WHITE CENTIPEDE NOISE PODCAST

[impulse manslaughter]

What a hero!!

[WCN]

Huge thanks to k.p.g. for producing this episode. Ron and I spent hours over different 3 occasions trying to get it to work but couldn't get it to work due to bad internet connections and generally kRRRazy computers. Ken drove over there from Philly and set him up with with his cellphone and Zoom and we were finally able to talk, albeit with the phone overheating every 40 minutes or so. Thanks Ken!

[FreakAnimalFinland]

Great episode, and got to even think what exactly to say.

[WCN]

OUT NOW - The Past, Present, and Future of WCN

[FreakAnimalFinland]

I would advise to make some sort of rough calculation even if it would reveal that one is doing things with loss. I would estimate that just about everybody does things that do not make sense financially. At least in ways that you could prove causality. I doubt that knowing something does not make financially any sense would be problem if one really wants to do it.

Point would rather be that with little calculations (that may include not only money, but also time) one may discover that it is things you DO NOT want to do that take the energy and resources. You have just done those because it felt mandatory or required, but with little observation shows that whatever it was, could be just dropped. As happened with IG. Someone could say it doesn't make financially sense to decrease visibility etc, but such move can have vastly positive effect.

[WCN]

OUT NOW - Maggie Siebert of MOUTHS AGAPE on WCN Podcast!

Maggie Siebert of MOUTHS AGAPE creates bleak, narrative-driven industrial noise about harm from true-crime to personal tragedies, crafted with stark Antiseptic production that reflects the angst of modern culture. Her newest album "God Only Knows What I Can Do Right Now" on Limited Hangout Recordings is a recent personal favorite of mine. Maggie is also the author of "Bonding," a work of transgressive fiction, and she recently opened Very Friendly, a record store and recording studio in Brooklyn, NY.

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

[FreakAnimalFinland]

Perhaps most interesting topic briefly discussed was speculation of "social media feed noise" as contemporary industrial cut up sound.

It relates to some of my own comments I have once in a while speculated, that many of former industrial/PE ideas relating on absence of artists/creator and absence of notions of art was good AS LONG as it was bound to be idea that needed man to do it. There was perhaps idea of machine sound albums, but involved great deal of creative input for it to happen.

Oskar mentions comfortable analogue (or perhaps mechanic?) sounds, and indeed, while there may have been talk about bleak and rusty loud machinery, I would assume there isn't albums made out of machines that sound like garbage. Instead, there are recordings that manifest themselves as music or some sort of aesthetically pleasing sound. Same with artwork revolving around industry. Most of all its all the cool looking and sounding things.

Its like paradox of futurism. Dude on motorcycle with leather helmet on, speeding across rural italy may give hint of speed, power and intensity. Soon when you have reached next level, its electric scooter and neon yellow vests and waiting on line with swarming human mass of the like.

Noise or industrial can be now merely generated and it became largely uninteresting in that context. Like noise that became "pure noise". Static distortion generating itself without any meaning, suddenly isn't as interesting as someone who was trying to do it. Elecronic zip zap noise suddenly ain't that interesting when its self generating machine doing it. Cut up became obsolete when someone build you cut up modular box that farts out cut-up noise on same level of creativity as if you turn on water tap. Dark ambient that tried to capture spirit of inhuman coldness may have been great until it really was the inhuman coldness of synth pad application, hah....
And so on and on. Human artistic pursuit to reach for something that is hard to really fully grasp is really golden touch compared to something that just generates "it".

I don't think sounds of IG feed producing random sonic waste to your consciousness is as interesting as it may sound like. Surely suitable topic representing social decay and media downfall and waste of life and creativity, but I would not link it aesthetically nor "ideologically" similar.

Topic is so vast that it is hard really to put it into words in compact and clear way.

[mouthsagape]

Perhaps most interesting topic briefly discussed was speculation of "social media feed noise" as contemporary industrial cut up sound.

