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 21 
 on: October 27, 2020, 07:19:32 PM 
Started by PSIL0777 - Last post by PSIL0777
Gandharva Constellation 6-panel digipak cd out now .

Has a unreleased track entitled Horagelles recorded in august 1995 Aspa/Toivonen summer 1995 complete recordings .


Get your copy from Freak Animal or our nearest noise dealer  / noise web-shop  

https://freak-animal.net/

Finnish buyers, buy straight from Temple Of Tiermes , price only 8 euros
Free TOT buttons (ltd 28 hand numbered copies) for all buyers who buy straight from us


Contact temple.of.tiermes@meiliboxi.fi

 22 
 on: October 27, 2020, 07:01:37 PM 
Started by Raubbau - Last post by Raubbau



https://raubbau.bandcamp.com

 23 
 on: October 27, 2020, 06:51:08 PM 
Started by New Forces - Last post by totalblack
I have a small handful of K2 sets left for anyone after it still in the EU, but everything else is sold out.

 24 
 on: October 27, 2020, 06:01:32 PM 
Started by Thermophile - Last post by FreakAnimalFinland
Usually when I hear someone talk about ”gatekeepers”, it reeks to me of somehow bitter losers. I have never seen label or magazine editor or distributor, gig organizers etc etc as ”gatekeepers” - meaning the guy that prevents one from success that otherwise would be there. Instead of being gatekeepers, most of the people tend to be creators and cultivators. They have their own tastes and sometimes other reasons (including even just mere friendships that determine who they talk about). It would be foolish to expect that they’ll give positive reviews to everybody or invite everybody to play in festival. To see such things as ”gatekeeping”, makes me just wonder... Gate to... where?

Genre is basically open to anyone, anywhere, to do almost anything. Most of the people that may be called gatekeepers, probably spent unhealthy amount of time on thing as ”reviewing noise”. I personally would hope there would be more people to write reviews. I feel that we have zero gatekeepers, but also almost zero places to send album for review?

 25 
 on: October 27, 2020, 05:43:11 PM 
Started by Cementimental - Last post by Cementimental
We made a podcast/radio show kind of thing featuring noise + music from various Fort-Processor-using artists: https://www.mixcloud.com/lisa-mckendrick-hexa/isntses-podcast-01-fort-processor/

 26 
 on: October 27, 2020, 05:08:46 PM 
Started by New Forces - Last post by New Forces
Preparing to send some copies to Tesco (German), Old Europa Cafe (Italy), and Cipher (Australia). A restock is also headed to White Centipede Noise (Germany). The C.C.C.C. is sold out from me, and the K2 is getting low.

 27 
 on: October 27, 2020, 03:48:45 PM 
Started by Thermophile - Last post by JLIAT
Still a luddite.. Sigh..

Who is this addressed to? Plus you seem to have a problem with quotes?  is "I do believe that this topic regards the value of sending paid for copies of a release to a person for their opinion.
I read & understood your response, but feel you failed you address the question asked..
I got a lot from you said besides that.
Thanks"

You.

The question asked was answered, "Yes".

 28 
 on: October 27, 2020, 02:57:02 PM 
Started by accidental - Last post by accidental
Hehe, that Whitehouse thing you mentioned, was that on one of the compilations or are you referring to a "Come Org bootleg" with counterfeit material?

Im interested if anyone wanna sell something VS. Some of it is blocked on discogs.

According to one user, this comp was "Unofficial/homemade cassette from the 1990s/2000s."
https://www.discogs.com/Various-Volkssturm/release/837807

"Bootleg cassette from Japan, purporting to be from 1985."
https://www.discogs.com/The-Graveyard-Endlösung/release/837783
Thats confusing because how is it unofficial when its his own project and label? Or is this material from other bands purporting to be his own?

Boot info:
https://www.discogs.com/label/171974-Kas

Maybe he was active in 80's? But doesnt seem too crazy if its all done during 90-00 purporting to be from 80's haha

 29 
 on: October 27, 2020, 02:20:40 PM 
Started by Thermophile - Last post by slagfrenzy tapes
Edited

I'm still a luddite.. Sigh..

 30 
 on: October 27, 2020, 02:19:31 PM 
Started by Thermophile - Last post by slagfrenzy tapes
Does sending a copy of your release to be reviewed by magazines/online magazines who deal with "difficult" music matter anymore?

I think gatekeepers still in delusional trip (remnant of a bygone era) because there are no more gates to keep in the internet era.

I think this is a really interesting but extremely complex question. (I preface ALL what follows with IMO).

