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 11 
 on: Today at 11:46:06 AM 
Started by Balor/SS1535 - Last post by JLIAT
As you mentioned noise I think processing the beginning or end with fades can 'musicalize' the piece. An end fade has a metaphorical resonance with distance – something get quieter as it recedes. For me metaphor is yet another more musical device. Recently I've just switched off effects in the final effect chain – which can create some interesting artefacts as can physically unplugging  the inputs.

@ burdizzo1  I think a slow build up is also musical contra noise – much of classical symphonic music 'builds' up which again is kind of metaphor - an orgasmic metaphor... as does increasing the tempo – which you find in ragas. I think discernible structures are again the 'enemy' of noise – as say recognisable images in a abstract painting...

I can't see how "fade" would be more musical than "physically unplugging inputs to create some interesting artefacts"? Latter seems perhaps even more process of human creation for sake of art/music.
I can – to a certain extent – agree with "physically unplugging inputs to create some interesting artefacts" being “ even more process of human creation” - however I said “I've just switched off effects in the final effect chain – which can create some interesting artefacts” not the same thing. - the “to create” is missing from my original – so you misquoted- “which can” - no intention on my part...  A fade is more musical – as it uses a 'musical' effect – the illusion of something moving away. Music – in organising sound has many such 'tricks'. Minor keys seem sad- unlike major keys – tempo excites – themes are resolved... Whereas noise  uses sound as is- i.e. feeback, clipping, distortion. Lack of harmony, rhythm and structures. Abstract sound – not thematic music. (Obviously IMO)
For ending noise, I think it is purely what track (or album) requires and what one intents to do with it. What types of noise it is. It is not all abstract and all about distortion.
Once noise becomes “about” something other than itself it becomes IMO  'Music'.
….. "a sound, especially one that is loud or unpleasant or that causes disturbance."
True – a subjective reaction to sound – which is why I think Merzbow said he thought pop music was 'Noise' – i.e. he found it unpleasant. But the less subjective definition is “random fluctuations that obscure or do not contain meaningful data or other information.” And in the genre that is what occurs – I dont get any impression of skateboarding in “skate” or of Whaling in “Bloody Sea”...
A lot of pure HNW does not seem to cause ANY disturbance whatsoever. Static, balanced, comfortable. Like taking warm bubble bath. It's fine, but its is barely -disturbing-.
But its considered as part of the genre of noise – so the definition “ "a sound, especially one that is loud or unpleasant or that causes disturbance." is not appropriate – and “random fluctuations that obscure or do not contain meaningful data or other information.” is. OK if you want a subjective definition – fine – i'm coming round to that myself – but you would in that case see all HNW and HN as not being noise. Many people buy it and enjoy listening to it...  i'm not fond of MOR music – but I dont think it part of the genre “noise”.
...
Even decision of allowing chaos and randomness, seems compositional/artistic decision.
Sure -  that is what separates Noise from other Genres – not it sounding unpleasant – many find rock or heavy metal unpleasant – or prog rock – as an example in Hegarty's book. For me its Trad Jazz - can't stand it. It was the decision to allow “chaos and randomness,” that generated a wider interest in noise.

Here an example “Noise; conceived as interference, randomness, and fluctuation below the threshold of measurement; is often framed, in the humanities, as undermining the ‘static ontology’ of representative reason....” from a PHD thesis – yes I know!!!!

 12 
 on: Today at 10:45:22 AM 
Started by ciuckc - Last post by ciuckc
Hi, does anybody here own a minibrute 2s and is using it for PE or noise. If yeah do you have some tips on patching or things that I should be looking for? Thanks in advance!

 13 
 on: Today at 10:45:15 AM 
Started by GEWALTMONOPOL - Last post by FreakAnimalFinland
Ø - Tulkinta -cd. 1992 Mika Vainio early electronics recordings. I read from art magazine review of his ongoing exhibition at Helsinki modern art museum that his sounds would be ”mostly based on natural sounds and field recordings”.. hmm.. Well, there is a bit of that too, but when I think of Vainios works, I think of pure electronic minimalism! Early works are at the best of that. Ultra minimal, delicate, often various tempos shifting in track. Almost like different length loops always being in rhythm of their own, but different to other rhythms in song.

I have not been keen to purchase most of The Gerogerigege new releases. Not the tapes, cdr’s and stuff like that. It seems gamble whether you will get what you paid for. This = Tokyo Anal Dynamite Singles CD, was too good to pass, so discogs order from Japanese dealer. Senzuri champion ”remake” and this one, plus one exclusive cdr was included... Really really good reissue of many old Gero 7”s plut additional unreleased noise, little edits and added sounds beween 7” sessions. All 7” covers revised into comical drawings in style like front cover.

Illusion of Safety / Life Garden / Voice of Eye - The Nature of Sand CD, plain amazing Illusion of Safety & co. Recording. If someone would describe there are bongo drums, experimental soundscapes, a lot of dynamics and tension... I could say well... hmm.. perhaps not interested. However, it is utterly difficult to articulate what the CD actually is, and even more how good it is. Proper speakers, set volume on level that feels good for first 5 mins or so, and album will occasionally grow very intense, calm down, always on the move, shiting from thing to another. Two c. Half on hour tracks were one can’t really predict what will come next, yet compositionally they are solid. Not fragmented collages etc. Seems like sound compositions, yet early 90’s indicates there may not be much use of computers, so the flow has very organic feel to it.