It relates to some of my own comments I have once in a while speculated, that many of former industrial/PE ideas relating on absence of artists/creator and absence of notions of art was good AS LONG as it was bound to be idea that needed man to do it. There was perhaps idea of machine sound albums, but involved great deal of creative input for it to happen.

Oskar mentions comfortable analogue (or perhaps mechanic?) sounds, and indeed, while there may have been talk about bleak and rusty loud machinery, I would assume there isn't albums made out of machines that sound like garbage. Instead, there are recordings that manifest themselves as music or some sort of aesthetically pleasing sound. Same with artwork revolving around industry. Most of all its all the cool looking and sounding things.

Its like paradox of futurism. Dude on motorcycle with leather helmet on, speeding across rural italy may give hint of speed, power and intensity. Soon when you have reached next level, its electric scooter and neon yellow vests and waiting on line with swarming human mass of the like.

Noise or industrial can be now merely generated and it became largely uninteresting in that context. Like noise that became "pure noise". Static distortion generating itself without any meaning, suddenly isn't as interesting as someone who was trying to do it. Elecronic zip zap noise suddenly ain't that interesting when its self generating machine doing it. Cut up became obsolete when someone build you cut up modular box that farts out cut-up noise on same level of creativity as if you turn on water tap. Dark ambient that tried to capture spirit of inhuman coldness may have been great until it really was the inhuman coldness of synth pad application, hah....
And so on and on. Human artistic pursuit to reach for something that is hard to really fully grasp is really golden touch compared to something that just generates "it".

I don't think sounds of IG feed producing random sonic waste to your consciousness is as interesting as it may sound like. Surely suitable topic representing social decay and media downfall and waste of life and creativity, but I would not link it aesthetically nor "ideologically" similar.

Topic is so vast that it is hard really to put it into words in compact and clear way.

Hey, thanks for spending time with the episode! Just to clarify the point I was making, I think it's less that the sounds of Instagram detritus are "interesting" to me on their face so much as they are very much the sound of "now," and provide an interesting springboard from which to explore digital timbres, much in the same way the cacophony of industry was a jumping off point for the earliest crop of industrial artists. The way different apps compress (and distress) audio, the rewards users get for the reuse/repurposing of obnoxious and irritating sounds... plenty of interesting possibilities for use in noise. This gets at your point re: the human element giving a work its proper context; where scrolling dronelike through an app is basically an automated action, exploring the implications through sound has the potential to be engaging. For me it's a question of both effort and intent.

[FreakAnimalFinland]

yes, indeed. I would think big part of the late 70's, 80's industrial, the machinery and soundscape was already quite "old". With futurism, they were seeing the idealistic birth of industrialization. Bringing some speed and excitement to boring agricultural italy.  When looking at industrial music, UK 80's, that was already era of deindustrialization. Birth of industrial music goes exact same timeframe as industrial collapse. Dirty old factories, certainly would be there, but also in a way "the sound of past". Of course it is debatable if artists who live that exact moment find any nostalgia etc or if that comes a bit later.

Mika Taanila was talking about in Special Interests 6. I asked something about his work that is odd quality of being focused on tech and sort of futuristic aspects, but oddly nostalgic or old perspective. He replied "R. Buckminster Fuller once wrote that when you try to look far ahead in the future, the exactly same amount of years open up in the past. We're there in the middle, the present tense. This is the kind of pendulum that I try to achieve with my films."
I find that more interesting than being very narrowly in as small sphere as social media feed on ones hand. Conscious view into something. It is talked in the interview how horrid the feed is when you kind of accidentally end up in it, hah..

I know at least one noise release where sound source was indeed browsing IG feed. Chaotic random racket as basis of source. Due the randomness and quickly changing nature of it, might work just fine. Like Dead Body Love explaining how some of his tracks had source of fast forwarding death metal CD's. Player skipping fragments of seconds music becomes abstract mess. Massive distortion would mutate it to vivid harsh noise. Knowing that albums may be just fast forwarding metal music CD's doesn't really effect how I feel about them, hah. If turned out some albums was IG feed as source, I must say I may have small caution toward it.




Episode overall is good to check out. Other decent topics as well.