For want of a better description we live in a culture which is, or attempts to be 'dynamic'. And with this culture there appears  two opposing drives. The need to be an individual, to matter, and the tendency to be (want to be?) identified as part of a group. This is typical it seems of an industrial / capitalist system. There are other cultures where this doesn't happen, where there exists a steady state and maybe we will enter into such at some time. This would represent the 'bygone era' idea. Though I think maybe not yet. The various shades of Metal. PE and Noise, HN HNW represent 'nodes'  (as do identity to even more specific 'artists') to which individuals – as above – can identify. Central to the post-modern schizophrenia is the identity/individual paradox. Here – in SI “"difficult" music” creates, or is used as these 'nodes'. Others include such things as the Hipster phenomena,  XR, and notably LBGT, which shows this process is not static, as it's now morphed into LGBTQ+ .

So the scare quotes around  'artists', if we say take “Dominick Fernow is an American experimental musician, poet and multimedia artist”  as an example. Recognised here as such by some maybe, but generally I have doubts. Any more than Masami Akita is or Sam McKinlay. They are significant figures in a fairly small genre.  From a 'High Art' perspective they are (it could be contentiously argued) no more significant than someone like Taylor Swift (or whoever now is located within that genre). The terms ' experimental musician, poet and multimedia artist'  were borrowed to elevate a musician to a higher status.

For want of -TLDR the Bill Drummond case  and the stuckists are evidence enough. Drummond made millions with the pop group KLF but wanted High Art Status, which he sort in the K foundation, challenging the High Art scene, which culminated in his burning a million pounds. He is still attempting though to break into the High Art world. “Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. “
Well Childish was/is the dumped partner of Tracey Emin who made it big with the YBAs back in the 90s. He also formed a band using antique guitars and amps and even tried his hand at gardening.  

So what of the original question, gatekeepers are needed, they still exist in High Art, they function to create these 'genres' by exclusion, inclusion, but also  represent something to react against. i.e. Bennett thinks noise just a coffee table fashion.

Conclusion.

So while there is a thing called 'Art' in which concerns are internal to that, there is the other 'popular art' forms giving individual identities. And Gate keeping provides both negative and positive constraints on these activities.  

'Popular' in that the music is 'liked' but also used as a means of identity. As for 'difficult', well again High Art has been there n.b. Warhol's Empire, Duchamp & Cage... etc.

P.S.

 “there are no more gates to keep in the internet era.”  

Well maybe, but the internet is really only yet another means of mass communication, like printing, books, newspapers, the railways, motor cars,  air travel, photography / film, sound recording, radio and TV. More a proliferation of ever changing gates, which might result in a (ever faster) circular rather than 'progressive' movement.
 
And all these made huge impacts on society, obviously including music. And i'd say printing was probably the biggest to date, ended over a millennia of fairly static culture?

[/quote
Does sending a copy of your release to be reviewed by magazines/online magazines who deal with "difficult" music matter anymore?

I think gatekeepers still in delusional trip (remnant of a bygone era) because there are no more gates to keep in the internet era.

I think this is a really interesting but extremely complex question. (I preface ALL what follows with IMO).

For want of a better description we live in a culture which is, or attempts to be 'dynamic'. And with this culture there appears  two opposing drives. The need to be an individual, to matter, and the tendency to be (want to be?) identified as part of a group. This is typical it seems of an industrial / capitalist system. There are other cultures where this doesn't happen, where there exists a steady state and maybe we will enter into such at some time. This would represent the 'bygone era' idea. Though I think maybe not yet. The various shades of Metal. PE and Noise, HN HNW represent 'nodes'  (as do identity to even more specific 'artists') to which individuals – as above – can identify. Central to the post-modern schizophrenia is the identity/individual paradox. Here – in SI “"difficult" music” creates, or is used as these 'nodes'. Others include such things as the Hipster phenomena,  XR, and notably LBGT, which shows this process is not static, as it's now morphed into LGBTQ+ .

So the scare quotes around  'artists', if we say take “Dominick Fernow is an American experimental musician, poet and multimedia artist”  as an example. Recognised here as such by some maybe, but generally I have doubts. Any more than Masami Akita is or Sam McKinlay. They are significant figures in a fairly small genre.  From a 'High Art' perspective they are (it could be contentiously argued) no more significant than someone like Taylor Swift (or whoever now is located within that genre). The terms ' experimental musician, poet and multimedia artist'  were borrowed to elevate a musician to a higher status.

For want of -TLDR the Bill Drummond case  and the stuckists are evidence enough. Drummond made millions with the pop group KLF but wanted High Art Status, which he sort in the K foundation, challenging the High Art scene, which culminated in his burning a million pounds. He is still attempting though to break into the High Art world. “Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. “
Well Childish was/is the dumped partner of Tracey Emin who made it big with the YBAs back in the 90s. He also formed a band using antique guitars and amps and even tried his hand at gardening. 