Mason Jones "international Incidents" live CD of mid 90’s Japanese gigs. Mason Jones of Charnel House may not ring bell to newbies, but his role in introduction of Japanese noise to west should not be underestimated. His magazine, compilation series etc. Good variety of not only sheer noise, but also odd music of the time. Also this CD, it has same feel. I like the tracks with KK Null, Jojo Hiroshige and Aube... but Omoide Hatoba guys jamming with Mason... hmm.. Perhaps not something one would need to be listening decades after gig took place! Haha.

If discussion emerges, I may split to different topic, but:
This is something I am very curious of. There are handful of tour reports or interviews covering western noise artists playing in Japan ... but how it is nowadays? Of course not meaning right now, but before virus. How is the gig culture? How is the underground culture? Been in Japan few times, from 2005 onwards, but last visit was almost 10 years ago. You could gradually see that less specialist UG shops, venues. Less unusual stuff in record stores, book shops etc. Every time visiting, formerly existing things closing down meanwhile... Still there is something in Japan that makes me want to travel (to even play). Most western countries barely have the lure, when its just the same as going to Helsinki or something, hah...

Have not read any reports of how it is like to play there now? Anyone played there in recent years? Now got to listen CCCC live recordings and Mason Jones in Japan and have perhaps unrealistic visions of how it must have been pre-internet vivid physical underground... I hope some podcast would cover mr. Jones adventures in same enthusiasm as he did on his own magazine. Recap the seemingly good times!

 14 
 on: Today at 10:39:37 AM 
Started by Balor/SS1535 - Last post by FreakAnimalFinland
As you mentioned noise I think processing the beginning or end with fades can 'musicalize' the piece. An end fade has a metaphorical resonance with distance – something get quieter as it recedes. For me metaphor is yet another more musical device. Recently I've just switched off effects in the final effect chain – which can create some interesting artefacts as can physically unplugging  the inputs.

@ burdizzo1  I think a slow build up is also musical contra noise – much of classical symphonic music 'builds' up which again is kind of metaphor - an orgasmic metaphor... as does increasing the tempo – which you find in ragas. I think discernible structures are again the 'enemy' of noise – as say recognisable images in a abstract painting...

I can't see how "fade" would be more musical than "physically unplugging inputs to create some interesting artefacts"? Latter seems perhaps even more process of human creation for sake of art/music.

For ending noise, I think it is purely what track (or album) requires and what one intents to do with it. What types of noise it is. It is not all abstract and all about distortion. Word itself has so much meaning in it, that it would foolish to think noise is only this static hiss. Noise can be also described as "a sound, especially one that is loud or unpleasant or that causes disturbance." A lot of pure HNW does not seem to cause ANY disturbance whatsoever. Static, balanced, comfortable. Like taking warm bubble bath. It's fine, but its is barely -disturbing-. In that sense, it feels to me as if some NWW is more noisy than HWN.  Loud, unpleasant, disturbing moments. It is EXACTLY, as if as say recognisable images in a abstract painting. You thought to rest your eyes in comfortable mess of abstract splatters, and then you see glued newspaper clipping of -WHATEVER- in some corner. Disturbing. Unpleasant. Unexpected. Recognizeable image, perhaps, but in context of work, one may ask what did you recognize?

Work may demand being fade out. Pause button jammed slowly. Stopping the making of noise -and recording that actual happening. Or perhaps just doing something what is equivalent of image of toilet pasted on otherwise seemingly comfy and stylish abstract splatters.

In my own work I use all things. I do think the end or the transition is important, BUT, as said, it is entirely up to material. Sometimes it would be absolutely unfitting to do "artificial fade" or add somewhat cheesy reverb tail in track. Clumsy abrupt stop may be exactly the needed unmusical, "uncool" stop. However, both seem artistic decision and compositional matter. Even decision of allowing chaos and randomness, seems compositional/artistic decision.


 15 
 on: Today at 09:14:47 AM 
Started by OMM - Last post by OMM
Updated list. The stuff is not mine, contact only through the email. Regards

 16 
 on: Today at 07:45:24 AM 
Started by Electro Surgeon - Last post by Pigswill
Do the PE acts have to be in Australia to qualify?

 17 
 on: Today at 07:37:23 AM 
Started by GEWALTMONOPOL - Last post by Theodore
I am on a mission to watch as much as i can from this list : https://www.discogs.com/Various-Criminalia/release/1208141

This night was The Teenage Prostitution Racket (1975) . Italian -ofcource- . When a movie starts with a grandma and her teen grandaughter hitchiking, entering in a van, and the grandma asks the driver if he wants a 'quick' with the girl, well , my expectations skyrocketed. Movie doesnt have a plot, it's parallel stories of teenagers going into prostitution. Nothing really good, but interesting to watch anticipating what's next, cause it has its moments of ... perversion. Couple doing sex with pregnant teen. Pervert washes his shoe in a bidet filled up with ... brown water. Then take a piece of bread, dippin it into that water, eat it and give to the girl too ! Etc. - Nice girls.

 18 
 on: Today at 04:53:32 AM 
Started by chume - Last post by chume
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 19 
 on: Today at 03:52:16 AM 
Started by Balor/SS1535 - Last post by Balor/SS1535
I tend to prefer not editing at all if possible. The best ending is some kind of audible unplugging/switching-off/tape-stop/smashing the equipment

I didn't even think of that one, but it might be my favorite.  It makes the recording feel way more alive.

 20 
 on: Today at 01:26:48 AM 
Started by Balor/SS1535 - Last post by Cementimental
I tend to prefer not editing at all if possible. The best ending is some kind of audible unplugging/switching-off/tape-stop/smashing the equipment

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