SI website updates / Essays on noise!

[FreakAnimalFinland]

Depending how you want to to stretch definition of noise/industrial, but lets say Dave Phillips "sixth mass extinction" observing the current issues at hand.

LP comes with newspaper format insert with plenty of things. Info of B-side says:

radical hope - live action (studio version):
this incarnation of live action was initiated in january 2016 and has developed since. triggered by a broken heart, it's a critical analysis of subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning. has since morphed into a piece about the relationship of the human as a species with planet earth as a cherished entity, such as a loved one, a friend, a partner, a companion, a parent or a family member, a home or an origin.

I don't think approach of original industrial has changed or became obsolete. It would be just matter of seeing what is topic/theme what is the substance. What would be the substance that is no longer strong or at least has potential - I doubt there is such thing. On superficial level we may no longer relate to some details that is used. Characters we don't know, history that we are not aware of, references we no longer really understand, but the actual substance that is beyond that level, remains as strong as ever.

There very neat insight of trends in contemporary noise found on S&W forum:
http://screamandwrithe.com/forum/viewtopic.php?t=343
3rd message on topic buy apneicvoid finds very nicely the contemporary trends. Like many say, top-3 fits more widely with art, but also to society and overall dialogue very well. But perhaps the the core of analysis is what of those categories would be now trending, haha.

Lets say, we have fairly abundant conclusions, that Interracial Sex, Himukalt or Koufar would be the strong new and fresh things out there. This can be true, I do not object that. Each produced growingly better recordings and are recognized for them. But there are countless artists doing great recordings. Looking why it would be so, could be explained, besides good noise, that there is notion of personal. Most advocate people who glorify mentioned project, appear to do it based on category how personal and "real" is it. Socio-Political category being interesting thing as well, as it often includes the personal element, do we value content unless the creator is underlined to be talking about first hand experience?

Dave Phillips, it certainly is personal too (subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning), but also expands it to level where we regardless do we know of DP or who, what, when, where he is, work speaks.

I think neat example how there is a bit of personal, bit of sociopolitical, bit of other things, is Cryptofascisme mentioned in other topic(s). French man, who uses topics of french taboos. They are not personal in a way, that he would necessarily talk of himself or his experiences. But they certainly belong to the cultural climate what probably effects a lot of things. There and elsewhere. Even the identity and history of country or people, who prefer to be known as good guys on the right side of history. Those who may not know, Cryptofascisme deals with things like French role in Somalian genocide. French nuclear tests in africa back in 60's. That kind of things what in 2022 may appear as "ancient history", even if they might just be the key to explain some of the current behavior, current attitudes, current social transitions that are happening.  Some could rule them out as topics of generic industrial music, yet there is strength to use them to see something bigger... If one needs something contemporary, one could easily take observation of currently hot topics of extinction of species etc. One can cry about evil japanese killing whales and dolphins or watch video of bloody massacre at the faroe island.. but I would suspect some french man could provide a bit of cold statistic about this matter, hah...  In very much core of industrial noise. To see beyond personal, beyond emotion, and things that often remain hidden below surface. Not to be downsized into personal experience or character of creator. I think that exactly is what usually needs a bit of age/maturity.

In situation where "personal" is glorified as superior to other type of content, emerges some things I find counter productive for noise/industrial. I wrote a piece about it for SI earlier this summer, but it became way too long for online publication, so it has to wait for future paper magazines.

[HONOR_IS_KING!]

For Koufar one note I'd like to make clear. In the projects history only 2-3 releases have deeply personal lyrics, themes within them.

The rest are all about Lebanese history and culture. Sure, I've gotten to experience war, a refugee camp and topics surrounding the world of Lebanon. I mean whats more Industrial then say a society conflicting over their identity like on the "Phoenicianism" release? Whats more PE then discussing/presenting a massacre/genocide ("1(7)8(7)6(7)0") as well as touching on some of the most ugliest infighting from my people (leaders killing their own, as well as their victims families)?

I guess the "realness" factor just comes from the simple reality that the topics all occurred according to history or are actively happening. "Realness" in that sense that my Grandfather has been captured on film numerous times shaking hands, giving kisses (like the italians kissing on the cheek) with Bachir Gemayel and his father Pierre who both are mentioned extensively throughout the discography and the collaboration with SHIFT being wholly dedicated to Pierre Gemayel.

Koufar isn't completely about "the self", never really has been looking back now at the discography and anyone saying that obviously isn't listening, or reading into things at all. Has only been a cog in the rest of the machine that is Koufar.

