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 61 
 on: January 18, 2021, 08:17:33 PM 
Started by maskoftheslave - Last post by maskoftheslave
new review, rating : 8/10

https://www.femforgacs.hu/jan-morgenson-projections-2019/

 62 
 on: January 18, 2021, 06:58:03 PM 
Started by GEWALTMONOPOL - Last post by Balor/SS1535
Black Legion

Interesting old movie about a midwestern Klan offshoot with Humphrey Bogart in one of his first starring roles.

 63 
 on: January 18, 2021, 05:35:53 PM 
Started by Balor/SS1535 - Last post by JLIAT
We have had this conversation before – and I have with others. I happen to disagree. Lets take the extreme – HNW – anyone can make it – Audacity – generate white noise then use the Bass boost.  I've offered the Pepsi test – of a shuttle launch and a Rita Track. I even mistakenly reviewed three works thinking they were all from Vomir – they were not. So I think we must agree to differ.

 Though you mention TNB – and from their site - “ As merchants of 'anti-music,' they embrace Luigi Russolo's 1913 Art of Noise manifesto and although Russolo is widely credited as being the first major noise theorist ..” “TNB refuse a virtuosity of the newly musicalised object. “Later recordings and performances even lose the residual possibility of 'properly playing'” “as does the distinction between music and non-music (where, in this case, music would just mean the sounds purposely created or replayed by 'musicians.') “ “This rejection of the notion of the creative genius (as seen in Dada) extends to TNB collaborations,  which range from Organum through The Haters to Merzbow “   “individuality is swamped as the material gets more isolated from any controlling 'artistic' force,  “  But once the 'music' is essentially made of noises, structured noisily and disruptively, without offering a welcoming form, any recombination   takes it further from artistically recognisable modes of talent, skill, etc. even if a certain audience would 'appreciate' this music as if it had those attributes.”.... “If Noise Music was ever noisy in a way that afforded any critically-useful theorization of noise, then it was only ever so for a brief moment. Almost immediately following the first sonic experiments of TNB, The Haters and Hijokaidan, Noise Music's noisiness, it seems, was tamed, subsumed into a predictable, codified art practice “

My emphasis.

"even if a certain audience would 'appreciate' this music as if it had those attributes.” - who are it seems mistaken ;-)

P.S.

Given your definition of noise ->  "a sound, especially one that is loud or unpleasant or that causes disturbance."

Then
" I recognize it being one of least favorite ways of release ending."

Should be one you would tend to always employ....





 64 
 on: January 18, 2021, 03:59:05 PM 
Started by Balor/SS1535 - Last post by -NRRRRK-
I have never meet noise creators who make noise in terms of "whatever goes". Most of sound, they carefully craft and select.

That is an interesting observation. So a kind of a preference for, let's say a certain texture of distortion (like the often mentioned "crunch", mid-heavy sound) could be viewed as a rest of "musical intent" buried in the noise.

 65 
 on: January 18, 2021, 03:53:34 PM 
Started by Balor/SS1535 - Last post by FreakAnimalFinland
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)

I have my doubts. It is more about pasting theory on thing what won't sustain as soon as you introduce even simple argument. Such as most noise artists have not, and do not treat noises as "non structure". I have never meet noise creators who make noise in terms of "whatever goes". Most of sound, they carefully craft and select. Even more so, than the random guy pulling chord on instrument. Even sound, as is, is most often choice and composition. Even if there would not be sad minor key or tempo that involves traditional instrumentation - you'll find tempo, harmony, rhythm and structure in most of noise. You got vast difference is the noise sort of uplifting energetic blasting, or dragging and brooding bassy roar.

Examples. It is like Incapacitants - where early on Kosakai was advised to have "more modulation" to keep up with pace of Mikawa. Is the consciously playing making it less noise? Could anyone dare to suggest that Incapacitants would not be pretty much as noise as noise gets? Even if recognizing even compositional (ie: more modulation! Don't stay still & stagnant!) and skillful playing.
You got The Haters, where subtle rhythm and harmony is there. Or say The Rita. A lot of stuff seems in perfect harmony of crackle and rumble. The New Blockaders textural distortion and metal object screech, feedback squeal. Emil Beaulieau fierce rumble of anti-records skipping and crackling on non-music surfaces played with needle. And so on. I guess we talked before, that there is NOISE, which is real, existing, abundant of variety.... and then there is one mans vision of anonymous noise generator. That latter one is just one small fraction of thing known as noise. No amount of theory will change this when actual concrete world shows otherwise. To conclude mentioned examples would not BE noise, would be foolish. Therefore, to compose, to play, to introduce artistic or musical element to noise - even "fade", it really ain't more musical, than guy recording noise with moving microphone.

"Noise; conceived as interference, randomness, and fluctuation below the threshold of measurement" - sure, but in context of stuff being made, released and listened, this is one tiny element in a whole. Such noise generally is magical quality that makes rest of noise have qualities one did not plan to. One one is aware of phenomena - for example your tape deck being malfunctioned in a way that it unpredictably distorts, warps, malforms the sound you hoped for - very quickly it turn as conscious musical element with only relative little of "randomness" when you take into account that it is replicated, observed and released.

What Florida Man -says above, I am curious how many like or dislike that noise tape ends into seemingly random moment of "magnetic tape running out" ? If harsh noise piece is 30 mins long, should it be dubbed to C-62 or ok that sound just abruptly cuts in "middle", hah... Perhaps I am approaching thing more as "music", and the randomly ending to space running out of format most often feels odd. I don't object it, but I recognize it being one of least favorite ways of release ending.

 66 
 on: January 18, 2021, 01:59:20 PM 
Started by Satatuhatta - Last post by moozz
Sinematic Pleasures and Beyond Faith now both available from me as well.

 67 
 on: January 18, 2021, 12:13:35 PM 
Started by Balor/SS1535 - Last post by FLORIDA MAN
when the tape runs out

 68 
 on: January 18, 2021, 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!!!!

 69 
 on: January 18, 2021, 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!

 70 
 on: January 18, 2021, 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!

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