WHITE CENTIPEDE NOISE PODCAST

[FreakAnimalFinland]

Good interview. Man seems very enthusiastic, plus have both opinions and stories to tell. I liked that Brethren is acknowledged in positive light of... being real deal, so to say. Something that people today often seem to not get. That regardless what content or "message" is, there are other qualities one can appreciate. Material radiating true energy, true emotion and some sort of strong personal input, besides being good sound.

When I listened CBN album, didn't even really consider it PE, noise or death industrial or such, nor had heard about project when it made it to phage bandcamp. Heavily beat oriented direction of project plus that Phage has been putting out so much stuff that has very little if anything to do with noise, it felt like it belongs to entirely different realm of sound.

Indeed when he mentions early stages of his noise making was more like weird distorted game music, and of course I know very little about games, but that little is that certain sounds I associate with the glitchy quality of OLD game sounds I can't really listen to. From album, only last track stood out with good noise sounds + aggro vocals at the end. That's only thing ever heard from project.

[Atrophist]

I think Helsinki free noise shows might have the biggest % of crowd that has casual noise interests, but in sense that a lot of it is returning audience? I'm sure Helsinki organizer may have more insight about this when seeing what type of people generally come. My assumption is that many of them come back. You might not see them travel to other cities and buy merch, but it is one type of crowd who has level of genuine curiosity for live noise.

I discussed this topic briefly here (last question all the way at the bottom):

https://special-interests.net/main/iron-star-esoteric-pseudoscience/

There definitely is a type of scene or audience, that's formed around the noise shows at the Redi shopping mall, at least.

Many of them I don't see at other shows, but they do seem to come to Noise Space regularly. It's a pretty healthy mix of local "scene" guys and others. There's an elderly lady in a wheelchair who's come at least twice now. Others also, in middle age and beyond, completely "regular" looking people, wearing regular clothes. They rarely buy merch, but sometimes you see them buy something, mostly just to support an artist. Usually at the same time they'll ask, where can I listen to more of your stuff online.

Also, teenagers whom I've gotten to recognize from one show to another. As you might expect, they spend a lot of time on their phones between sets, but seem to listen to the shows quite intently. I've mentioned this before, but here goes again: Moozz's "boob" shirts were a hit with the girls in this contingent. Otherwise they don't seem to have an interest in merch.

Once after I had played they asked about my equipment, and how "I do it", so I began to point to different things and explain what they do, and how I connect them to one another. Long before I had finished they had lost interest and drifted away. Only later I realized they probably expected a quick, precise answer, something they could google later and investigate on their own. I have even began to notice some Whitehouse and Atrax Morgue T-shirts with these kids, and last time one of them was sporting the anti-music symbol patch.

There are also often a few weirdos in the mix, and people who clearly are not well. But less than you might expect. Finally, we don't really get the undesirable, demanding and censorius noise tourist there, but that's hardly surprising, given it's a "safe space" type of venue, where almost everything they might object to is not allowed anyway. I've no idea how many of these people would feel comfortable, say, at the Kammio venue.

[WCN]

WCN Podcast is back!

OUT NOW! Paul Knowles of DACHISE / THREADS ORIGINAL SOUNDTRACK!

Paul Knowles is the man behind the cult UK 90s noise project DACHISE, as well as THE DIGITARIAT. He's appeared on labels such as Tochnit Aleph, Self Abuse, Tonspur, and more and is a true soldier of the underground. Paul now works under the name THREADS ORIGINAL SOUNDTRACK, with a release out now on Tribe Tapes and more on the way.

Part 1:
https://youtu.be/NrV_sDf1Lo0

Full episode:
Video: https://www.patreon.com/posts/audio-version-of-134104277
Audio: https://www.patreon.com/posts/paul-knowles-of-134104630

[FreakAnimalFinland]

Rare occasion of hearing someone doing noise who benefit from other family members having gear. Don't remember so many moments from past decades. Nowadays seems more likely that someones parents had gear that they start to use.
I liked also how Dachise has somehow quite label oriented perspective from the 90's.

I recall there was old VHS footage of Dachise gigs where he was dressed wearing "suicide bomber vest". Of course not real, but I can imagine that these days if you'd be sporting as suicide bomber in 2025 UK venue, it would be a bit different tension, hah..

[WCN]

WCN TV is back after a short break with an in-store performance from JHK (elite NYC sound tech and podcast alumni Jackson Kovalchik), here at WCN Studios.

WCN TV content like this typically is Patreon exclusive, but I'm posting this set publicly to show you all what we've been working on. The full version on Patreon includes a gear-breakdown from Jackson and some more behind the scenes content. If you want to support this project and get more, you can find the full episode at:

https://www.patreon.com/whitecentipedenoise

WCN TV is a Patreon exclusive series of biweekly content focusing on noise, going beyond the podcast format. White Centipede Noise is made possible entirely by supporters.

[WCN]

OUT NOW - Egan Budd of XIPHOID DEMENTIA!

