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.
