https://www.noisextra.com/2023/04/19/dave-gilden-discussion-with-jim-haras/Greh not in the new episode, but Conellys + Jim Haras do the good job, talking exclusively about David Gilden. It is not review, not a normal jim haras interview either, even if it touches a bit of Fusty Cunt, Deterge, his goregrind/noisecore youth and such things. Not much is known about David Gilden, so apart of briefly mentioning drug use, there isn't any persona stuff about Gilden really. It is all about the noise he made, how to get some of it, how good it is, who had it, how it was "distributed" (as a lot of the upcoming box is unreleased private stuff). Episode talks about how to do reissues with respect. How to approach graphics. In this particular case also challenge when many releases were indeed private tapes handed out to friends & associates, and not a "releases" with cover art.
One thing, what is perhaps a bit "hot" subject about reissues what would be nice to see discussed, is: Who authorizes? How they become "legit" if artist has died? What you do with royalties, if anything? I do not mean this Gilden box really, but just like Industrial Recollections did Monde Bruits box. There was authorization, and master tapes, all original art, from close long time friends and associates of Iwasaki. 100 CD boxes were sent out mostly to Japan, for people involves. Some got just the personal copies as nod of appreciation, some got more to spread to all people involved. Price was kept as reasonable as possible. Design as original as possible. Samples previewed and so on. As little changes as possible, so not to step on toes of artists, just replicate his vision (and sound) as 1:1 as possible. In some cases, you don't have family members to ask from. Not friends to ask. Not former labels to "license", no actual master tapes. It is also possible there are people, you just don't know them. Think how sucky was some of those bootlegs that appeared, like MSBR/K2 split vinyl bootleg consisting some of his lamest live recording. Both artists would have G R E A T stuff in abundance, and then just putting out whatever, few years after MSBR died and during K2 was on short hiatus due work commitments. I think being open about it, and discussing with people, you might also know if artists actually had handed out masters to someone. In few years we might be in situation where a lot of older noise artists are dead, and I'd hope then active labels would have certain level of respect and vision. What is the way to handle reissues in situation where artists is no longer here.
Of course, it is possible just
let it be. Not everything needs to be reissued or made public, yet like in Maria Zerfall episode few weeks ago, Jean Ragon mentions that sometimes, when you have this rare tape, that may exist.. just one. Or couple. And it feels like for sake of artform itself, it feel mandatory to make this heard. That regardless nobody ever heard it, yet, it is simply too important piece of noise/industrial history. Not by its status or role in history, but simply for what it IS. That you, as owner of original tape, that might be one of only ones in circulation, have suddenly some sort of obligation. Of course this is debatable, but I do agree, that if you happen to have original GO acetate or Masonna ltd 2 copies lathe, it feel that it is far more than "your property", you may just throw away if you feel like it. What is the obligation exactly, may be hard to define. It may be just like Sean had - make sure recording survives, to cultivate the artform, celebrate legacy of artists and aura surrounding them. Treat them like works of art would have been. Not as disposable consumer junk you will just throw away when you are tired of it.
It is good to hear that no mastering for Gilden. I have a feeling, that at some point looking back at current age of noise, there may be regret in why old noise was made fat, crunchy and well balanced... if it wasn't? With CD format especially, if listener can't turn volume button to make it louder, it would feel odd. It only makes sense if you are in volume competition in streaming services. Not wanting to sound quiet between something else. For CD, you could easily preserve all the grit and ruggedness what made stuff good in first place.
There is brief discussion mentioning forums, that this Gilden box idea has been going on for ages. They discuss when did troniks/chondritic forum end, when did SI start and so on. Well, SI was launched december 2009. About 2 months after the 1st paper magazine. At first it was probably couple months more like invite-forum, although if you found it, you could log in it yourself. Nothing was hidden. (Still today, no hidden private forums, all visible to lurkers too.) troniks/chondritic was going on probably still year or two until shut down after the final meltdowns. After that, when social media, predominantly facebook was becoming what it is sometime same years, it did change entire use of forums that tried to launch themselves after it. Digital footprint, some abhor it, but then again, in this episode Jim can't quite remember when exactly box was started to be made. According to forum post found with search, it must been since 2016. Troniks/Chondritic board long gone that time.
Quote from: PTM Jim on March 07, 2017, 12:27:47 AM
Quote from: Otomo_Hava on March 06, 2017, 10:55:18 PM
David Gilden
In the process of doing this one. Been at it for about a year now. Most of it is going to consist of private tapes and such moreso than reissue material. Planning on it being massive though!
