getting in my social media feed "Metalhead zone" posting article of rockcelebrities.net with headline of "Ex-Sepultura drummer Igot Cavalera slams western metal: Too polished, too many dragons". haha... With almost 400 comments on that post. WCN getting big, haha...

[FreakAnimalFinland]

To save time with googling. It says story is "2 mins read", but really more like handful of seconds.
https://rockcelebrities.net/ex-sepultura-drummer-igor-cavalera-slams-western-metal-too-polished-too-many-dragons/

I tend to not follow semi-mainstream "news sites", but any time I derail into something like that, it does makes me think even more how excellent it is in noise, that there is sort of "genre media" so to say. Podcasts included. I did longer writing in Finnish about topic, but it is curious how big part of "underground" music publicity follows the mainstream pop news style. Back in the day, I think most were interested in what artists have to say, what albums were about, what artists could tell about their work. These days, it seems that biggest news are always about "people reacting". Artists can be basically whoever, and what they do, barely matters. It most often goes into category of someone writing about people reacting, people getting pissed off . It would be curious to see some studies, when what the change where suddenly the art and artists no longer really matter, and it is just platform for utter low-IQ people to gossip and chit chat, using some sort of "news" as excuse?
Example could be artist making his best album for long long time, and very few care. Someone being accused of "bad behavior" and you got everybody and their little sister gathering to fight about is it problematic or not.

Therefore curious example, such site, that could provide even couple sentences into Iggor's actual work, and only newsworthy quote is picking up couple sentences to get people agitated about dragons in metal. haha. Jeeeesus.
Iggor was talking about having tons of recordings, unpublished and never played to anyone, and just keeping it private. Only lately to realize that one doesn't have to really care that much, and can be relaxed and just put things out like Masami or Ramirez. I am sure one of the things keeping away from being relaxed about it, might be exactly the former "celebrity status", that no matter how good release you'd make, it will be mirrored against your former things, even albums done 30+ years ago. Nothing that one should try to escape, but it may be annoying to think no matter how brilliant interview was just published, there will be probably someone using it to make people rally in social media, who have no interest to check out what artists actually had to say and only interest in their own emotional reactions and random dudes emotional reactions.

[WCN]

OUT NOW - Jim Breedveld of GESELING / Charnel Ground on WCN Podcast!!!

Jim Breedveld runs Charnel Ground, booking and promoting noise shows in the Leiden and Amsterdam area of the Netherlands, and running a small label under the same name. Jim also makes blistering harsh noise as GESELING, among a number of collaborative projects. The fourth installment Crude Transmissions, his annual festival, is taking place at Resistor in Leiden on May 24th, and features a great international lineup including PARASITE NURSE, JHK, VIOLENT SHOGUN, VINCENT DALLAS, LORENZO ABBATOIR and many more. Tickets are going fast, but can still be bought at https://www.eventbrite.nl/e/crude-transmissions-iv-festival-of-noise-heavy-electronics-tickets-1205710475489

Part 1: https://youtu.be/hXdsy7zZddY
Full episode (video): https://www.patreon.com/posts/jim-breedveld-of-128770968
Full episode (audio): https://www.patreon.com/posts/audio-version-of-128771166

[FreakAnimalFinland]

OUT NOW - Iggor Cavalera of GESELING / Charnel Ground on WCN Podcast!!!

Iggor keeping busy!

[WCN]

haha whoops! Jim Breedveld of GESELING / Charnel Ground!

[FreakAnimalFinland]

Good interview. It was curious to hear when he mentions that nowadays when new people are given possibilities to organize live shows and take part in UG movement, there comes question of money. Getting paid. hah! I know there always was people who put out shows to make some money out of it, but I have impression as if this side would have gotten notch bigger than it used to be.
One thing I was thinking, when it was mentioned there was almost like noise boom happening in Netherlands, and they mention a lot of gig happens, but it didn't get really clarified what means "A lot of shows"? Several times a month? Every month? every two months? etc. Sometimes it's odd that you hear about these live noise houses in USA and it can be weekly, even more. Question in such can be is it flourishing really, or would it be compared to same 5 people meeting at reh place every week? But with Netherlands, there's fests, touring artists visiting etc, labels, stores, book publishing and so on...  so could be curious. Most often I hear about "the obvious ones" and not so often about.. new names, although I assume they are out there.

[HateSermon]

Sometimes it's odd that you hear about these live noise houses in USA and it can be weekly, even more. Question in such can be is it flourishing really, or would it be compared to same 5 people meeting at reh place every week?

Ha, that's kind of a local joke here. Same 10 guys playing to the same 10 guys. Although there have been more new projects with new people lately. Can't say I'm excited with the way things are headed here but at least live noise is happening.

[FreakAnimalFinland]

I am all for 10 guys playing for 10 guys thing, but I feel most European countries had kind of "internationa/national noise scene" rather than local workshop scene -type of thing or local venue only type of thing. Of course its possible they elaborate more in patreon part. Now, there was a hint, when Jim talk about being so surprised when organizing his fest and getting couple Italians contact him and wanting to come to the fest. I think over here, you got both things. You got the gigs that are promoted predominantly for Finns, something small scale.. and then the bigger or more unusual, where also foreigners tend to come.
I remember already 15 years ago, when there was frequently someone from Sweden or Russia visiting gigs and we were asking like why you travel all the way to finland into someones basement or whatever bunker and it was most often that nothing was happening where they lived. 

[k.p.g]

Scenes are such a funny thing.  In New Jersey, New Brunswick has been the main spot where we have had shows for over 3 years now.  This is also the home to a very large public school, so sometimes audiences would extend well beyond the diehards to include college kids who just thought of noise shows as an excuse to party.  That was fine at the start, they were paying the $10 to get into the shows still.  By the last gig we threw there though, kids would be proclaiming they "loved New Brunswick noise."  I never see these kids on forums, buying records, etc., but they still love the sets being presented.  They pack the basements with the intention of seeing noise.  Are they not any less a part of the scene happening there than the performers or the die hards?  It is some of the casuals that give way to letting venues trust the idea of having larger fests or regular shows.  As much as I appreciate shows where it's 3 very passionate people, I have come to enjoy seeing those who have just the curiosity to check out what is happening in a basement.  Not sure how much this relates to the topic at large, as I have yet to listen through this thing.  Just felt inspired by the comments in this thread.