Resumes from Part 1 around 01:05:38
Today my guest is Egan Budd of the long running death industrial project Xiphoid Dementia. Egan ran existence establishment booking and blood ties webzine, and was a pillar of the boston DIY noise and industrial scene for many years. He is now based in Seattle, where he continues to record and perform as Xiphoid Dementia, with a new LP out now called "Spiral Rapture Holy War" on Fusty and Aufnahme und Wiedergabe.

Part 1 -

Full episode video: https://www.patreon.com/posts/egan-budd-of-135160044
Full episode audio: https://www.patreon.com/posts/audio-version-of-135153005

[FreakAnimalFinland]

KEEP NOISE OUT OF INDUSTRIAL! haha!
Good interview. I think it is exactly the thing he mentions, that early works had that lap top noise quality of that era, that kept me liking it less, even if one could appreciate the huge amount of ideas and sounds that was put together for albums. I had feeling I have "always distributed his stuff", but now that I look it was like 10 years ago when I was last selling his full lengths, meaning haven't really noticed the recent 3 albums.

When material is kind of blend of "martial industrial, rhythmic industrial, dungeon synth, post-industrial, and dark ambient", it does indeed go little different place than power electronics - noise, simply for being something entirely different. I do slightly miss times when there was more cross over with that. Over here, have had noise & punk, noise & indie, noise & black metal... but it's not so common to have like Allerseelen or In Slaughter Natives + Grunt, or Deutch Nepal + Bizarre Uproar kind of events, hah. Grunt even played at gothic music fest, between some dance music poppy EBM bands 2010'ish, while such thing would be unimaginable now, I guess?

I do wonder would it be just one organizer or zine maker who is pushing this approach? Like the way Egan was running Blood Ties. I remember very little of these websites. Think about all the sites and portals that there used to be, and even in Finland, KMY website was just about in this direction, but I would suppose for most newcomers it may be obsolete source of noise information, while for some others it was crucial. Indeed, blending together CMI, LOKI, Tesco type sound with noise, and support for finn noise of the time. This would mean many gigs would put together foreign more musical industrial act with noisier finns and one would get exposed to other experimental sound and there would not be events where everybody has shaker and bunch of efx pedals... hah.

Public episode cuts exactly where he starts to talk about Blood Ties. Would have been interesting. When being so long ago, doing audio interviews back in middle of first decade of 2000's, internet was so different. Hosting mp3 files on your page, soon taking a lot of capacity and possibly costing a lot of money? When SI forum was updated, I went through process of removing all the useless files found from my domain, and didn't even remember that there used to be short 1 minute mp3 clips of CD releases in early years of 2000's. Lots of files that had been there, even if site was no longer working. Now most of old files, pics etc.. bye bye.. I am sure some of these guys have indeed plenty of things on hard-drives that used to be hard to keep online back then, but now uploading and posting things is vastly easier.

[FreakAnimalFinland]

What I forgot to mention, Egans view about compositions vs wanky experimentation was discussed pretty well, but I suppose some sort of further discussion would have been possible, plus also perhaps counter arguments.
He expressed very clearly appreciation for things such as self built instrument or modular synth, but made clear stand on situation where you just found or produced a great sound.... Question being: Then what?
Indeed, there is a lot of experimental sound being done, that seems to remain just that. Not going further on how I'll use this, what should be done with it, that goes further than displaying sound you made.

Counter argument could be, that if not making MUSIC, it's debatable if you need to make "a song" out of sounds you created?

Still, I would also personally lean into this "then what?" -direction, and hope more composition / larger idea, than sort of test drive of instrument constituting enough to be public release.

[Balor/SS1535]

At least where I live, in southern California, there seem to be a good deal of these "mixed" shows where noise and other weird things are all reinterpreted under the wider banner of "punk" for the purposes of organizing shows.  Electronic, beat-driven screamo, transgender ballads, and pure power electronics seem to play a lot of shows together---especially in the LA scene around certain individuals.

While I appreciate the abstract weirdness of such eclecticism, I can't help but feel at the same time that it dilutes many aspects of noise/industrial that I like.

[WCN]

OUT NOW - Devin Horan on WCN Podcast!!!

Devin Horan is an extreme filmmaker whose work intersects with noise and industrial culture, both in spirit and in direct influence. Living and working between Tblisi Georgia, Bologna Italy, and mountainous regions of Europe where he herds goats, Devin is a true artist with a fervent commitment to creating work that is intense and vital, and a bitter disdain for the watered-down hegemony of the contemporary film world.

Full episode - https://www.patreon.com/whitecentipedenoise

Part 1 -

[Confuzzled]

What I forgot to mention, Egans view about compositions vs wanky experimentation was discussed pretty well, but I suppose some sort of further discussion would have been possible, plus also perhaps counter arguments.
He expressed very clearly appreciation for things such as self built instrument or modular synth, but made clear stand on situation where you just found or produced a great sound.... Question being: Then what?
Indeed, there is a lot of experimental sound being done, that seems to remain just that. Not going further on how I'll use this, what should be done with it, that goes further than displaying sound you made.