Also, been wanting me to bring up this point for sometimes but the fact is that SLOGUN is a project that is all those things you think detrimental to Industrial/PE, Mikko. A Project that is influenced heavily by his life, the streets, and hip hop culture (particularly graffiti). I still have Jon's performance notes from the final performance and in it Jon specifically writes, "do not look at the audience, make it about yourself," and also my favorite "I exist because of this". A whole lot of "ME" talk. Maybe needs a new thread, but frankly I think SLOGUN is that "real life" shit minus the albums he's done about serial killers. I don't think what SLOGUN has done is do any harm but open the door for others who want to explore that side of PE/Industrial which I think is valid as any other.

[FreakAnimalFinland]

For Koufar one note I'd like to make clear. In the projects history only 2-3 releases have deeply personal lyrics, themes within them.

Link that was given, Koufar was indeed included in the 2nd category, "Socio-political" with comment of often overlaps with 'personal' but with greater scope. I would think that is fair assessment of what lyrics are? Even when being about Lebasene history and culture, it is personal compared to lets say.... Genocide Organ dealing with topic they have picked? Neither is inferior, just different approach, in terms of how it is personal to creator.

I guess the "realness" factor just comes from the simple reality that the topics all occurred according to history or are actively happening. "Realness" in that sense that my Grandfather has been captured on film numerous times shaking hands, giving kisses (like the italians kissing on the cheek) with Bachir Gemayel and his father Pierre who both are mentioned extensively throughout the discography and the collaboration with SHIFT being wholly dedicated to Pierre Gemayel.

The question of realness comes up once in a while, but seems like more often nowadays than before? I consider it trending approach of our times, as mainstream has already reached years ago level where actor sh/could not act something that he/she is not. Visiting the exhibition of youth artists while ago, had 80 artists, and dominating creations were in lines of my eating disorder, my body dysphoria, my mental illness, my medication, my identity, and so on. Like it or not, is kind of irrelevant, if we are just observing what would be currently prevailing or trending categories in art. Or social media. Comics. etc..

Realness factor is interesting in a way, that usually it tends to indicate implying something being more real. This is what I noticed in recent WCN episode where was mentioned that something that occurred in someones family as topic was more real than industrial/power electronics generally having "theme/study".

At certain age, people have usually experienced it all. All sorts of struggles, illness, death of loved ones, alienation from surroundings and so on. Some of it powerful and life altering experienced. Sometimes can be purely biological transformation what happens there. Personal and real. However, there are tons of things that have occurred according to history or are actively happening, and to me it seems quite odd one would need to think its the artist family ties what make something real. As example: Lets say, I would make release about Finnish civil war or incidents related to WWII. How more real it becomes if I would report what my family went through, as opposed to dealing with these historical things from some other perspective? How much should listener know how these things had effect on people related to my bloodline? Regardless of that information, it would be all real, all factual. All having very real and physical effect to who I am, and how society turned out to be and so on.

In some cases I do appreciate the so called "getting your hands dirty" - first hand experience, but this leads to thing where I think we go more demanding area in art. Demand to see beyond what as viewer in current climate dominated by personal is trained to see.

For example: In one hand you may expect "sex noise", to be personal in a way that you deal with what you know. Then people making remarks about lonely teenage virgins. Why? Couldn't it be just perfectly twisted and bizarre to have sex noise from lonely virgins, as it offers different angle to art. What is totally real there, might be realness of frustration, realness to pornographic addition, realness of unrealistic expectations and so on. It could be far more painful and dark, than some healthy report of personal functional sex life, haha...  

Also, been wanting me to bring up this point for sometimes but the fact is that SLOGUN is a project that is all those things you think detrimental to Industrial/PE, Mikko. A Project that is influenced heavily by his life, the streets, and hip hop culture (particularly graffiti). I still have Jon's performance notes from the final performance and in it Jon specifically writes, "do not look at the audience, make it about yourself," and also my favorite "I exist because of this". A whole lot of "ME" talk. Maybe needs a new thread, but frankly I think SLOGUN is that "real life" shit minus the albums he's done about serial killers. I don't think what SLOGUN has done is do any harm but open the door for others who want to explore that side of PE/Industrial which I think is valid as any other.

