NOISE RELATED RANDOM TALK TOPIC

[storage locker suicide]

so a copy of Snakes And Ladders will join my Government Alpha collection very soon, hopefully the mailman doesn't kick it to my mailbox.

The way those old Xerxes tapes were designed always look so great on the shelf.  Maybe my favorite label sticker design as well.  I recently scored a copy of Erratic, which is another old gem from Yoshida.  Worth checking out if you can find an old copy around.

i really love those Xerxes tapes, the packaging in directly in the center of normal and strange. i think this is my first from the label, but i am really hoping to get more in my possession over time.

[storage locker suicide]

I hope i got in the right topic. So, I moved to germany and live here for 2 years already. And I am absolutely surprised that the amount of the noise events is miserable. While in Finland you have so much opportunities to go to the live shows. Any idea why that? Or maybe I am missing something...

Not quite sure why noise got so popular in the past 5 years. Back when 100k was starting out, noise shows were still few and far between. Naturally there's been an active scene here since the early 2000s, spearheaded by Mikko so it was a fertile ground for new artists and gig promoters but still, it is quite extraordinary that we're seeing so many high quality projects, multiple shows per year (some with 100 or more people in the audience) and everyone being quite friendly with each other.

There was recent WCN episode where Oskar was saying that its good to be there as Berlin is such a central hub and everybody comes there and so much is happening. I suppose all true, if you look bigger picture, world of art in general. As for noise, I would be certainly curious about international noise shows. As simple reason as think where to go merely on "holiday". Yet, if there would be even moderately interesting noise gig to attend to, it would be something. Berlin is exactly one of those places. Been in Berlin several times, but to go again, feels like there should be reason why to be there. If just hanging out checking what's up, then I can do that in driving distance. Estonia, Latvia or something. So would be very curious that if Berlin really has vivid and active NOISE, or is it just central hum in larger perspective of european art.

The other topic, Finn noise live scene. I don't know if it wise to talk in public about "we should do" -type of topics or not.. but I guess I do have pretty good CV on field of actually completing some tasks. Anyways, at one point, we were talking about this phenomena of Finnish noise shows. When and by who they were done. When it started to happen. Most of all, what the hell actually has happened.

Thing is, that back in the day, before social media, there was mailinglists, zines and flyers, but almost nobody had cameras of video cameras. Very little documentation was done from some of the shows. Because flyers and posters disappeared, zines with gig reports where published fairly rarely, all old forums are taken down and popularity of facebook really hit here quite late? So there is big gap of missing live-noise history that very few really knows or remembers? It was really even kind of surprise, since I was pretty sure that popularity of noise shows really started few years ago, but when you actually start listing noise shows, everything you remember, list starts to become pretty impressive even 20 years ago!

So that's what we did. Three guys from 3 different cities, who were there at the time, playing shows, visiting shows and started send emails back and forth, adding memorable gigs to each year, based on what we can remember, what info can be found from flyers, live releases and so fort. I proposed mr. Noisecast, what if there would be episode recorded for Noisecast (in Finnish, though) that is kind of "memories from shows". Perhaps starting from 1998 and proceeding till 2018. From that time onwards, there is plenty of information found even on this forum.

It is not meant to be "all inclusive, definite history", just based on great and memorable things. Nodding towards the people who made things happen, who sometimes got little credit for it. Saying I was spearheading the scene, is most of all that was visible publisher, distributors and "promoter" of all good things in the underground art (haha..), but what really comes down to actually organizing shows, my input has been pretty small and the actual people who organized vastly more gets never mentioned. Even decade of putting shows at least annual basis never gets credit. Or there is odd prejudice is scene dismissing something out from the "history". Depending on perspective, some could rule out performance scene LaBas or Laalaalaa kind of experimental noise things or try to convince all that Obscurex kontti did was some sort of nazinoise and so on. To be discussed by people who actually were there, could be interesting.
This was the point for episode. Of course it would be about our biased and personal experiences, but necessity to display how late 90's may have been slow start, but already for 20 years ago, the massive flood of shows started and doesnt show signs of ending anytime soon? And it was as broad in a sense of "style" like it is today. Even if it would shrink 50%, wouldn't really matter? 

i'm really curious in seeing those aforementioned zines, i think it would be cool to have some archives on the states of the scenes at those times.

