WHITE CENTIPEDE NOISE PODCAST

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

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Confuzzled

Quote from: vegasfountain on July 25, 2023, 03:28:35 AMthe Dead Body Love interview was excellent in many ways, but I must say it's really disappointing that he's using AI art for his re-issue covers. If you look closely at the recent art for "Horrors of the Human Body", it looks like total shit and the concept could have been executed far better by a real artist. I just hope this doesn't become a new trend in noise or any other music genre for that matter. It's completely lazy and soulless.

I disagree. I have been playing with AI for quite a bit now in various forms for the past 5 years, and yes, there are limitations, but I'm enjoying exploiting those limitations and using them as a jumping-off point. I can spend a day tweaking text and trying to push the AI to generate absurd images, which I personally find less lazy than photocopying a violent porn image or ransom note styled liner notes.

Johann

#541
Obviously there's been bad art over the decades too, a whole slew of early 90s digital art across all genres, I can think recently of a tape series for sale on Old Europa (don't know who did it) with atrocious art of digital inversions/mirroring of current reissues.

But there are some releases that are amazing with horrible art(hallway of the gods by LPD comes to mind) just as there are releases that are totally cringey on some level that are great, particularly black metal being a genre and aesthetic I often can not take seriously, dudes in leather thongs in the forest? Graveland and Burzum dressed as a larpers? AI art will probably exist in that spectrum of glorified releases with bad art on some level.

Laziness in noise has always existed too, shit someone just posted another 18 hour wall digital download for 30 euro that I doubt anyone will buy and anyone that does won't listen (and it joins hundreds of others of releases in that same category)...doesn't matter what it is, AI noise, AI art, lazy transgression. It'll always be released by people who I suppose think it's easy, or ironic, or ego focused inward interest projected outwards. The market will sort it out.


Commander15

#542
Quote from: Confuzzled on August 04, 2023, 04:41:39 PM
Quote from: vegasfountain on July 25, 2023, 03:28:35 AMthe Dead Body Love interview was excellent in many ways, but I must say it's really disappointing that he's using AI art for his re-issue covers. If you look closely at the recent art for "Horrors of the Human Body", it looks like total shit and the concept could have been executed far better by a real artist. I just hope this doesn't become a new trend in noise or any other music genre for that matter. It's completely lazy and soulless.

I disagree. I have been playing with AI for quite a bit now in various forms for the past 5 years, and yes, there are limitations, but I'm enjoying exploiting those limitations and using them as a jumping-off point. I can spend a day tweaking text and trying to push the AI to generate absurd images, which I personally find less lazy than photocopying a violent porn image or ransom note styled liner notes.

At least you are doing actual work when photocopying an violent porn image or assembling the ransom letter.

Confuzzled

#543
Quote from: Commander15 on August 04, 2023, 05:33:15 PM
Quote from: Confuzzled on August 04, 2023, 04:41:39 PM
Quote from: vegasfountain on July 25, 2023, 03:28:35 AMthe Dead Body Love interview was excellent in many ways, but I must say it's really disappointing that he's using AI art for his re-issue covers. If you look closely at the recent art for "Horrors of the Human Body", it looks like total shit and the concept could have been executed far better by a real artist. I just hope this doesn't become a new trend in noise or any other music genre for that matter. It's completely lazy and soulless.

Again there's a difference between taking a something from a computer and slapping it on a cover or

I disagree. I have been playing with AI for quite a bit now in various forms for the past 5 years, and yes, there are limitations, but I'm enjoying exploiting those limitations and using them as a jumping-off point. I can spend a day tweaking text and trying to push the AI to generate absurd images, which I personally find less lazy than photocopying a violent porn image or ransom note styled liner notes.
Quote from: Commander15 on August 04, 2023, 05:33:15 PM
Quote from: Confuzzled on August 04, 2023, 04:41:39 PM
Quote from: vegasfountain on July 25, 2023, 03:28:35 AMthe Dead Body Love interview was excellent in many ways, but I must say it's really disappointing that he's using AI art for his re-issue covers. If you look closely at the recent art for "Horrors of the Human Body", it looks like total shit and the concept could have been executed far better by a real artist. I just hope this doesn't become a new trend in noise or any other music genre for that matter. It's completely lazy and soulless.

I disagree. I have been playing with AI for quite a bit now in various forms for the past 5 years, and yes, there are limitations, but I'm enjoying exploiting those limitations and using them as a jumping-off point. I can spend a day tweaking text and trying to push the AI to generate absurd images, which I personally find less lazy than photocopying a violent porn image or ransom note styled liner notes.

At least you are doing actual work when pjotocopying an violent porn image or assembling the ransom letter.