I don't object "me talk", if the me is interesting. What Slogun deals with often, is things like self loathing, destructive, depressive things. You can approach that from looking mirror or looking out of the window. There are topics that are depicted to small, but expands into bigger thing.
I reject idea that me or underlined personal would be important or more "real" than other approaches in noise. Slogun certainly offered always new angle to power electronics. Nothing really is detrimental to power electronics, if it is fitting. I would guess some projects or artists having content drenched in delusional self importance and other such things could be touching very much same area as serial killers? Depending how you look at it. Not necessarily as interesting, though.
Urban decay of NYC certainly felt almost mythical back in the day, but certainly something where violent howling electronic racket fits perfectly.

[FreakAnimalFinland]

I was just talking with couple persons how it may be a lot of work to do writing online. Most webzines always quit eventually due lack of energy or time to do things. That reminded me, SI www site hasn't had any updates for long time. The plan to do noise essays at least one every month is quick to forget. Thing was that essays written for SI #14 and 15 were originally meant for online. They became too long, and only way to make them work seemed to be paper format.

Perhaps SI gets the monthly writing thing going on. We'll see. I do have bunch of topics in mind. For those interested to read text, here is one new book & noise combo post. Introducing noteworthy art book and some noise:

https://special-interests.net/main/noise-assemblage/

[re:evolution]

I was just talking with couple persons how it may be a lot of work to do writing online. Most webzines always quite eventually due lack of energy or time to do things.

The lack of energy comment is pretty spot on. The Noise Receptor blog for reviews has been running in parallel to the print issues since inception, with the general intent for the regular posting of online reviews to promote the physical print editions.
But after issue no.10 came out a year ago, I found I lacked the energy to continue uploading reviews on a weekly basis. I have since made the decision to stop regularly updating the blog with online reviews due to lack of energy and the fact that the sale and print run of the magazine has remained steady for the last half decade (600 copies each issue).
Reviews will remain in upcoming print issues, but perhaps they will then function in the capacity of providing 'longer lasting promotion', rather that dropping like a stone online around when the release first came out.

[Phenol]

I was just talking with couple persons how it may be a lot of work to do writing online. Most webzines always quite eventually due lack of energy or time to do things.

The lack of energy comment is pretty spot on. The Noise Receptor blog for reviews has been running in parallel to the print issues since inception, with the general intent for the regular posting of online reviews to promote the physical print editions.
But after issue no.10 came out a year ago, I found I lacked the energy to continue uploading reviews on a weekly basis. I have since made the decision to stop regularly updating the blog with online reviews due to lack of energy and the fact that the sale and print run of the magazine has remained steady for the last half decade (600 copies each issue).
Reviews will remain in upcoming print issues, but perhaps they will then function in the capacity of providing 'longer lasting promotion', rather that dropping like a stone online around when the release first came out.

I understand, but I have to say I miss those regular reviews.

[FreakAnimalFinland]

New SI noise writing extends topics also into hardcore punk, underground comics, rubbert fetishism and more!
It touches some topic discussed recently in SI forum, plus perhaps offers some less known details for those who like Bizarre Uproar, Terveet Kädet and related finn underground culture.

https://special-interests.net/main/world-of-rubber-blood/

[DBL]

New SI noise writing extends topics also into hardcore punk, underground comics, rubbert fetishism and more!
It touches some topic discussed recently in SI forum, plus perhaps offers some less known details for those who like Bizarre Uproar, Terveet Kädet and related finn underground culture.

https://special-interests.net/main/world-of-rubber-blood/

"Almost like fan loveletter to artists", well I'd say not even almost, heh! Nothing wrong with that though. I have been aware of Terveet Kädet for ages, but didn't really click with them until a few years after I had already gotten well acquainted with Bizarre Uproar. As I got  into things in this "reverse" order, it was quite funny how the more I kept digging into TK, the more I kept finding TK references in BU's titles, artworks, lyrics... Pretty much everywhere. It is right there for everyone to see, but both Läjä and Markkula still have very much their own things and approaches going on despite seemingly having very similar interests.

Looking from the outside it is quite astouding how calmly these people approach their creations that, for others, are worth... well, public love letters at least! Like how Markkula had sent out even his own copies of many BU (and F&V) releases. I think I read somewhere that at some point Läjä had gone to check on his paintings (such as the one on the cover of the first Vihanmiehet album) in some storage, scraped some mold off them, and left them there hidden from sight. It makes my skull creak to think how stuff like that would be left to collect dust or goddamn mold in some storage, but of course for the makers they might be just one thing among many of their creations, and possibly one they're already sick of. As a related note I would happily see a more extensive reissue of Läjä's comics than the X book from years ago, but I'm not sure who'd be up to that task (and if the man himself has any interest in having that happen).