[MT]

NOISECAST #27

Third part of the Grunt interview. On this episode we continue where we left off last time, and continue our talks from Spiritual Eugenics forward. Discussion flows same flows as previously, bigger pictures of albums are painted, and interesting back stories come up. From Estonian memorials to Finnish medical world. In the end of the episode there is an excellent unreleased Grunt track "Cold Cleans Up". A live version can be heard on Vieraat Aivot CD but this studio version was done for a compilation that never came out. Noisecast is proud to present this for the first time.

https://youtu.be/W_16D0EpcUU

Spotify and Youtube.

[Minus1]

I'll spend my next 32 mornings with this:

https://www.soundohm.com/product/denis-dufour-bundle-32cd

Is it Noise? I dunno. Maybe? Perhaps not? "Acousmatic" might not qualify.

Am I the first to throw Dufour into this forum? The Dude makes fascinating works. Check some out in the link above.

I often like AM sessions for more "experimental" type things.

(The PM sessions is mostly for "unquestionable" Noise.) 😂

[AKTI Records]

New/substack/hub for experimental/electronic/noise etc. called Monk's Hood. First reviews readable at our substack (Anne Gillis, Sean McCann, Anthony Moore etc.)



Hub: https://docs.google.com/document/d/1GD-dk9N_Wo6tMu6iI4DjIpPP-mIbbxpbSTXHZoJ7hDE/edit?usp=drivesdk

Substack: https://monkshood.substack.com/p/spring-dispatch-26?fbclid=IwRlRTSAQbbZBleHRuA2FlbQIxMQBzcnRjBmFwcF9pZAo2NjI4NTY4Mzc5AAEej92X1dlfcB8cjjpnhzEVrW62VfXnf4W9toUGf4uEiFSWeZHio92yWQ27N6I_aem_JBkxui_8459t7RGdmwtw_A

On the 8th of October 2025, London-based record shop World of Echo hosted a festival at Walthamstow's Trade Hall, inviting 13 acts of contemporary music from all over the world to play. There were participants from Berlin, New York, Christchurch, New Zealand, and Pori, Finland, respectively.

Well, those of you who know me and my background know I was there to perform, so I headed, as the responsible teacher I am, to London one day before the festival. The plan was to meet up with a pal of mine, Sterling MacKinnon, and go about town to catch a Sublime Frequencies label night at Cafe Oto, where I had just over a month earlier visited to play a show.

I had first gotten in contact with Sterling a couple of years back thanks to his insightful Slow Doses newsletter (that is now turning into a joint adventure of us two in the form of Monk's Hood), which covered much of the same grassroots underground I was interested in and trying to be fertile within. We had traded some records before, and I asked if he was up for a hang, as I had an extra day in a city that felt chaotic and messy for a small-town Finnish boy.

As one would expect, Sterling was one of the most upstanding characters I've met, and I felt an immediate connection, both to his way of being and to his thoughts and aesthetics, with all our shared contemporary interests.

The communist I am, I had been dreaming about seizing the means of my artistic production, and as I found out, so had Sterling. This laid the foundation for what is now in front of your eyes: Monk's Hood, a hub for experimental music. We aim to provide a platform for ourselves and other artists to embrace the amateur, to be alongside - in universe - with the Almighty Music.

To stay in connection, to be part of the mycelium map of honest, self-made art. I am most delighted to be a part of this endeavour, providing a longform spotlight to artistic practices we find to be of true virtue and value.

[FreakAnimalFinland]

Makes me think that since there has been a bit of hype about substack platform even in Finland, is there noise & industrial content? I know mr. Lehrer has the blog there, that had some noise and related along other things. But more?

[Balor/SS1535]

Makes me think that since there has been a bit of hype about substack platform even in Finland, is there noise & industrial content? I know mr. Lehrer has the blog there, that had some noise and related along other things. But more?

Philip Best uses it for his AS blog, but I think that looks more like his own writing/commentary rather than a blog "about" industrial/noise.

