WHITE CENTIPEDE NOISE PODCAST

Started by WCN, October 18, 2021, 11:45:20 PM

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WCN

This is a crosspost, but I hope some of you will recognize the sincerity of my words and take action:

We are wrapping up the first full year of WCN Podcast, currently tallying 33 podcast episodes and 12 WCN TV episodes so far in 2022. Being able to amplify the voices of the human beings behind the noise is a great joy for me, and I am honored to see the show discussed and praised so widely on a regular basis. I intend on carrying on in full force into next year, but that is entirely contingent on the support I get from this small and dedicated scene that I am doing my best to serve with this project. So, if you are a viewer or listener of the podcast, have had your project or label shouted out on it, or simply value its existence as a platform for disseminating noise culture, I ask that you support it via Patreon. Without mutual support, this scene ceases to exist, so please take the step to support White Centipede Noise Podcast and ensure its existence.

https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

WCN

Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

Interesting one to see artists who come from quite different angle to noise. In one hand, it ain't more than one step away from guys like myself. Having been involved in arranging plus playing many shows with Jessica Ryland, and her important to EVICSHEN comes clear in episode. Nevertheless, with just one link away from here, it seems very very distant and until now never heard anyone to even mention the name.

There is moments where is being discussed the kind of gap between the contemporary art music and noise. As soon as the as latter one bluntly describes itself "NOISE", the academy rejects it almost without exception. While material, methods, and artistic integrity could be as high, if not higher. For me, this appears most of all matter of class. There is certain way one has to talk and dress up, what sets you into specific class. As soon as you can drop line to CV, stating that sound performance you make is focused on spatiality and destructurilazion of human behavior, suddenly you got the residence open on the other side of the world. If you'll be focusing on sick sounds and juicy topics, that'll be other kind of opportunities.

For me, it would be utterly interesting to see some documentation, how the sound art compares to NOISE. As example, decade ago playing at Fylkingen Stockholm, and in the storage was meter after meter new CD releases. I asked the guy if they sell. And he replied, "no". Explained that CD's get done, because they have funding for it, but pretty much nobody buys this stuff.  Compare that with noise, where guy who has zero history in genre, knows absolutely nobody, and nobody knows him. Announced tape, and it gets sold out, just because people & couple labels were interested to hear what's up with this new project.

Related to that, some of the shows people have played, are being discussed decades later how great they were. You can walk into modern art museum even today if you wish, and there is most likely one or more sound piece going on. Some sort of noisy experimental soundscape that absolutely nobody cares. You see zero people putting on headphones. If it happens, it's like 30 sec and they move on like they do with looking paintings. Sure, you got your sound installation or multimedia piece into museum, but... what is that? Often looked as success, going into place? We got guys raving about power electronics tape made 30 years ago in edition of 50, while highly funded sound art - nobody remembers, nobody cares, it remains most of all as line on CV, so artists will get another residence and gallery space to do the same thing. So, it would be interesting to hear the "other side" so to say. People involved in that type of thing, do they see it differently? Does it produce some results?

Like in case of Evicshen, playing for young crowd, who is not prepared for noise at all. Hundreds of underage young women getting exposed to harsh noise when Evicshen warms up for some sort of music band. She mentions it does have meaning - and out of hundreds of people, some actually contact to later on to tell what kind on impact it made. I wouldn't be surprised if it would ignite sudden interest in noise for some people who simply had no idea that this type of material exists.

They do mention the difference of noise show of shirtless men vs.. something else. haha. It would be curious to test, how would be audience in 2022 in Finland if there was known artists touring. Like Jessica Rylan back in the day, pulling decent crowd in every city, was it 4 dates in Finland. Very different kind of crowd that would come to see macho noise. I don't know does that crowd exist now in relevant numbers, to the level that would come to see gig in wednesday night. Evischen mentions that she would feel odd or cautious to go play shows in Russia or eastern europe. Maybe Finland belongs to this terror-zone, and can't expect to see Evicshen play here.
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

WCN

#378
2 new year end wrap-up Christmas specials out now on WCN TV!

I break down my top 10 noise releases and general noise highlights of 2022 on this WCN TV Christmas Special. Afterwards, I hit the streets of Cologne with my TV crew and a pair of headphones to see what people think about my top 10 noise releases of the year.

Trailer:
https://youtu.be/FfTZl47uu3k

You can see both full episodes and much more at:
https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

RURAL RESISTANCE

#379
The street gallup was hilarious. Hilarious in a very awkward way like some Danish comedy can be... The rainy Christmas market was a perfect backdrop. Who does this kind of thing anyway? Nobody, and that's perfect. Old school noise silliness. Haha! And also it felt like it wasn't made "just to be a meme" but had a genuine investigative angle to it despite the obvious humor. In some parts there was even actual discussion about the sounds. A delightful video.

I want to be like the last gentleman when I grow old.

