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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 65662 times)
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absurdexposition
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« Reply #15 on: November 02, 2021, 06:26:09 PM »

Great episode. This is important stuff.
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« Reply #16 on: November 03, 2021, 08:40:00 PM »

Yes! Again a great episode. Nystrand's longing for "wild unpredictable savages" was one of the highlights.
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« Reply #17 on: November 04, 2021, 09:06:15 PM »

Thank you all, really glad to hear people are enjoying it!
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« Reply #18 on: November 06, 2021, 10:48:05 AM »

This could go off slightly and laps at threads beaten like some ill-fated equine but I was interested in Mr. Nystrand's remarks on the sense of pumping shit out into a void and the comorbid sense that words matter. I'd just like to put in a good word for silence. Freedom in a vacuum, a fine and dearly departed label. People are definitely out there, listening, taking notes (maybe not literally but yes taking notes is probably a good way of putting it), appreciating and evaluating, constantly, or at least very regularly. The visible discourse has I suppose cheapened to an extent, which may in some cases curtail the occasional urge to vent on one platform or another but there are also the swings of the pendulum and the no less to be appraised sense that balance may be needed, here and there. Dean Glaister once opined eloquently on the subject, then put the money where the mouth had very determinedly absconded.

A side note on Capers- hadn't even heard about the project till the Usagi reissue but am here ready and willing to agree with any sentiments that would place it a cut above. I forget the adjective used in the interview but the specificity of the endeavor comes through loud and clear, if not - yet - inclining this listener to speak for any inherent er inherentness.
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« Reply #19 on: November 06, 2021, 03:28:38 PM »

Very good episode!

There is some ”oddities”, what may be caused that I still today relate to ”noise” in sort of overall umbrella term as opposed to lets say, pure harsh noise. There is a lot of things that I see differently, like the talk about ”recent uprise of noise CD’s”…  I usually conclude that yeah, it is great and I can see what people mean by it, but isn’t it something that all the post-industrial-noise labels in europe has been doing all the time, since CD was popularized? Like in Finland, you got FA, F&V, who always did CD’s. Even when CD's were supposedly ”uncool”, but always outsold vinyl and tape by numbers. You got Cold Spring, Tesco, OEC,… It seems as if the american pure noise scene dominates the discourse, while noise was being made by others all these years? Rest of the world, CD was always there? It never went away. Even in the years when people seem to think CD was as dead as CD (like say, 10+ years ago) can be, to me it seems like it was almost as golden years of noise CD's. One can check out how much stuff was reissued on Industrial Recollections for example. There was always demand for format and I kept recommending every label I was in touch to start making again. Especially the utmost classics being repressed. All this time, only thing what did not work out was the old style where you could put out anything, press 500-1000 and expect it to actually sell. Of course not. But edition of 200-300 noise CD's, flourished all this time if I look from my perspective and CD's were being made, also pure harsh noise.

People are definitely out there, listening, taking notes (maybe not literally but yes taking notes is probably a good way of putting it), appreciating and evaluating, constantly, or at least very regularly. The visible discourse has I suppose cheapened to an extent, which may in some cases curtail the occasional urge to vent on one platform or another but there are also the swings of the pendulum and the no less to be appraised sense that balance may be needed, here and there.

This mentioned "silence" was one reason why I stopped Special Interests magazine reviews. It felt annoying to be sometimes only guy, who’s word on some specific release would be permanently immortalized on paper. If album would get, say, 10 reviews, it would be no problem to give harsh subjective criticism or praise, yet if review is perhaps only existing long lasting document… it started to feel almost as baggage. Why I would have to be "authority" to comment it? hah.. It would be more interesting if there is dialogue about the album. If not in literal sense, but in form of multiple reviews, from multiple perspectives.

For several years, I had intentional goal, to try to keep a bit more distance, to try to not be too vocal about things I like, or dislike. In favor of, ehm… "giving space” to new voices, hah.... However, I do not think giving "space" is working out if very little happens. Zines? Reviews? Analysis? Many times it seems that if discussion about noise emerges, you can bet that it is often merely excuse for worried talk about sexism and fascism or some stoooopid nonsense, as opposed to honest and passionate interest in noise.

I am pretty sure, that WCN format is something what can vitalize noise discussion and be also more. Sparking also other things, hopefully. I would assume there would be plenty of potential and also covering different sides of of genre. Even if Nystrand gets almost into existential anguish about the state of noise at times, it is most of all positive and creative interview. Recommended also for those who may have no idea what is Capers or VMS Elit.
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« Reply #20 on: November 07, 2021, 12:43:28 AM »

existential anguish about the state of noise
Haha. I am quite happy with the state of noise, but as with all things dear and close to heart, I do get passionate about it, too.

