WHITE CENTIPEDE NOISE PODCAST

[W.K.]

Harsh Truths

Any idea what happened to him? Really liked his stuff (although maybe a little to much talk about himself and his own past) but he hasn't been doing anything anymore. Last post is some rant about a label (in typical pity punk/noise fashion throwing it all on the internet) that doesn't have anything to do with the podcast itself. Why did he stop?

[WCN]

tried to check that crumer episode, but yt asks for my id or credit card.... what is this? is the video posted somewhere else alternatively?

if anyone has any more tips.

Not really a tip on video hosting but would it be possible to create a e-mail newsletter or sorts with podcast updates so I don't have to watch the topic here on updates? Would like to see that but maybe I'm asking too much.

There's an email list: Sign up for our mailing list to keep in touch: http://eepurl.com/gqDB9P
You can also subscribe to the YouTube channel, or simply know that it airs every Monday at 18:00 CET

[HateSermon]

Vimeo is a good idea.

But yeah its always a surprise what flies on YT and what does not. For instance, Human Porridge is on their. But an album cover gets you taken down? Interesting...

Vimeo is only paid right? I don't think there is a 'free' tier anymore on Vimeo (or maybe only a very limited one). Guess if some of us chime in it's pretty doable but also Vimeo doesn't really have a discovery function like Youtube has (if that work for Noise or not is another discussion on its own).

Ah, good point. It might not be free? I use my work's account so I guess I've never had to consider paying for it.

[-NRRRRK-]

Any idea what happened to him?

If I remember correctly he posted in one of his instagram stories that the podcast is done and at this point he wasn't able to do more episodes. Since instagram stories disappear over time I could not double check it, but maybe someone else saw it too and can confirm.

[FreakAnimalFinland]

Harsh Truths

Any idea what happened to him? Really liked his stuff (although maybe a little to much talk about himself and his own past) but he hasn't been doing anything anymore. Last post is some rant about a label (in typical pity punk/noise fashion throwing it all on the internet) that doesn't have anything to do with the podcast itself. Why did he stop?

First he announced it will be hiatus, due covid situation did not allow face to face meetings for more intimate interviews. I think this situation has not really changed in USA? I was told he had mentioned somewhere that podcast is now officially over, due there is no really need now that there are other active podcasts. I would assume there is space for HT too.
I think it would be good for anyone to have something besides IG if they want to spread news. Especially odd way these days is to communicate via IG stories, visible for few hours and then disappear.

But back to on-topic!

New episode with Mack Chami of KOUFAR, TERROR CELL UNIT and GOD IS WAR out now!

https://youtu.be/YuSJdtaEqBA
https://youtu.be/YuSJdtaEqBA
https://youtu.be/YuSJdtaEqBA

I am still half way though. Just enough to catch the shout-out for SI forum ;) haha. Thanks! Will continue the rest later today.
So far been good interview and charming gentleman, easygoing and good talking.

I find it a bit odd, that there would be so strong ethos of being "accepted"? As a example, when Finn noise scene started, NOBODY was interested. Exclude like Eric Wood and bunch of others. There was no chance that you could be somehow "in" what was happening in Japanese noise, or what European heavy electronics, USA harsh noise crunch. And so on. Of course, I could co-operate with people in every scene, no problem, but it appears as Bizarre Uproar or Grunt would be too noise for "industrial crowd" too industrial for harsh noise crowd, too handmade formless smashing to be "power electronics". Too unfocused and whatever-goes DIY attitude for noble heavy electronics fans. Too sleazy for the nice noise scene. Not looking or sounding almost anything at particular.

And there was no idea that there is "Finnish noise". Probably nobody would consciously decide to check out something like that. It took more than decade to really create something, and I don't think anyone ever had idea that we should somehow be noticed or accepted by guys who were doing their thing decade before. For big part, it is not the same thing that is being done. Fits under umbrella of hard experimental noise and paths cross-over sometimes more, sometimes less, but I am fully aware, you can not "sell idea" of Finn noise being interesting and good, for the stubborn 60 year old Whitehouse & NWW fanboys. It just ain't happening, as what is being done here, is different thing and different time.

I'm sure mr. Koufar can see it, and realize there ain't much to be gained in noise, other than following instinct in middle of getting criticized by those slightly other side/era of noise, hehe. Sometimes criticism is good, and learning to cope it with even better.