WCN

Full video OUT NOW on YouTube, previously published on Patreon as WCN TV Premium content:

WCN TV: Noise On The Streets of Cologne at Christmas, 2022

https://youtu.be/L33L9B7sN58
https://youtu.be/L33L9B7sN58
https://youtu.be/L33L9B7sN58

Support White Centipede Noise Podcast for more exclusive content like this:

https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

WCN

There is also a new Noise On The Run episode out now on Patreon called: Forced Participation

https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

Quote from: WCN on January 02, 2023, 01:33:28 PM
Full video OUT NOW on YouTube, previously published on Patreon as WCN TV Premium content:

WCN TV: Noise On The Streets of Cologne at Christmas, 2022
https://youtu.be/L33L9B7sN58

The older lady who makes conclusion that new T.E.F. is kind of like Iron Maiden or Metallica, while it is funny, in a way it even makes sense.

Years ago, at school reunion, women asked what I'm doing. Still noise. "Noise.. like 69 Eyes?", "nah... not like that.. a bit noisier!".

There is that one CD + book where they play experimental music for people at countryside africa, who have no experience of experimental music of any kind, and I recall not even experience of headphones or music in general. Then reactions are in the book. Ground Fault was involved in publishing it. There was sort of exotic element that may not go well today. It is interesting to think that the chaotic and fairly synthetic sounding progressive metal music (= read the contemporary production) may sound to normal person almost as T.E.F.   A lot going on, guitar resembles as controlled distortion patterns, drums less about rhythm as everybody seems to be in middle of "solo" all the time. Like would fast throb of Bloodyminded analogue synth sound that different from triggered drum of death metal bands? Or if mass of downtuned guitar is different that VCO blasting via distortion? The ordinary dude may not hear much difference. It would be curious to be able to hear it like that for a while again.

E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

Commander15

New Noise On The Run episode was really nice, kind of rambly essay with good points made. As an newcomer in "scene", there was lots of thought-provoking things in there. Kudos to WCN and Oskar.

Evicshen episode was also interesting, especially this kind of "academic" or high art-angle seeping through the discussion. I find it interesting that Evicshen's live presentation, that includes selfmade instruments, power tools etc. and is really energetic and some ways confrontational, doesn't really translate to her recorded output at all. I'd prefer to hear those unique sound sources and ways of producing noise rather than Harvard soundlab 100k Buchla and Serge systems, that were mentioned in debut albums promotional texts. I'm rambling here, but could this be an example of  playing it safe and catering for some intented group of potential customers that posess "good taste" and prefer to hear something else than some grotesque metal junk bashing and power tools misuse?

DadaDrumming

Quote from: FreakAnimalFinland on January 04, 2023, 09:54:21 AM
Quote from: WCN on January 02, 2023, 01:33:28 PM
Full video OUT NOW on YouTube, previously published on Patreon as WCN TV Premium content:

WCN TV: Noise On The Streets of Cologne at Christmas, 2022
https://youtu.be/L33L9B7sN58

The older lady who makes conclusion that new T.E.F. is kind of like Iron Maiden or Metallica, while it is funny, in a way it even makes sense.

Years ago, at school reunion, women asked what I'm doing. Still noise. "Noise.. like 69 Eyes?", "nah... not like that.. a bit noisier!".

There is that one CD + book where they play experimental music for people at countryside africa, who have no experience of experimental music of any kind, and I recall not even experience of headphones or music in general. Then reactions are in the book. Ground Fault was involved in publishing it. There was sort of exotic element that may not go well today. It is interesting to think that the chaotic and fairly synthetic sounding progressive metal music (= read the contemporary production) may sound to normal person almost as T.E.F.   A lot going on, guitar resembles as controlled distortion patterns, drums less about rhythm as everybody seems to be in middle of "solo" all the time. Like would fast throb of Bloodyminded analogue synth sound that different from triggered drum of death metal bands? Or if mass of downtuned guitar is different that VCO blasting via distortion? The ordinary dude may not hear much difference. It would be curious to be able to hear it like that for a while again.

People have markers in their mind for situations like this. I think the conclusion is apt. T.E.F. basically makes progressive metal as noise, you are absolutely correct. Metallica were pretty noisy in their day if you were around then, comparatively speaking. As opposed to Poison or Great White.

I've been asked "Still banging on trash cans?" by people not affiliated with music, but who know what type of stuff I do. People get an imprint and relate back to it.


I haven't had a chance to catch up on the newer podcasts, but will as soon as possible.

Zeno Marx

out on the streets with AKG240s.  right on.
"the overindulgent machines were their children"
I only buy vinyl, d00ds.

WCN

Quote from: Zeno Marx on January 05, 2023, 07:47:16 PM
out on the streets with AKG240s.  right on.

All I had lying around, but they did the trick! Fussing with the cable was a bit distracting and felt archaic in the context. I guess some decent bluetooth headphones would be smoother for next time.

I assumed there would be a humorous undercurrent to this, but that certainly wasn't the goal, and I'm glad that wasn't the only result. I hate "weirding out the squares" as a mission, and I don't find it fun either. I was honestly just curious. Some people from North America have commented that they're surprised at the relative openness and adjacent frames of reference a lot of people had, in comparison to what they'd expect from around where they are, but I wonder how different it would really be. I plan to try it in different cultural contexts in the future, but I imagine I'll hit the limit of variation in reactions and reflections fairly quick.
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

skyloop

Quote from: WCN on January 06, 2023, 04:25:52 PM
Quote from: Zeno Marx on January 05, 2023, 07:47:16 PM
out on the streets with AKG240s.  right on.