Sorry, I should have been clearer. I have no issue with using AI as a starting point and manipulating the fuck out of it (printing, degenerative photocopies, etc.), but I do take issue with using an AI image as is and slapping it on a cover. I use it as a starting point or for visual reference, manipulating my text prompts, usually to the point where the AI cannot create what I see in my mind. I do have an issue with using someone else's material without giving credit, whether it be AI or porn or whatever. 

WCN

#544
OUT NOW: Gaya Donadio of ANTICHILDLEAGUE

Gaya Donadio has been a pillar of the London noise and industrial scene for over 20 years, organizing gigs with a wide range of legendary and seminal underground acts, and performing and recording with her very personal Power Electronics project ANTICHILDLEAGUE. In this interview, we discuss her history and philosophy as an artist and organizer, the importance of freedom of expression, as well as the attacks she has endured for her activities, including the recent cancellation of her UK tour with THE RITA.

https://youtu.be/s12QBBYj3Y8
https://youtu.be/s12QBBYj3Y8
https://youtu.be/s12QBBYj3Y8

In the Patreon exclusive EXT. segment, Gaya shares more personal details about her activities, talks about her favorite gigs she put on, and more.

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/

FreakAnimalFinland

Importance of Gaya for london industrial noise live scene is so big, I guess in patreon part there may be further details about it. When you think what did happen +-20 years ago in some country in live gig scene, that part of history tends to disappear more than physical releases. You could list ton of artists she welcomed at gigs. Slogun, Control, SKM-ETR, Grunt, Cloama, Sickness, Emil Beauliea, Prurient, The New Blockaders,... well, just to name some. Considering that like she said, there was occasionally twice a month events, a lot happened that isn't anywhere really documented. I remember going in UK just as a noise tourist, catching first couple nights of Death In June gigs, and then couple nights of power electronics / industrial / noise.

ACL as project, like she says, has only gotten better over time. The new stuff is really good, and anyone who heard older, even the decade old CD's, is encouraged to check out the newest, noisier and dirtier works!

The "cancellations" discussion is kind of expected due recent incident. I am sure she would have way more nastier things to tell from the past. It is curious that Oskar mentions that maybe a way to fight the cancel culture is to cancel those people.. hmm.. well, I am thinking that's already in that cycle and results are less flattering. Perhaps simply accepting that in culture that is diverse in tastes and approaches, you also got realistic chances that you'll face problems. If something is broken beyond possibility to heal, you'll just have to learn to cope with it.


One funny thing is that now I got to see first time automatic subtitles on. They did create some unintentionally funny moments, like when Gaya mentions she did something with Schr├Ąge Musik, auto subtitles write that as "swagger music"! hahaha!




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

WCN

OUT NOW - NOISE ON THE RUN - Noise Errands

In this episode, Oskar moves around downtown Cologne on a busy Saturday afternoon - printing J-cards, appropriating designs for new WCN sportswear, and sharing some thoughts. Out now of WCN TV through Patreon!

https://www.patreon.com/whitecentipedenoise

Trailer: https://youtu.be/bg37lkBgASo
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

searchofexit

"Long ass centipede down the leg"

WCN

Greh Holger has been a pillar of international noise since the early 2000s, running the prolific label Chondritic Sound, recording and performing heavy synth-based noise as HIVE MIND, and being an admin of the iheartnoise message board, a community space that was essential to the noise scene at that time. Since then, he has stayed active with his label, numerous recording projects, and formed Noisextra Podcast, a show that is a staple of contemporary noise media. It was great to be able to put Greh on the other end of the interview process and pick his brain about his history and activities.

https://youtu.be/YyBTgPa4tfQ
https://youtu.be/YyBTgPa4tfQ
https://youtu.be/YyBTgPa4tfQ

In the Patreon exclusive EXT. to this interview, Greh goes into detail about the synths, gear, and recording techniques he uses HIVE MIND and BLACK SAND DESERT. Greh also shared download codes for his most recent HIVE MIND album Elysian Alarms with the Maniac's Circle, as well as an exclusive live recording of BLACK SAND DESERT, from August 19, 2023 at Coaxial in Los Angeles.

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/

FreakAnimalFinland

It is one of the best interviews. I think I mentioned repeatedly to Noisextra guys that while they have done huge job for noise culture with podcast and like Greh here kind of mentions that "people hear too much of me", in reality, I would guess we never heard Greh interview like this? And as Noisextra is meant primarily for the 90's and older, what he has been doing starts right where their usual coverage ends.
There are so many different points that could be commented and so many topics that would be good to return in future interviews.
Man talks very openly about the problems of life in past, including the first year in LA. Everybody being pissed off about not getting orders and Greh being homeless couch surfing, living on foodstamps trying to get by. Of course customers will be mad anyways, but certain situations one may understand why it is happening. Good story of Wiese being catalyst of "lets get it done" -days, just meet and get some collective energy to assemble releases and ship them to people you owe them.