So what of the original question, gatekeepers are needed, they still exist in High Art, they function to create these 'genres' by exclusion, inclusion, but also  represent something to react against. i.e. Bennett thinks noise just a coffee table fashion.

Conclusion.

So while there is a thing called 'Art' in which concerns are internal to that, there is the other 'popular art' forms giving individual identities. And Gate keeping provides both negative and positive constraints on these activities. 

'Popular' in that the music is 'liked' but also used as a means of identity. As for 'difficult', well again High Art has been there n.b. Warhol's Empire, Duchamp & Cage... etc.

P.S.

 “there are no more gates to keep in the internet era.” 

Well maybe, but the internet is really only yet another means of mass communication, like printing, books, newspapers, the railways, motor cars,  air travel, photography / film, sound recording, radio and TV. More a proliferation of ever changing gates, which might result in a (ever faster) circular rather than 'progressive' movement.
 
And all these made huge impacts on society, obviously including music. And i'd say printing was probably the biggest to date, ended over a millennia of fairly static culture?


Yes we do live within an "age". I shit you not to deny this.

But having read  and understood the qu
Does sending a copy of your release to be reviewed by magazines/online magazines who deal with "difficult" music matter anymore?

I think gatekeepers still in delusional trip (remnant of a bygone era) because there are no more gates to keep in the internet era.

I think this is a really interesting but extremely complex question. (I preface ALL what follows with IMO).

For want of a better description we live in a culture which is, or attempts to be 'dynamic'. And with this culture there appears  two opposing drives. The need to be an individual, to matter, and the tendency to be (want to be?) identified as part of a group. This is typical it seems of an industrial / capitalist system. There are other cultures where this doesn't happen, where there exists a steady state and maybe we will enter into such at some time. This would represent the 'bygone era' idea. Though I think maybe not yet. The various shades of Metal. PE and Noise, HN HNW represent 'nodes'  (as do identity to even more specific 'artists') to which individuals – as above – can identify. Central to the post-modern schizophrenia is the identity/individual paradox. Here – in SI “"difficult" music” creates, or is used as these 'nodes'. Others include such things as the Hipster phenomena,  XR, and notably LBGT, which shows this process is not static, as it's now morphed into LGBTQ+ .

So the scare quotes around  'artists', if we say take “Dominick Fernow is an American experimental musician, poet and multimedia artist”  as an example. Recognised here as such by some maybe, but generally I have doubts. Any more than Masami Akita is or Sam McKinlay. They are significant figures in a fairly small genre.  From a 'High Art' perspective they are (it could be contentiously argued) no more significant than someone like Taylor Swift (or whoever now is located within that genre). The terms ' experimental musician, poet and multimedia artist'  were borrowed to elevate a musician to a higher status.

For want of -TLDR the Bill Drummond case  and the stuckists are evidence enough. Drummond made millions with the pop group KLF but wanted High Art Status, which he sort in the K foundation, challenging the High Art scene, which culminated in his burning a million pounds. He is still attempting though to break into the High Art world. “Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. “
Well Childish was/is the dumped partner of Tracey Emin who made it big with the YBAs back in the 90s. He also formed a band using antique guitars and amps and even tried his hand at gardening. 

So what of the original question, gatekeepers are needed, they still exist in High Art, they function to create these 'genres' by exclusion, inclusion, but also  represent something to react against. i.e. Bennett thinks noise just a coffee table fashion.

Conclusion.

So while there is a thing called 'Art' in which concerns are internal to that, there is the other 'popular art' forms giving individual identities. And Gate keeping provides both negative and positive constraints on these activities. 

'Popular' in that the music is 'liked' but also used as a means of identity. As for 'difficult', well again High Art has been there n.b. Warhol's Empire, Duchamp & Cage... etc.

P.S.

 “there are no more gates to keep in the internet era.” 

Well maybe, but the internet is really only yet another means of mass communication, like printing, books, newspapers, the railways, motor cars,  air travel, photography / film, sound recording, radio and TV. More a proliferation of ever changing gates, which might result in a (ever faster) circular rather than 'progressive' movement.
 
And all these made huge impacts on society, obviously including music. And i'd say printing was probably the biggest to date, ended over a millennia of fairly static culture?


I do believe that this topic regards the value of sending paid for copies of a release to a person for their opinion.
I read & understood your response, but feel you failed you address the question asked..
I got a lot from you said besides that.
Thanks

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