Country NOISE stereotypes?

[FreakAnimalFinland]

How I hear it, is that all these mentioned artists, they have own style, own sources, own equipment, yet when comparing MO*TE, the actual sound style of recording, is like the american home-recording noise. I think Silvum was talking about it in this, or other forum(s) already ages ago. I can't remember how he described the uniqueness of 90's MO*TE, but I do recall it sure was stand out. While pretty much everybody, from harshest of the harsh, to more neat and efx driven hi-tech, they all nevertheless, have the sound.. that is unlike the bedroom recordings of chewed up tapes of lo-fi crunch. When going through the masters of the Uncut box set, I even had to make sure at some tracks that they are like they are supposed to be. Sounding as if tape is broken, damaged and all remains if muffled out rumble. And they were as intended, as "composed". Something you could have expected to emerge from bedroom of Texas noise teenagers of the 90's or brutalized MSNP tape saturation or oddities of some german mini edition 90's noise. Who are the ones in Japan doing that. Of course there might be, but certain anomalies display angle to see what many others have in common.

Of course one may conclude why we are focusing on such "small" thing as production.. I guess that's the area of Special Interests, hah.. Even picking up the more rough and snotty Japanese noise of the time, say Thirdorgan get closer, but even that is not quite the same. Thirdorgan is something, that would probably need topic of its own, if it is not yet on this forum! I am quite blown away how little demand seemed to be for Pornography of Despair 3xLP +cd! Having full unreleased Thirdorgan mid 90's noise cd as bonus that can't be found anywhere else.. Haven't seen anyone comment it..

[Bloated Slutbag]

Okay, that's actually very interesting. I wasn't thinking of production techniques per se, more (a part of) the aesthetic I would have perceived as being central. Eg in the case of MO*TE the I would have said indisputable psychedelic overtones, which (again perhaps limited by exposure) I would have felt were mainly coming out of Japan to that point, at least in relation to (the harsher species of) noise.

But, just saying as much I already want to question why I'm placing the divider. As the production techniques would necessarily, perhaps more than necessarily with this noise etc shit, have to wrap into the aesthetic.

And then relating this back to what I would regard as related threads, such as listening habits. I mean, I wouldn't regard my approach to listening as particularly pure. I've always sort of mega-torqued the EQs to maximize what I've felt the shit should sound like, though acknowledging (here, if what is being has been offered is true) that there are very different perceptions of what things should sound like in play.

Hot take: taking the whole of the MO*TE oeuvre, I've always argued for the other-ness of the shit. But never to the point of separating le shit from the (perceived very possibly stereotypical) geographical roots.

[FreakAnimalFinland]

I don't think it is necessarily removes from geographic roots, just displays qualities of region, you couldn't see unless this other-ness exists. That if someone would say they are after utter gutter noise. I would most likely say, don't look at Japan, look at USA. Of course, depending would we understand these descriptions in the same way.

Like, talking of Finnish noise, one would probably have to look at why Keränen, Vanhala and Umpio (as known examples), are really great noise, but at the same time, would appear a bit untypical examples of Finnish noise? There is currently quite good way to get to know Finn noise, as there are both Terässinfonia (4 volumes) and Kolari (5 volumes), totaling probably at least 50 projects of Finn noise of couple recent years. Diversity is huge, that will probably crush some stereotypes, but perhaps reveal regional leanings. 

[no_baizuo_allowed]

I've tended towards seeing U.S. noise/P.E. roughly circa. 2017-2019 as now something historical: there was a great moment where it seemed like anything that was good was coming out from Finders, BPP, Fusty Cunt, and a host of other smaller labels who were then up-and-coming. I've just been unpacking the recent past as the rest get involved in online hysterics. It was a strong moment when BPP really hit their stride and pumped out a WHOLE bunch of debut U.S. P.E. LPs... Zussamenbruch, Straight Panic, Blackwatch, etc. all had fantastic debut LPs courtesy of BPP and all somehow 'co-existed' on the one label thanks to Rusty's superb curation. Striations 2xLP reissue, SENTENCED filth - that shit was beserk... Sarin Snow... Heretic Grail. Also alot of fuss was kicked up surrounding the activities of some of these acts. That's perhaps a uniquely American issue. Part of the US stereotype, haha.
I especially liked that the records kept that grittiness of tape. Press to vinyl what would normally or otherwise go on tape. That's why all those records from that specified time period on BPP all have a uniquely American character IMO.

[traci15Ren]

interesting information