Idiots

Started by Peterson, November 12, 2014, 11:44:45 AM

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Peterson

http://blogs.miaminewtimes.com/crossfade/2013/12/wolf_eyes_interview_basel_miami_2013.php

"The whole solo culture of it has invented a million people playing by themselves trying to be geniuses."

"The more you know about music and how to play something wrong. A lot of people in experimental music, you tell them to play something wrong, and they can't. it's honing your chops and the discipline of things."

GEWALTMONOPOL

#1
Who cares about what those dull hippies have to say?
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Andrew McIntosh

I think we've had this article posted here before. Or another article in which Olsen says the same things. But in a few years time it'll be "back to our roots" or some such thing.

Hipster noise, the curse of the '00's. A quintillion cdr and tape releases in arbitrary releases like seven or twenty-three. Building a name among too-impressionable, too easily impressed fans. Uni student politics. A "sense of humour". "Weird music". Dude...bro...damn...like...

Long may it rot.
Shikata ga nai.

GEWALTMONOPOL

Quote from: Andrew McIntosh on November 12, 2014, 01:26:20 PM
But in a few years time it'll be "back to our roots" or some such thing.

Aye!

Quote from: Andrew McIntosh on November 12, 2014, 01:26:20 PMHipster noise, the curse of the '00's. A quintillion cdr and tape releases in arbitrary releases like seven or twenty-three. Building a name among too-impressionable, too easily impressed fans. Uni student politics. A "sense of humour". "Weird music". Dude...bro...damn...like...

Not sure if they are but the type of people they attracted certainly were. You'll find most of them chancing it with techno or something now.

Quote from: Andrew McIntosh on November 12, 2014, 01:26:20 PMLong may it rot.

Aye!

And forgive me for delving further into this worthless group but the moment a band starts pissing on the genre from which they came they are on a slippery slope to nowhere. Hence why it may be "back to basics" in a few years time when whatever bullshit they've wandered into at the moment has dried up. Good luck to them.
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tiny_tove

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anomalie

Quote from: GEWALTMONOPOL on November 12, 2014, 12:10:57 PM
Who cares about what those dull hippies have to say?

Agreed. Period.



Leewar

When people make grand sweeping statements they never have the music to back it up.

Cementimental

JOHN OLSON IN 'NOT ENTIRELY SERIOUS DURING INTERVIEW' SHOCKER

FreakAnimalFinland

It's quite old interview too. I recall about year ago, when some interviews came out, people were annoyed.

His quote about " A lot of people in experimental music, you tell them to play something wrong, and they can't" is probably true. It's hard to say what exactlty is the experimental music he talks about, but I often am quite amazed, how much there is supposedly experimental music, which is utterly and totally trapped in "approved studio recording technique" or "real instruments". Like orchestral works, which may include some "prepared tapes" in mix. Crossing line to total oddity if you compare it to classical music. But still recording, presentation, set up of live concerts, etc. all follow what is considered "right way to do it".

You know. More advanced experimental musicians may approve "prepared piano", but if you'd suggest the orchestral piece would be recorded with walkman, inside grandpiano and rest of instruments will merely slightly bleed from distance, and I'm sure 99% will say this can't be done, it has no sense at all.

I'm sure there are a lot of people who can't get over things like out-of-tune instruments. Or free jams, were nobody really cares what other people are doing. They still approach it from jazzy "right way" to do it.




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GEWALTMONOPOL

#9
Sure, but since they claim to be a rock band and how that is apparently what they always were any talk of "doing it the wrong way" or whatever the pretentious fuck they holler about is a moot point. They're a rock band. They should go rock somewhere.
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absurdexposition

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Cementimental

Wolf Eyes are a pretty good noise rock band

Andrew McIntosh

Mikko, about recording techniques. What I thought was that plenty of musicians playing avant guarde/new music would prefer to have the actual sounds recorded as accurately as possible, but the sounds themselves be open to experimentation. I think that's valid. Recording a composed piece that involves things like tape recorders would work a lot better with proper recording, I would argue, to get the distinctions between the sounds. With your example of recording on a tape inside the piano - I can understand why such musicians wouldn't want to do it that way.

If it wasn't a case of either/or - that is, record the instruments in the way they want but also try putting a walkman in the piano at the same time - it could be interesting.

A friend of mine and I tried a score called "Atom Bomb", which involves some old tape recorders as well as acoustic sources, two keyboards and vocals. It's set up in such a way that, in the end, the tape recorders are the only things playing. It sounds great when it gets to that stage. We recorded our final effort on my little Zoom H2, and it came out quite okay. But I don't think either of us would have thought of recording it all on another tape recorder, we would have wanted as much clear distinction between the sounds as possible. So I can understand why more professional musicians would want the best sound they could get when recording similar works.
Shikata ga nai.

FreakAnimalFinland

Surely I understand this need of having "best sound", but it also awakes question about standard of what really is this so called best sound. Some music styles, in deed, people are so obsessed about idea that listener must hear everything with utmost clarity and it has become synonymous with "good sound" or "making it right". However, I wouldn't agree, and I don't think most people really do.

A lot of music styles abandoned necessity of "best fidelity" or accurate volume balances of instruments, etc. For long vast majority of music has been done "wrong" from perspective of typical acoustic orchestral music. Suddenly drums no longer sounded like acoustic drums naturally do. Or guitars are distorted etc and such typicalities nobody even questions. But ask people of new-music orchestra drive their violins through big amps, and I'm sure you find total opposition, except few isolated cases here and there. While many in experimental music indeed seem to insist that whatever supposedly unconventional stuff they do, it must follow the state-of-art high fidelity recording style and it must be presented as if person was sitting in concert hall audience, in exact middle of audience.

To do it wrong, could be to make it appear as if you were listening performance under the grand piano. What could be good place to be, when it's all wrong and in utmost imbalance.

There is one topic of... was it unusual recording techniques & situations? Mentioned some conceptual french art music, where saxophone was being played in house where different rooms were mic'ed. You wouldn't listen the same-old close up jazz jam, but merely resonance of the house. Distant honks what lives in surroundings. And while "music" itself wasn't anything too exciting, idea to approach it somehow differently contributed a lot. If someone mentioned, there's CD made of abstract orchestral music recorded from ventilation system of venue. I'd check that out any day. Would it be good? Who knows. We have probably yet to hear someone give it a try, while everybody repeats the right ways.
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