As for the CD question, I threw out some thoughts off the cuff, and you’re certainly right there. The format was never gone, just not in style in my little corner of the scene.

Very glad people enjoyed the episode, and that it sparked some discussion! I certainly didn’t expect the response.

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« Reply #21 on: November 09, 2021, 10:45:30 AM »

almost existential anguish. That is good quality in man ;)
Showing that it is not "just noise", "who cares", but it is more.

In Capers piece, there was talk about lack of journalism. I think its not only journalism, but it feels that there is lack of communication in general? That several people have commented noticing how things are regressed more to emojis and pic posting. Perhaps something slightly connected to new episode, where is talk about "bandcamp culture" and so on.

Some years ago, I talked with some friends and mentioned that I will start to send feedback to people directly. Positive or negative. No matter do they want to hear it. hah. To give impression that it is not just a void, but there is a bit of resonation here. I feel it is absolutely positive. There is so much unused potential, but not sure if it will flourish if there is apathy and "who cares its just noise" -type attitude. In my opinion, it is not "just" noise.

3rd episode here:
https://www.youtube.com/watch?v=tBLYczO8NWg

Listened the "premiere", but did not watch the video. Just listened.
Right after hearing it I was trying to find my favorite Kjostad, ”Glacial Lake” CD, but could not find, so Heat Signature CD on WCN went on CD player.

I like what I hear on podcast, but also wonder if there further depth.. or focus that could be applied? Most of these guys have already such a vast ”careers” so to say, that focus on something particular could be useful. Everybody seemed to feel live noise is the crucial thing. So more focus on stories and reasons of touring could have been nice. Like what it actually gives. What has been good, what has been lame. There was some of that. Actually even good amount, but seems there could have been vastly more. I have talked to some guys who are utterly vocal about live shows. That there is so unique spirit when somewhat like-minded people meet face to face and this energy usually leads to things. Something other, something even life-altering things, not just "bandcamp friday". Even the existence of entire basement/livingroom touring thing. Something that just doesn't really exists here.

Anekdotes, the live culture differences of.. say fests vs basement/livingroom shows, what it really is what is the key driving motivation on live noise etc. Or some other particular topic that can be dealt slightly deeper, if having handful or core "themes" or "topics" instead of going through decades worth of "careers". There was good stuff there, no complaints. Only… suggestions.

One thing I mentioned already was the talk about downfall of noise about 10 years ago? I often hear people talk about it and I have commented that to me it seems a bit like US-centric view. Stefan Aune did comment that is the case. Talk was about the american local scenes, and situation there, not about noise globally.

It seems to me, that wide variety of noise scene remains often unnoticed. You look someone like Urashima single handedly doing more noise vinyl than you could ever afford to buy? Of course a lot of it tends to be reissues. Or the supposedly quiet times and from European perspective, there was so much stuff happening. For me easiest to see local, so it would be clear Finland would be kicking in the currently flourishing new era of noise. Vanhala and so on pushing things to next level in harsh noise. F&V putting out probably 20 titles a year. Not really pure harsh noise, but neither power electronics in the traditional sense. Just as few examples. I was so busy with shows and releases flooding in all day everyday, there didn’t seem to time to notice there would be ”slow time” with noise? Especially if talking about accepting less than pure harsh noise, the kind of wonky and bizarre stuff, it would probably make one wonder if slightly US-centric approach in noise is, what may prevent one seeing MAAA, Umpio, Purgist, Mutant Ape, or something like that churning noise blast…? My assumption is that usually slow times in noise is almost purely subjective experience and looking to what others are doing, one sees a lot.

I've heard people speculating things are somehow slowing down in Finland. Bizarre Uproar, Grunt, Sick Seed, Vanhala and such are not playing gigs and so on. Well, perhaps we are not, but there is dozens of new things, gigs happening all the time. Nothing is slowing down, it could probably require someone to: Write about it. Acknowledging something, it has some results.

It was this podcast above that made me listen Heat Signature CD. Deserved attention and deserved reissue. Full blast harsh noise from contemporary harsh head guys. They have the taste, and skills to do the saturated, blown-up, hard and active noise always on the move. 30 mins duration, something that will lure you to push play instantly when disc ends. I listened it actually 3 times in row. It made me want to check out more. Also some of the releases these guys talked about.
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« Reply #22 on: November 09, 2021, 02:11:54 PM »

