Yes, I think BU has gotten noticed in about every format what band of this style can be noticed? Couple webzine interviews and for example Misanthropy #2 zine. Well, it isn't that much, but in scene this small, it's like "everywhere", haha.
I think people like SOTOS could be interesting, BUT I also think that people like sotos, bennett, akita, hiroshige, mundy, moynihan, and so on are the kind of "foundations", what are covered so many times. I think I have talked about it in past, but I find it very strange, that when for example PE/industrial noise people talk about art or literature, they often can come up with just sotos, t.brown, miquel angel, stu mead, etc etc. Like hand-outs of past. Mandatory things, that one needs to check out. And in a way, I do agree, but as genre, to only look back and only "bow down" in front of old masters and old influences seems foolish. I do like for example T.Brown, but there are dozens and dozens more interesting guys on the field. I do like Sotos, but simply sticking on works of sotos, gillis, talk about the short period of time when Akita did bondage related works etc etc. seems like... why? There are endless amount of material out there. If one could offer something exceptional, some kind of new angle to interview or write article about the legends of genre, it would be nice, but do we need for example another article of John Duncan fucking corpse? I know I would buy and read it with pleasure, and I do find it little disturbing to ask myself why? Why again these guys, and why not someone else?
It often looks as some of things merely became part of genre mythology, what is like part of the sermon you go through over and over again. You can't simply talk about some recent incident. Some guy doing noise while pulling out dead cat from formaldehyde, causing extreme outrage in some noise gig in US. Was it 2 years ago? Who was it? Was it just retarded shit or was it more valid performance arts or intelligent move? I don't know. There's nobody talking about it. People just want to re-read of Nitch, Duncan, perhaps nasty old Hijokaidan shows, True Romance sick performances, or perhaps Factrix mechanical corpse robot?
I think one point of magazine could/should be to not keep on dragging exclusively on same artists and follow the blue-print of "noise interests" established in past, but give space for new views, new angles, new artists, sound and visual.
This not meaning that past should be rejected. And that old artists and aesthetic should be forgotten and move on to some totally unrelated hipster indie goof, but I'm confident there are more cults, killers, pornographers, artists, political groups, and so on, of interests, that the "big boys" (haha) introduced us. I believe there are bands, artists, sounds, which are faithful for unspoiled motivations, worth to look at. Even if they always remained in shadow of bigger ones. I believe currently active generations have special interests and sources and even finances to find them.
That's why I think for example "essentials" is interesting feature, when we can see quite large perspective of musical interest. I'm surprised that NOBODY till today have mentioned for example The New Blockaders. Has anyone mentioned Ramleh? I don't recall so. Has there been any releases of Broken Flag even? I did in my listing, which is not published. It was only example sent to other people about format how writing should be contributed. Couple people do mention the mandatory things like NON, Whitehouse, Incapacitants, Merzbow. But most of all, it is strangely wide perspective what makes it interesting. It shows that there are very influential releases & artists that interest and motivate people.
I have been reading this advance version of A.L.A.P. Broken Flag article and it is such a massive piece (I'm talking of one article bigger than issue of Special Interest as a whole). With font size 10, I think it fills 60-80 A4 pages? It simply is something that after that, no more is needed to write about BF. All things are dealt with basically. With some other artists, I have the same feeling. All that can be said, has been said.
Due editorial reasons, I will erase my public comments of potential interview candidates, but I have more interest to cover for example IRON FIST OF THE SUN, SEKTOR 304, ANENZEPHALIA, EX.ORDER/INADE, the swedish "tape noise" scene, Finnish rising new blood, Japanese rising unknown bands (Linekraft, Iconoklast, Noiseuse, Molester, Lust Vessel crew,...), coverage of Japanese lost tapes or records (Niko, Building of Gel, Colloid, Grim, Love & Sincerity, etc..) and I could believe that MAYBE, just maybe, there would be few hundred people who would prefer to read about these, instead of simply about the utmost aknowledged mythical legends what are now covered also by "music press" and "journalist" who wouldn't waste another minute to actually listen to noise what has no publicity merits & "accepted" historical merit. But anyone who actually listens to noise, knows that there are so many jewels hidden there. Stuff like mentioned elsewhere in this topic. Do we need to read more of Masonna from some specialist magazine, if we can read of DMDN? Which would be preferred, Moynihan talking about Coup De Grace or perhaps... hmm.. exposing other old projects White Hand? Victor/im? Boy Dirt Car? and so on...
I am thinking of bringing "industrial classics" section to magazine. For each issue to present 1 or 2 mandatory "classics" or the forgotten jewels. You know, something like F:A.R. first LP in indept look? Or intoduce some old release what new generations probably never get to read about. Authors to do this, can volunteer. If there is something you simply worship so passionately year after year and nobody seems to share this obsession. And nobody ever know the project you talk about. It can be aired out... hah.