One of my fond memories is getting letter from William Bennet who did not like my review of Quality time. It's great album now, but at the time not so much. It is certainly downhill from all albums before that. Anyways, as a teenage noisefan, just casually expressing opinion on fanzine printed few hundred copies and after few months, letter with Susan Lawly return address appears to letter box, where annoyed Bennet explains how they are "light years ahead of all things happening in noise". Sure. I can appreciate this. Same way I do appreciate Koufar being strongly confident of his own excellency. Minority Report 2 tape is indeed vastly improved from older stuff, so anyone who wants to check Koufar after this interview, I'd recommend to start from that. Can be found from bandcamp.

[RURAL RESISTANCE]

The Koufar guy seems to have a very good taste in hiphop. He listed Boldy James x Alchemist, Conway and Roc Marciano among others.

[Potier]

I do prefer that noise interviews are at least somehow connected to noise making. For example, Personal Best, nice magazine sure, but as fresh and unexpected would be to pick up noise guy to discuss.. well lets say V8 motors or ice-coffee, I just.... can't ;)  I may be interested on favorite coffee of W. Herzog, but I don't need full story of noisemakers hobbies that seem to have no connection to their sound. 

For example, Harsh Truths, when it was often expressed that it wanted to go "deeper", I just do not get what is "deeper" about half an hour talk of what your father had as job and what kind of school you went into and if you played soccer as a kid. No no, its not "deep". That's almost always  the same mundane surface level that we all have, and gets interesting only after that is brushed away and we see what other things you are, than just the regular Joe like anyone else.

Procedural interviews, sure, but noise interviews where its more about noise, is nice.

Interesting take/interesting preferences and I can see how one wants to know all about a person's noise-related activities, maybe even their gear or their recording approach or their live performances. I guess Noisextra covers that ground on their Gear-Patreon-Episodes that I have never checked out. Generally, however, I feel that there is way too much cookie cutter style interviewing going around. In fact, I would be much more interested in getting to know the person behind the noise. I can pick up your tape or CD or vinyl to get into your noise. For example: I would imagine Lasse Marhaug having a lot to say about tea ceremonies if and when asked about it. A lot of folks can illustrate a direct connection between their other interests/hobbies and even their work life and their noise activities. At this point, I would take questions about someone's favorite food or recipe or car or bicycle any day over another "How did you get into noise?". Ask about where they grew up and how it shaped them - why not? The general template for these interviews seems to be very similar and therefore pretty tired for many zines I've read and for many interviews I have listened to. As for Harsh Truths, I feel that Roman was trying very hard to find the root of noise and sound art in a person's life and I truly appreciated that every time it was done. How we are raised and how we grow up very much informs our values, convictions and what we strive for not only in life but also in art. When an interviewer shares personal stories, like in Harsh Truths, it serves the purpose of building a relationship with someone on the spot and finding commonalities and jumping off points for other talk. I can see why he would end/put on hold the pod based on concerns around not being able to meet with people face to face - it is crucial to his process because I feel he wanted to connect on a different level. As for WCN Pod, I very much like what I have seen and heard so far and one can clearly see and hear Oskar's utter enthusiasm when it comes to sharing this somewhat awkward yet in these times so familiar online video chat space with people that have an impact in noise. It is great to see people's faces as they chat and even if not all of the questions cover the ground I would like to hear covered, I have to congratulate WCN Pod on this great contribution. As for everything else, we have the tendency to quickly start taking things for granted and it is really only a handful of people here and there that make efforts like this to advance the cause of noise and its networks. After all, as long as I am not in a position to execute, document and publish the interviews I would like to hear and see, there really should be nothing to complain about at all. I cannot even begin to imagine the amount of time spent to put this together on a weekly basis and I am deeply appreciative of this new and exciting project. It helps to lift noise out of the caves it has been living in and what could be wrong with that? The Koufar-Interview is a great example of showcasing that there are intersections between noise and other genres and approaches to sound that go beyond our much loved tape murk and metal bashing, contact mic scraping, death metal pedal worshipping realm of noise. Is it for nerds? Sure. I'm all for that.

[Zeno Marx]

For example: I would imagine Lasse Marhaug having a lot to say about tea ceremonies if and when asked about it. A lot of folks can illustrate a direct connection between their other interests/hobbies and even their work life and their noise activities. At this point, I would take questions about someone's favorite food or recipe or car or bicycle any day over another "How did you get into noise?". Ask about where they grew up and how it shaped them - why not?

+1

[HONOR_IS_KING!]

Big thanks to Oskar for having me and I'm glad everyone's been enjoying the episode so far!

I find it a bit odd, that there would be so strong ethos of being "accepted"?

Honestly for me not to bring up the Special Interests forum would be wrong. I remember signing on board early on and being excited to have found a place online where music of this nature could be discussed!