Similar to BU, Läjä is also not too shy on recycling/re-employing some of his old stuff. At least some art from X has been recycled to be used for Kuolema (Finnish HC) on their artworks and shirts, like the four standing figures on Kuolema/RB split art are directly taken from one X cover, but now come with additional zombies in the bottom. I recall him mentioning about starting to make a coming where zombies take over the city of Tornio, but as it hasn't been completed (as far as I know) I wonder if some of that has been repurposed to be used for the zombie artworks too... Who knows. I know these are quite minor things and I'm not trying to point them out as flaws, but similar to TK's enduring lyrical style and themes, this could be seen as one more similar thing between the two artists, or yet one aspect to how they keep repurposing and reusing the same core ideas in new ways. Repetition that's there for some other use than to hide lack of new ideas.

Läjä has made a lot of artworks for the bands Kuolema and The Carnival, both of which could say to share some of the same passions and attitude. No rubber/latex stuff, but similar honesty to one's own passions and disregard for scene rules, and a taste for bleak things and death. But this links to what was mentioned in the article, that Äijälä is such a long-standing figure who's been involved in a lot of things that if you're just curious about any deeper or weirder recess of the Finnish underground, it's likely you've come across something by (or closely related to) him but might not have noticed it. Might be the comics in some old (or fairly new) underground magazine, lyrics he's made some other band (like Apulanta on that one 7"), artworks, obscure electronic works... all sorts of stuff. And others making covers or tributes of something he's been involved in, of course. Personally I first got heavily into some TK cover songs performed by other bands (Loinen's Musta Jumala is a big reason for making the track very important for me) and Kuolema's artworks (particularly the first 7") before getting into the actual original works.

Obviously I am aware how people would be horrified by both artists in this time and age, but that doesn't make their attitude and honesty in following their own passions and interests any less inspirational and impressive for me.

[Andrew McIntosh]

Author quotes infamous Finnish theatre figure, director and controversialist Jouko Turkka, who stated that children are not really creative. Child tests and tries whatever because his/hers nature is still sort of biologically and mechanically directed to do so. There is more curiosity, than creativity. He argues creativity is quality of adult human, based on former knowledge and processing that knowledge further – in creative ways.

Not sure I agree with that, although there may be an issue with definitions in different languages. But taking this at face value, creativity is very simply the act of making something aesthetic, which children are more prone to do than adults. The level of knowledge is not really the determinant, but that a person, child or adult, is taking what they do know and applying it.

If there is a difference between children and adults re creativity, it's that adults are often more socially inhibited to be creative, whereas we allow children to pain, draw, sing, dance, etc because we don't extend the same social/cultural inhibitions.

And culture plays a big part in this too, so it depends on the culture.

[Balor/SS1535]

I was just talking with couple persons how it may be a lot of work to do writing online. Most webzines always quit eventually due lack of energy or time to do things. That reminded me, SI www site hasn't had any updates for long time. The plan to do noise essays at least one every month is quick to forget. Thing was that essays written for SI #14 and 15 were originally meant for online. They became too long, and only way to make them work seemed to be paper format.

Perhaps SI gets the monthly writing thing going on. We'll see. I do have bunch of topics in mind. For those interested to read text, here is one new book & noise combo post. Introducing noteworthy art book and some noise:

https://special-interests.net/main/noise-assemblage/

It's been a bit since this was posted, but I only just read it now.  Very interesting (especially the Harri artworks)!

One aspect of a lot of assemblage art that I don't think I see you mentioning (and it leaves me wondering about) is appropriation of other's images, sounds, art, etc.  In visual art, I think of people like Cornell including prints of other artist's works in his shadow boxes.  In noise, I think of one noise maker creating sounds from other people's released noise---where the sound is just taken/used, perhaps without the knowledge/content of the original artist (as opposed to collaboration).  I think Emil Beaulieau did this?  Or even The Gerogerigegege's "bootlegs" of his own past releases or creating albums composed entirely of music taken from Cambodian (so say the rumors) pop songs.  Perhaps Merzbow's constant self-quoting as well.

It makes me think now also of this project: https://artistsbookreviews.com/2022/12/29/copy-no-1/

I guess a final question that this leads to for me: What is plagiarism/copying in noise?

[Andrew McIntosh]

In noise, I think of one noise maker creating sounds from other people's released noise---where the sound is just taken/used, perhaps without the knowledge/content of the original artist (as opposed to collaboration).

I remember reading on this forum that Con-Dom has done this as well - the example of using something from Odal was given.

