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.

[WCN]

OUT NOW - HERMIT on WCN Podcast

Hermit is a semi-obscure legend of the international noise underground, publishing an eclectic body of DIY communication via his labels Garbage Society and Manufracture since the early 90s. Originally from Canada, he continues to tour internationally and has a new LP out No Rent called "Returning Fire", as well as a tape called "Political Shitnoise" on Recordings For The Summer.

[Zeno Marx]

FANTASTIC!  I was just hoping some ambitious person/label would do a Hermit box set.  Considering how low-fi some of the recordings were, even a modest set of DVDs with 320CBR files would suffice.  Then I fell into the weeds of how it would likely be necessary for the audience to contribute parts of their collections (I would) to cover all the missing masters.  Massive project, but not an undeserving, and likely rewarding, one.

was able to tune in live for a moment...it cannot be underestimated, but also maybe not really possible to understand by new and younger listeners, how important mailer flyers were.  with all the books being written and compiled, I continue to feel a book dedicated to mailer flyers is crucial to documenting underground music history.  A relative afterthought...the flyers themselves...being a key means to how you could keep up with everyone's projects and releases.  Even then, they weren't respected for their role in it all.

[k.p.g]

I think a lot of what Eric says here resonates with what I enjoy about the art of making noise.  You can point to his idea on persistence vs. establishment in a scene, lived existence as an influence on work or noise as a form of communication akin to folk music as just a few examples of great insight here.  I leave this interview thinking I may need to listen back when I don't have too much of a raging head cold to fight as well, and that I definitely need to listen to more Hermit than I have already.

[FreakAnimalFinland]

Oh yes, one of the most interesting noise recently what I can think of!

Noise as experience and involvement is something that I've been discussing quite a lot.

I think it must have been some topic on SI or I may have talked about it face to face with people, that one major difference of old noise vs noise now, may be that back in the day, even if you could buy stuff, I don't think big part of it was really made for sale. Unlike decades later, it turned to be closer to normal music business in a way that artists or bands would do editions that are most of all meant for sale. There is button to buy it and you may not have any means of communicating or being "involved" beyond standard consumer.

I have store full of buttons as well. Put out stuff that is for sale, but there is also huge amount of communication, trades, mutual support, establishing connections, and so on. All sorts of old school UG activity that isn't connected to business aspects of things. Business aspect is also more of making whole thing work in long term.

I do wonder how massive is the problem of WASTE with noise? Like even the biggest collectors of noise, most often their entire collection would not fill that many garbage cans, nor make much difference in local landfill. I wouldnt necessarily feel its wise to obsess enviromental effects of noise. Perhaps just put it on perspective. If it is meaningful, if it is inspiring, if it is long lasting, perhaps even something for lifetime, certainly worth it. If its something never listened, not really cared for, totally void of meaning, then yes. I would say concept of waste is most of all spiritual and material waste of noise as a whole insignificant.