Talk about the splintered scene, in ways of nowhere exists forum like Troniks/Chondritic forum was. We got couple forums, sure, but all different chat services and platforms. messanger, whatsup, telegram,.. fb, ig, x, twitch, discord, youtube, reddit, whatever... Tons of small private circles of people using their preferred platform, and everything splintered in a way that the sense of "something big happening" and somewhat centralized information.  He mentions opening forum now would be difficult. May be. I would guess it became harder after the "real" social media took over. This also changed nature of forum. I don't think forums could be what they used to be before social media. Just like TAPE now is not what it was in 80's or 90's. Neither is CD or LP. Even if these formats are no longer only viable option to spread noise, I think their role is not less important. Just like you wouldn't expect 1000x noise CD spread into scene like wildfire and everybody knowing and owning it, you got the "CD crowd", just like you got the "forum crowd" who appreciate certain qualities that format allows. Lets say, like where would you find discussion about noise podcasts if not forums? I don't know, but I have been told by others that there is no discussion at IG or FB or such. You may got hundreds, if not thousands of followers, but no actual discussion? Forums may not be THE most popular and THE most followed information source, but it has some good properties why they remain relevant. This is the thing I wouldn't necessarily agree on notion of industrial-noise artists taking the new ways of expression into use.

It is fact, that all the tech and "platforms" that was used by noise / industrial / experimental, and true it was once the latest new tech and welcomed with open arms. But, I will strongly suggest, that it was also because it was GOOD and POSITIVE and kind of in-spirit-of expression itself. Now when artists fetishize c-cassette, vinyl LP, compact disc, vhs tapes, or whatever supposedly for nostalgic reasons, I don't think it is entirely true. I would suggest that at least part of it, is not due nostalgic reasons, but simply because many of qualities are simply unbeatable. They may be also still the revolutionary expression, that embodies the spirit of independent creation. (Like Greh sighs about twitch service that yeah, now its owned by Amazon, not ideal place, but that's the reality one got to live with)  Indeed, one would think as industrial noise creators, welcoming the new tech and new possibilities and new platforms is good, but as easy example one can conclude that atleast fraction of our culture can not be there. It is counter productive and changes the nature of expression into some sort of compromise. For some it is advancement, for some this shift would appear as step backwards. When artists already decades ago got out of the suffocating grip of corporation dictating what and how to do, I wouldn't necessary like idea of entering into world of regulations and feeding corporate business models.  Of course fully acknowledging many people do not care, nor they are effected in any way.

From my perspective, some supposedly "nostalgic ways" or still the route that leads forward into better direction. For interaction in the physical world, human interaction, the necessity of hands-on-approach and tactile qualities of expression, there simply is not replacement for some of these things. Indeed, one can make fb live stream, but it is not "noise gig" like is the collective, almost ritualistic meeting of fanatics. Some sort of noise objects and culture that builds around it is VASTLY different from someone announcing he got 100 HWN files at bandcamp.

My assumption, is also, that despite Greh is very very international character. Huge spokesman for Japanese noise, big promoter of euro heavy electronics, admirer or original power electronics, far more educated in experimental synth and rhythmic stuff that I could be...   When discussion is for example what caused the downfall of noise at some point, he does analyze it very much from USA perspective? There certainly is peak every time that some bigger label threw money in. At some point Relapse. At some point Subpop. etc. He concludes it is just matter of people coming and going, and tends to happen in waves. Which is true, but to me it appears as if the waves are somewhat localized. Or used to be. Tesco stuff suddenly would not be the hot seller of RRR and Ron mentioning that you used to be able to move any euro heavy electronics in blink of an eye, but suddenly its new wave of USA noise that sells. Despite the "downfall", Tesco pressed more than ever, selling more than ever? Sweden flourishing bigger than ever, Denmark having huge wave of activity. Lithuanian festivals, Poland having labels flooding countless releases. Even after Vulcaning Tongue and such falling down UK continued with several labels, distributors, gigs etc for years. Not all harsh, but noisy nevertheless.
The longer one is around, the waves format of scenes is obvious. Still it is not something that is global phenomena and it would feel neat that we just check out what is currently happening, how to advance good things in it. I think that was how the waves originally happened. Like the flourishing Japanese noise scene could have been something enjoyed by 20 locals attending to gigs and buying tapes, but there was people are distributors who wanted to get involved and suddenly dozens of labels worldwide would be putting out new interesting Japanese noise, making it worldwide phenomena. Or work of Relapse and Subpop etc. I doubt the really created anything per se, just noticed there was something great going on, and thought this would be great to promote and distribute. And organizers feeling we need to get these artists play shows etc.

To me it always seems to be that there is merely someone who feels "this is too good to remain unnoticed, I got to tell my friends and anyone I can reach".