But as for being accepted, I think what I really meant was "recognition/respect" within the underground. Sounds silly to a lot but as a young kid I always wanted to be a musician and do music on the biggest level possible. I looked at folks like Mike Dando, Klaus and GO, Whitehouse, and even you Mikko and I wanted to have that same respect/recognition that I saw given to you and them. I wanted to move people because I enjoyed this medium and love it so much. Still want to go higher and higher still. Just like many things in life, we choose the level at which we want to participate at. Some only make compilation tracks, some only ever do one full length. Some headline festivals, others only play locally. I always and still do want to participate at the highest level.

And yes at the end of the day, there isn't a whole lot to be gained via noise. Also depending on project and its subject matter/reputation it can be even more difficult to be live and "active.".  A big reason why I decided to move GIW into a more musical direction and last year GIW joined the Heavy Talent roster (booking agency). I also got offered to have my other projects join which I happily accepted except for Koufar. I feel ever since the controversy/witch hunt/attempted cancellation, Koufar will never be able to escape the underground. In fact its where it belongs. Plain and simple. Having to confront ignorant people in real life over online bullshit crusades against me and Sam isn't fun or enjoyable. Would much rather perform and engage with those that understand and respect what is happening.

[Strangecross]

I agree with Mr. Toepfer,
The best interviews are not about noise.
Better to hear Roemer talk about Trannies, or Dave Phillips about recipes...or whatever smell & quim has to say.

[FreakAnimalFinland]

All the criticism said, I'm of course all in favor for mentioned things. I think I am only missing latest or two Personal Best. It is certainly better than they do(or did) exists, than that would have not.

The thing is, that I have grown pretty damn tired of things like we see in some Finnish music press for example. Cooking section. Metal heads sharing recipes. Or gaming special. All sorts of metal celebrities talking about computer games. Being irritated of that, I contacted magazine editor to tell that in Special Interests there used to be couple times "recommended book". Book that has importance for the one who read it, perhaps for themes/lyrics of particular release. That could feel 100% relevant to me. They actually liked the idea, and in next.. was it 5 issues, you had anything from Nightwish to Napalm Death sharing stories of their reading habits and some relations to art they make.

In Personal Best, there was Jaakko Vanhala talking about tea enthusiasm. Not a bad article, and also in a way very much Vanhala approach, yet nevertheless, barely connection to art he is making. Not in a way that it would feel relevant. Macronympha talking about trannies would be 100% relevant in context what they do. So would be veganism of Dave Phillips. Or any odd bizarro stories S&Q may come up. Those feel integral to their art. It is not just talking about what job your sister had, but something related to personality of artists AND the works put out under this name.

So was the stories in Koufar piece. Whatever was "non-noise", it was still somewhat explanatory for what the project is. Even talking of moving from place to another, there was always relevancy towards what it meant for project.

Or times when for example John Wiese has been talking about his typeface design activities or art school (not on HT and noisextra). That is 100% relevant, when his work is often packages in his own design, with typeface that he designed for it. When saying I prefer interview to focus on art people do, this is what I mean. I don't mean endlessly talking of gear of studio work. Most of noise is vastly more. Depth for interview, I hope depth into what is relevant for the art. Not mundane lives.

[Strangecross]

That's right,
yet many aspects of noise making can also be a mundane life

[FreakAnimalFinland]

As example, me taking dump in toilet would be mundane (usually), but Tisbor doing it, that art. Crucial for his noise, hah...

[WCN]

Is noise really not enough?

I find it strange that in a genre/subculture of music so specific and obscure, with such fanaticism and so little documentation or journalism, that people are more interested in hearing an artist talk about food or sex or cars than about what they think about noise, how and why they do it, etc. Aren't there enough outlets that cover such topics? My aim is to provide a full picture of the artist and their work. Of course those things are often a part of that picture and well worth addressing or even exploring, but I know the thought of a great artist like Jaako Vanhalla, who I would really like to know a lot more about, doing an interview where he only talks about tea is irritating to me. No disrespect to Lasse or Personal Best zine (I love his work and appreciate the zine) but this approach smacks of boredom and a flippant attitude to the art-form that is noise.