[AKTI Records]

I find it to be nice platform as its mostly longform & doesn't use the algo. Good for the nerdy stuff, much like these forums. Here's the latest post about J.O Mallander - finnish fluxus artist who has done both works with sound & visual stuff.

https://open.substack.com/pub/monkshood/p/jo-mallander-fluxus-sailor?r=1zycld&utm_medium=ios

[Minus1]

When I got Sissy Spacek with Vortex Campaign CD, "The man and the old sea", I had no idea what to expect. There is very little Vortex Campaign stuff out there. TNB related collaborations are what probably made them "famous", but also bunch of compilation tracks. Most of what exists, is like 83-84, so suddenly when its 2024 and now... Sissy Spacek mail collaboration?! What the hell?! But most of all: GOOD!!!

Sold! 😂

I mean, yeah, I tried to research Vortex Campaign, and I basically hit a brick wall. But bandcamp streams about half this 60min collab, and I'm very intrigued.

[Minus1]

I think SunnO))) is "Noise Related", right?

Self-titled 10th is just around the corner. I enjoy what I've heard pre-release. Look at this tracklist - it's an 80min motherfucker!

1.   XXANN   18:22
2.   Does Anyone Hear Like Venom?   7:30
3.   Butch's Guns   14:12
4.   Mindrolling   18:11
5.   Everett Moses   10:51
6.   Glory Back       10:25

[FiEND]

https://handmaderust.us/products/grudge-distressed-long-sleeve

thank god they already distressed it for us.

[Theodore]

https://handmaderust.us/products/grudge-distressed-long-sleeve

thank god they already distressed it for us.

I may have an explanation why, but day-by-day i am more-and-more convinced : people think that industrial / noise fans are rich people. And you know what is worst ? We think that too for each other, probably.

I wont be surprised if i see Cara Delevingne wearing this.

[Balor/SS1535]

https://handmaderust.us/products/grudge-distressed-long-sleeve

thank god they already distressed it for us.

I may have an explanation why, but day-by-day i am more-and-more convinced : people think that industrial / noise fans are rich people. And you know what is worst ? We think that too for each other, probably.

I wont be surprised if i see Cara Delevingne wearing this.

Well, with the cost of those VOD boxes...

[FreakAnimalFinland]

I am going to rant a bit...

I am not very thrilled about just about all underground cultures being commedified by companies, designers, temu crap pushers, etc. In lines of some "fashion designer" taking couple old hardcore-punk 7" covers and printing it on clothing pretending as "designers". Or classic Black Metal. Or whatever. Now countless series of books about flyers. In a way feels like neat documentation of specific era of the scenes. But in other hand, suddenly you got someone putting out flyer compilation book about every fucking UG genre, seemingly just quick cash grab from nostalgia plagued old men.

This also seems to imply that many new labels are under impression as if its all free for grabs. Not asking anyone. Like amount of bootlegs. I understand and accept "fanclub mentality", where historically important and somehow unusual landmarks will be done. But we see now labels putting out bootlegs of small bands, by guys you could just ask if they're into it. What kind of "fan" doesn't bother to spend 5 mins to check out if members can be reached for permission, but feel just entitled to fart out bunch of things - for sale. Big or small money, doesn't matter, just the mentality.

See UG bands as source of "fashion design", makes me annoyed. However, I don't feel like going into route of bitching about cultural appropriation type of stuff hah, but maybe indeed could be qualified to say our culture is not your costume, haha...

[dimmyjean0]

Recent purchases from Headliner Records,

BASTARD NOISE - A CULTURE OF MONSTERS

MAN IS THE BASTARD - BASTARD NOISE THE LOST MITB SESSIONS

SPLIT CD - BASTARD NOISE / BIZARRE UPROAR

BASTARD NOISE - THE PROGRESSION OF SICKNESS

MAN IS THE BASTARD - ANGER & ENGLISH

I have a couple 7" split's with Bizarre Uproar, Hail to The Finnish Sound Masters, Galactic Penitentiary and a repeated release of a 7" that's a 10". I do set up goals of months to do things. December through February was F&V cassettes, March was F&V UK Division. And now a bit of a shift I consider this Man Is The Bastard/Bastard Noise appreciation month(for me). Might sound silly but seems right for me. Other than my sharing of this, could anyone point me to anymore distribution or label with MITB/BN? headliner Records has a sweet batch of goods I just would like future reference...