This would be perhaps also idea for podcasts. As opposed to emphasis on artists career, like what would be like "currently happening in Japanese noise" -episode! I would suggest people to visit for example Scream & Writhe forum and mr. Junkyard Shaman writing message after message about current Japanese artists and thing happening there. Of course making episode of him as artist could be good, but also theme of lets tell something to people when very few seem to know what is happening. Some may still assume there is quiet times over there, but when talking to some specific Japanese guys, they are saying scene is living one of the busy peak moments as we speak!

Excuse the non twitter length feedback, hah... advantages and dangers of forums. The Wall of text...



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FreakAnimalFinland

As addition, it is funny moment when there is the discussion about TAINT and his live shows. Driving 3 hours to see 5 minute set consisting sample and some simplistic electronic noise and that's that.
I recall Keith mentioning back then that "he likes to disappoint people". Greh is describing in excellent way how there would be all these expectations and kind of wish there would be 200 people and Taint blasting some classic songs from his best releases.. but no. One of most amusing shows I have seen from Taint, I guess one out of four gigs, was him starting the audio. Letting the dialogue go like 2-3 minutes and then just shutting off gear. No noise. Nothing. Just the spoken piece that was later published as Nicole 12 "Pony". That is basically "a Taint cover". His entire set from Boston. He mentioned that what he could have done? Control floored everything. Bloodyminded was utmost PE "rock group" wildness, Prurient blasted high energy feedback and screams set, Slogun being intimidating. Grunt etc still to enter the stage. There in the middle, he'd just throw an utterly obscene sample and that's that. "Liking to disappoint people", but perhaps only if you expect kick ass noise. He appears more like that different type of noise, where noise show could be 20 sec scream and jump (Masonna), standing still waiting people to abuse you (Mattin), just playing video piece of news collage and electronic tone (MK9), Cock ESP falling to pieces in 10 seconds...  and so on... not there really "entertain" with guaranteed money worth.. hah...   It would be interesting discussion if this live noise changed exactly because it is played for noise audience, who travels to see things with expectations and expression that kind of builds around this climate. How different it is from noise happening for example locally and perhaps frequently. Meaning that artists could just go on and do thing without unconsciously thinking "there is that guy that travelled across to world to see it.. maybe I should do something else than play loop while squirting enema" (remembering some report of earliest Coil shows).. unless, you like to disappoint audience!
E-mail: fanimal +a+ cfprod,com
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Confuzzled

I did not want to quote your thoughtful response FreakAnimalFinland, But I agree that the US seems to have a more splintered faction when it comes to taste, and culturally, it has been flooded with dissent and unrest since 2016. In our defense, we are only 245 years old and essentially the globe's petulant child. The US is rife with a "what's new" mentality. Everything tends to be disposable because nothing is made to last. I see shows and festivals overseas where the noise act is never larger than the audience. People are more courteous at shows and see noise as "art." It would be nice to have that movement here but it doesn't happen for whatever reason.

Andrew McIntosh

Quote from: FreakAnimalFinland on August 22, 2023, 12:02:41 PMI recall Keith mentioning back then that "he likes to disappoint people".

A French Noise perv I'm acquainted with online told me of a gig where he organised for Taint to perform in Paris. Apparently, Keith went out that day, got drunk, found a skinhead and convinced him to come and help him play this gig which wasn't much more than just farting around in front of the crowd. I was told that Keith's apparent intention was to wind up what he regarded as French "intellectuals". Never having been to a French Noise gig myself, I don't know how intellectual such a crowd would have been. Presumably, too intellectual for Taint. Was told Keith was paid quite well for that one, too.
Shikata ga nai.

aububs

Greh interview had me nostalgic for the halcyon days of chondritic/troniks. That forum, for better (and sometimes worse), was very formative for me. I miss it.

FreakAnimalFinland

Quote from: Andrew McIntosh on August 24, 2023, 01:31:19 PM
Quote from: FreakAnimalFinland on August 22, 2023, 12:02:41 PMI recall Keith mentioning back then that "he likes to disappoint people".

A French Noise perv I'm acquainted with online told me of a gig where he organised for Taint to perform in Paris. Apparently, Keith went out that day, got drunk, found a skinhead and convinced him to come and help him play this gig which wasn't much more than just farting around in front of the crowd. I was told that Keith's apparent intention was to wind up what he regarded as French "intellectuals". Never having been to a French Noise gig myself, I don't know how intellectual such a crowd would have been. Presumably, too intellectual for Taint. Was told Keith was paid quite well for that one, too.

Well... this is the deadly actions show. The "skinhead" was Bessac of Kickback and it was me who did most of the sound as Keith did not bring anything else than 3 pedals with him. Hah... That entire trip was fairly memorable.
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MAGAZINE: http://www.special-interests.net
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