Counter argument could be, that if not making MUSIC, it's debatable if you need to make "a song" out of sounds you created?

Still, I would also personally lean into this "then what?" -direction, and hope more composition / larger idea, than sort of test drive of instrument constituting enough to be public release.

A lot of the guests on the podcast I've never heard of and as long as they have an interesting take on sound, etc. I will search them out and give them a listen. I agree that there could have been more discussion on process and pushing the envelope as he does sound design for video games, but I also feel like that push should have come from the interviewer to expand on sound exploration. Sometimes Oskar shuts down when he's out of his element instead of asking the person to explain in greater depth. I really liked the production on the latest Xiphoid Dementia release and could hear some noise adjacent elements, but for the most part it sounded very video game soundtrack-like.

[FreakAnimalFinland]

Knowing from experience, as interviewer who is no way professional and has zero training for it, you usually notice later on all those moments where you should have asked guest to elaborate more. When listening podcasts of professional journalists, it is curious to notice how quickly and with routine they will notice moments that need to be elaborated more. Either asking to clarify terms that people are probably not aware of, asking to tell more about people you have name dropped, but listeners have probably no idea who/what they are.. or new direction or even more depth to particular topic.

New episode with Devin Horan is curious in many ways. There is certainly connection with noise, but it gets discussed quite little in this public part of interview. Checking out a bit more about the artists, website brings a lot of current day vibe: Links leading to removed pages, removed videos, but you get to see couple trailers of course and that gives you examples of experimental nature of sound that is used on films which. Of course I do not know how much it is talked in patreon part, but now that there is film maker on film, it would be curious discussion about differences of film score and something that is "music album", and how experimental noise probably blurs such line. You could probably listen something like The Animals Are Sick With Love Trailer as "song". Sound itself would work out and you could drop Schimpfluch meets rural noise type of remarks and mention Nitsch organ music and spoken word bits without even thinking these are indeed parts of soundtrack, and perhaps not SONG from album. Of course, based on trailer, I have no idea how the sound goes on full film itself. As someone who probably seen the films plus guy who made them, it is very different perspective to listen podcast as person who may not know their works, not seen their works and possibly a lot of people who don't have much experience with movies apart from what hit movies they get to see, hah... So there remains a lot of things that could have been elaborated more, yet of course fact it is that in 60 mins, there is only limited time to do things.
Anyways, I liked episode for what it is, but also curious about the hateful attitude he appeared to have to "film world". I suppose it is very much similar I would have for "music business", hah.
https://vimeo.com/887368625?from=outro-local

Talking about noise guys in film, totally different kind of thing hits the cinema in Finland. Starring mr. Kandelin who runs Hiisi label and of course long time noise maker as well. Not experimental film, but indeed entertainment of some sort. Also Mortiis featured in film.
https://www.youtube.com/watch?v=KumlxxD9-zw

[WCN]

This week on WCN TV: a special Existence Establishment Archive Takeover!

We're diving into a trove of audio interviews Egan Budd recorded for his mid-2000s Blood Ties webzine (later Existence Establishment). Today, EMIL BEAULIEAU is featured on the public channel, while full archival interviews with MACRONYMPHA, BLOODYMINDED, PEDESTRIAN DEPOSIT, HALFLINGS, GRUNT, CATHODE TERROR SECRETION, AHLZAGAILZEHGUH, and CORNUCOPIA, accompanied by intros from Egan providing historical context, are available now on Patreon.

FULL ARCHIVE: https://www.patreon.com/whitecentipedenoise

EMIL BEAULIEAU

[FreakAnimalFinland]

RRRon interview nice! I don't remember if he mentioned it very clearly that idea behind PURE was (also) to strip it down to bare basics: Good noise. Lack of graphics and any info would be means to have noise in position where all there is, is the sound itself and if it doesn't live up to being good noise to listen to, it wouldn't make it to series.
It is curious to see how some things have changed or that he explains them differently. In this interview he says he's been listening mostly to cowboy songs and when asked if it had effect on his noise works, answer is strictly no. Then go a bit further to interview that was done after this and he is indeed talking about his attempts to make noise cowboy songs, but so far experiments have been failures. 20 mins goes fast, but its nice little trip to 2006!

Another interview I got to hear of Existence Establishment Archives was of course Grunt. I was slightly cautious if interview needs to be published, but after listening to it, it's ok. It is surprisingly accurate still today, even if seems like all the questions could have, or should have explained a bit better. I feel that none of the USA shows Grunt did was too good. No Fun Fest gigs in particular, were quite sucky compared to what was done elsewhere. People frequently have asked when next USA gig, but I doubt there will ever be one. Still today get gig offers on regular basis, which is appreciated of course, but playing live noise is only good when logistics allow it to be done in ways it must be done to be somehow rewarding.
Perhaps this is first time little disclaimer happens before interview? hah. Nice!