All I had lying around, but they did the trick! Fussing with the cable was a bit distracting and felt archaic in the context. I guess some decent bluetooth headphones would be smoother for next time.

I assumed there would be a humorous undercurrent to this, but that certainly wasn't the goal, and I'm glad that wasn't the only result. I hate "weirding out the squares" as a mission, and I don't find it fun either. I was honestly just curious. Some people from North America have commented that they're surprised at the relative openness and adjacent frames of reference a lot of people had, in comparison to what they'd expect from around where they are, but I wonder how different it would really be. I plan to try it in different cultural contexts in the future, but I imagine I'll hit the limit of variation in reactions and reflections fairly quick.

Cultural context matters a lot, lived in a very mixed area my entire life. Kinda in suburbia, kinda near downtown, lots of rural folks not too far away, and what I found is that in my area at least that middle ground between the suburban and urban zones are where you'll find the most musical people most likely to be into more extreme stuff like metal. Around here I either hear a lot of rock or a lot of hip hop, no in between. It's very rare to hear anyone listening to anything else and it's almost always whatever is on the radio too. Every once in a blue moon I'll hear some extreme metal or other electronic stuff. I've shown some people what I'm into and they either just have no reaction cause they don't get it or make fun of it. For much more extreme stuff they're just horrified. But the interesting thing is some of these people have been to concerts before usually in the rock and metal genre's and they enjoy it just fine even though if you ever been to a really loud rock or better for this example metal show that it is just a noisy, full body assault that makes what you hear recorded on their albums feel tiny after the show in the car ride home after. There's been a handful of times at shows where I couldn't even tell what song it was since live and direct like that it just sounded so different and so much more like "noise". In fact that's one of the reasons why I also initially liked noise, it felt like that state during a show where your ears are so heavy and ringing that everything just sounds like this endless void of noise that blends together. But you'll never hear these people get into anything too extreme outside of that environment. I think context matters a lot too and most people just don't pay attention to music as anything much more than some social thing and have a hyper focus on things like lyrics (usually one of the first things people get confused about with what I like is the lack or lyrics or how you can barely or not understand them). They don't enjoy the whole textural, sensory dominated aspect of it outside of very specific contexts and even then it's largely overshadowed by a focus on the concrete and easily socially integrated aspects of it.

WCN

OUT NOW!

Stefan Aune of KJOSTAD / NEW FORCES / ETC. on WCN Podcast

https://youtu.be/7Fe39Tbso9c
https://youtu.be/7Fe39Tbso9c
https://youtu.be/7Fe39Tbso9c

Check out the extended segments of the interview and get access to download codes of recent KJOSTAD, BREAKING THE WILL, and FORM HUNTER albums that Stefan made available at:https://www.patreon.com/whitecentipedenoise
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

It is good that the guys from 3 person interview come alone into return podcast. I would say one to one is best format for podcast.

Lots of good thing in this. One topic, that may be possible to merge, are: locals scenes, who have little, if any knowledge of wider noise culture. And secondly: Book format noise history.

While I know thing or two about Finnish noise scene, I am not entirely sure, but I will make assumption that a lot of people started noise way before they got to know "scene classics". I assume this is the case elsewhere too. You got some guys, who are interested in what was done in London 1982 or Osaka 1984, but most just... want to make noise? Totally oblivious of how the stuff relates into history of genre. Some of the relevant big names now, may have been born out of hearing Prurient, Pharmakon and Bizarre Uproar. If you'd bring up Hanatarashi or Brighter Death Now, it would be like talking about Black Sabbath in 1990. You know, who cares what your father listened to -type of stuff. Haha.

This makes me think, that when history of noise is being once again attempted to be written, can it be history of what we kind of hope it to be... history that sort of makes sense... or could it be the senseless history? Noise that was born of not knowning, even not caring, but what really happened.

This podcast episode makes quite obvious, that while also I will often make the foolish comment about "american scene" or "european scene", these barely exists. Most guys who are involved, are in it from quite diverse, and different angles. Even if it is absolutely fact, that we still do not have a book, that would give you... lets say Grey Wolves, Con-Dom, CCCC, Macronympha, and so on. Like the real deal hardcore big names of noise that should be immortalized into some sort of noise book... but in other hand, when you make book of noise in 2023, that has all the things that "needs to be told", you will wonder why we are talking about that 30 copies tape that came out in Tokyo in 92, while in Portland or Michigan, they had....  And sentence could continue with quite remarkable stories, beyond 30 tapes.

The discussion, can it be done, answer probably is: It can not be done. Noise bible is impossible. What is possible, could be chaotic collection of knowledge, series of books that gather some sort of oral history of noise. Noise, like any form of creativity, has abundance of people who say it can not be done. Then, someone does it. The genre itself is manifestation of things that either make no sense, or are undoable, until someone just... does it. When music cultures have books, like they have classic albums, maybe noise needs bookS, like some artist may have 100 classic albums in their own discography.
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net