I guess a final question that this leads to for me: What is plagiarism/copying in noise?

This is a good question. Maybe one to start a thread with?

[FreakAnimalFinland]

I recall that there would be such topic, but whatever search I do, can't find it. It is interesting topic, as there are countless examples, where someone uses other people's noise. This not being even some clueless plagiarist, but actually some of the noises most legendary names.

Such as, Macronympha being infamous for using tons of other peoples noise. It doesn't even happen in ways that they would have always asked permission, just used something if they felt it useful. I must have mentioned sending Grunt debut CD album (Perfect World) to Roemer and he sent me compliments about some oscillations on couple of tracks, mentioning he took them for the next Macronympha tape.. haha. Can't remember what tape that was. Not sure do I have it even. This is back in the 90's.

Emil Beaulieau is absolutely clearest example, that big part of his noise is playing other people noise records and making stuff from that. I recall story of album such a Moonlight in Vermont, and story goes Jason Lescalleet thinking the album is like.... mostly his stuff, uncredited. Emil just playing his vinyl in his ways.

Con-Dom rarely "plays noise". If ever. I recall artists saying last time he actually played something in Con-Dom, was late 80's when at one session he taped one key of organ down to create static tone for one track. Mostly it is source tapes. Conceptual sounds pulled from variety of sources, I guess occasional own recording, but many times in later album, there is credits where "acknowledgements due to: " list includes noise makers whos sound had been used. I guess often those are requested contributors? In some cases, like All In Good Faith, release is like half loops or tracks pulled from ODAL tape from 1987, and no credits in cover for source. Most of 90's releases always lists the sources who submitted the sounds. I don't know if latest album, acknowledging Atrax Morgue, was something Con-Dom had been given by artists for such purpose. Might be just using morbid synth tones due conceptual reasons. Entire work of Con-Dom is like puzzle, collage of reference to all types of arts, including lyrics, sounds, etc. Putting things together, rather than "playing songs". It is quite different from copycats.

BLOD - the harsh noise Blod of Sweden, I guess his works was often Japanese noise comp blasted via distortion pedals? Still seen perfectly legit to be 3xLP release worth item, not plagiarism.. heh

I recall BDN also got "caught" for making song using pretty much just Monte Cazazza track and adding some bassy hum on it?

or Merzbow Batztoutai With Material Gadgets, liner notes saying "Fake electro acoustic music dedicated to GRM/INA, WERGO, DEUTSCHE GRAMMOPHON, PHILLIPS & ERATO recording artists.".. and wasn't Masami basically just pulling sources from bunch of artists of those labels.. and making one of worshipped landmarks of genre with... "stolen sounds"?


So... in short, I guess, using other peoples sounds, there are many ways to do it. I personally don't do it almost ever, since I simply happen to like doing noise, and picking up someone elses noise wouldn't be as satisfying as making it myself. Out of countless releases, there are couple loops that were pulled out of someones release. (As example, I recall it was G-Hörsturz 7" having press defect and in middle of side having locking groove.. and using that before had any means of doing "loops". Song being this one: https://www.youtube.com/watch?v=jcJbAoraO_4 )

When talking of copycats and plagiarism, I suppose instead of using sounds, perhaps it is less about that, and plagiarism appears in ways of "I'm making HWN like The Rita, with similar artwork like The Rita", "I am making filthy & violent noise like BU, with artwork that looks as it was designed by F&V", "our harsh noise duo will be like cover band of Incapacitants, just making it more like generic US harsh noise"... Perhaps all self made, but with clear intent to replicate something what has been done. This is quite different mentality from stuff like Con-Dom or Emil Beaulieau, who would certainly use other peoples sound, but they go through transformation to become their own work.

[FreakAnimalFinland]

Live report:

https://special-interests.net/main/harsh-frequencies-over-limburg-ii/

[FreakAnimalFinland]

There is currently plan to make series of posts on SI website, that blur the line of review and interview. We see discussions about lack of reviews, lack of communication and so on. While paper zine moves slower and with slightly different intentions, there is now plan to use possibilities of website more efficiently. Different types of shorter articles/reviews/interviews will be posted semi-regularly for a while to see how it goes.

Online now: YKSI (Finnish psychedelic harsh noise)

https://special-interests.net/main/yksi-cultural-slavery/

[FreakAnimalFinland]

there was week ago: https://special-interests.net/main/melun-maa-land-of-noise/


New piece online now! Includes review + interesting interview with Zalhietzli focusing on the CD :
https://special-interests.net/main/zalhietzli-etreinte/