As for my own approach with the podcast, I'm learning on the job, but definitely improving as I go. The time span was less than 2 weeks from thinking: "someone ought to do a video podcast interviewing noise artists" to saying: "I guess I'm going to be the one to do it," and now here we are. I don't have any experience with journalism or interviews, and I don't pride myself for being a particularly charismatic conversationalist or great intellectual. I'm asking the questions that I as an artist and person deeply involved and obsessed with noise want to know. I am not interested in being one of these "podcast-podcasts" where it's all about 2 free thinkers riffing off each other and providing a mind-blowing conversation about "whatever" to the listener. I do want to go DEEPER and learn more about the individual as an artist, but don't want to spend disproportionate amounts of time talking about their childhood or day jobs, unless those turn out to be particularly relevant to their work. Sometimes they are, most of the time they're not. It's also very much about shop-talk for me, and not necessarily providing the most accessibly entertaining conversation to the casual noise fan. The "procedural interview" is a skeleton I've been using to make sure I stay focused and don't forget to cover important ground, but it's definitely something I'm always trying to improve upon. Still, I think most of my guests have done a great job taking my questions as a starting point and running with it. I'm trying to get better at running along with them. The video chat format isn't the most conducive to free flowing conversation, but that's a limitation I deal  with. I have already planned to have certain guests back for a second round to talk more in depth about specific things, so that will indeed happen. I've also started to do private solo episodes for patreon supporters, partially based on questions asked/topics from supporters, which already seems like it will be quite interesting.

I do genuinely dream of this podcast being something a wider variety of people will find engaging and valuable, and will continue to strive to make it that, but only on my terms. I am not at all interested in pandering to people who are "over" noise, who think noise is over, who use phrases like "one of the few noise artists who actually..." or "finally something fresh..." I'm not going to focus on spicy but irrelevant stories in order to make it interesting to more people. I would be extremely disappointed if someone sat down with Joe Roemer for 2 hours and only wanted to talk about "fucking trannies" and not his thoughts on all of the other interesting stuff he has been involved with.

That said, I am sincerely interested in hearing more from people about what kinds of questions they are interested in hearing from artists and honing my interview skills. Please do reach out.

[Bloated Slutbag]

Well no. The quote was fans of the artist.

Vs harsh noise in general.

I think that's a pretty big hair to split and unfortunately I am currently smartphoned into this halfarsed response.

Will flesh out tomorrow ish.

Now that I have the opportunity to flesh things out, I'm not sure of the need. There were, I think, for me, two lines of argument.

The second line could conditionally accept that a podcast of this stripe would appeal primarily to "fans of the artist". In a soundworld of this non-size it is highly probable that fans of harsh noise will dig a fair percentage of the artists being interviewed (another running theme in the podcast). Plus I'm supremely biased because you can certainly color me among fans of the artist(s). Except for you, yes you. Though I must say I'd had little inkling as to Mr Griggs' role in the whole shebang and I love the way he seemed a bit blindsided by his own somewhat staged "outing". That's art right there.

The above connects to the first line which argues that the earlier-said critic does not quite seem to grasp, nor particularly care to grasp, everything that the podcast is bringing. The requisite degree of attention I'd demand from a critic whose words I'm willing to read simply does not appear to be there. I guess you could say I'd be cool with that if sir critic had prefaced his critique with a FdW-esque "all noise these days is a pile of derivative crap". He didn't so no love, sorry.

But to flesh out line the first a bit more (and digress a whole hellava lot more). It kind of hit home cause I'm just as fucking guilty. (Yup, no love for me either, it seems. Nothing like a bit of healthy self-loathing to get the noise juices pumping.) Pardon me, losing my train of thought.

Repeat: I'm just as FUCKING guilty. Of bandcamp-provoked limited attention-span-itus. Take the latest WCN batch. Fully some of the best shit in 2022, full stop. (2021? Well 2022 for me, okay.) Then take KM Toepfer. A project that I hadn't previously fucked with. Reason being, just as came up in an earlier episode: flippantly flipping through one or two tracks, not really giving them the time or attention to grab. (Not sure "grab" is the right verb for a project clearly steeped in clinically precise get-thy-filthy-mitts-off-me, I digress). Plus not really running into any proper write-ups; I'm a write-ups sorta listener. So why start fucking, why now? Well, cause WCN says so. That's almost, but actually not quite, enough. I'm not really a labels sorta listener. But on the say so, perhaps one whole additional minute of undivided attention was granted. That's right, sixty or seventy seconds of bonus concentrated listening. And sold.

Sorry seemed to go off more than intended and sort of inserted part of a half-formed kernel of a review. Hope I've sufficiently muddied any hope of making my case. Now back to your regularly scheduled podcast.

Side comment: +1 for WCN playing the straight man. In fact, it's demonstrably demanded. Whether intended or not. Let the artist say as much (or as little) as they may be inclined.


edit

taking dump in toilet would be mundane (usually), but Tisbor doing it, that art.

Say what you will about Tisbor, but the man knows his shit.