Another good and interesting episode. I'm struck with how a lot of the answers given around the question of 'what bugs you about noise today?' - saturation, constant disposable release culture, impersonal approaches - were being said about the scene a good 10-15 years ago which, I suppose, is probably around about the era these guys (and myself) would be looking at when thinking about what has been lost or has changed since. Now it's bandcamp, URL links and funnily enough ltd to 20 tapes that immediately 'sell out' to the same group of friends whereas then it was the same issues but with CDR, forums and download blogs. It's no disagreement or criticism of anyone involved with this episode, just interesting how things looked then vs now and what is really different or really the same. I certainly think that what was criticised in the early/mid 2000s now looks to have a lot of the characteristics we think are missing today - at least in that it was a lot more discursive, had perhaps a comparatively high level of diversity in approaches compared to now and took place across a wider range of smaller platforms rather than just 2 or 3 dominant social media corporations. And sure enough, some of the older guard of that time would be vocal about how THAT stuff had diluted the scene they were familiar with. It's not a clean cut comparison by any measure but I think there is some truth to it. Proof as always that new things change how we look at the old as much as is true in reverse. Similarly, the essence of what makes stuff good/bad is probably always going to be the same no matter what.  

It definitely seems like there are some recurring themes popping up in each episode now. I suspect this is more to do with the shared interests and views that naturally happen among the kind of people Oskar is speaking to - they've clearly been in contact and bonding over similar ideas for a long time so it's unavoidable. But even so I wonder how much it might inform Oskar's spot on comment that noise is so small that once 2 people say the same thing it can be taken as some giant ideological feeling within the entire culture?! I'm sure the podcast will inform some of that but more positively I can see it hopefully becoming a catalyst for a slight increase in people feeling like it's worth them making an effort to produce something in their own image and vision.
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« Reply #23 on: November 09, 2021, 04:47:33 PM »

This will go off, again, but a word in for the bandcamps. If ever the beer flu taught me a thing it is that the car is the noiseperv's best friend. Something I've often missed cause bar aforesaid learnings I'm mostly on the train. But portable format plus wheels equals match made in harsh heavenly hades. Case in point this weekend with Barstool Mountain. No tape, yet, but. Five-minute ride home but, thirty plus minutes of digitally formatted sounds, equates to exceedingly scenic route exceedingly enhanced by exceedingly blown out strains, vaguely worried but actually no not really that the damn vehicle is a continuous thirty plus stretched nigh on sixty plus minute mobile epilepsy of kingdom f-f-fucked. Feels wrong feels like I need be shitfaced puking guts to properly indulge, but, car.

Can't wait for the tape but in all honesty 92.4% of tapes are 98.3% headphones. (Might need to recalculate, will get back to you.) On the plus, puking guts.

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« Reply #24 on: November 10, 2021, 09:46:52 AM »

It definitely seems like there are some recurring themes popping up in each episode now. I suspect this is more to do with the shared interests and views that naturally happen among the kind of people Oskar is speaking to

Based on 3 episodes, I don't know if can make yet conclusions, but while WCN may want to keep the scope to certain types of noise, there is great variety of locations. USA, Swe, Fin. I recall more Swedes were announced?

I think it would be great to hear Japanese, but I guess it might be language barrier why it isn't happening. This is something what I see related to "lack of journalism". We know the early Japanese noise fairly well, because first of all it was so great and also something new. But also because there were writing about it. Documentation of it. There would be nice photos. There would be stories of gigs. I recall back in 2005 when I was in Japan, Koji Tano was talking about first noise gig he went into. It was sort all all-starts japanese noise masters. Like dream come true for any noise fan. He concluded, audience was 6 persons, him included. Still some of these gigs are like noise folklore, that is conceptually immortalized in hundreds, if not thousands of peoples brain. Even if audience was, like CCCC told in old Bananafish interview "always the same 20 people". Guys like A.Hopkins pushing the information forward, magazines like Bananafish or Onkagu Otaku and so on pushing writing and visuals. Nobody could claim that M.S.B.R. lathe cut of 20 copies was insignificant because of tiny edition. There is some other quality than "edition of 20", what makes many contemporary items obsolete. MSBR lathe cut would be inspiring, regardless if you get it, have it, heard it.
There is new noise in Japan too. Is it good or great? Somehow inspiring? Well... who knows! I would assume it requires some catalyst to blossom.

There was comment by Swede, in noise playing now, about lack of new blood in swedish harsh noise scene. I think that there are actions that can make "scene" flourish. Just as described in WCN podcast #3 about dynamics of building the scene (so to say). For things to happen, a lot of things can be done that will increase to odds that random sparks will actually become something and not merely disappear in the void.
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« Reply #25 on: November 10, 2021, 03:52:32 PM »

Re: Japanese noise.

Oxen (label) seems to have a strong handle on that geography. "Live at Soup" 2CD compilation from 2020, for example. I get the impression the current crop of artists functionally center around live venues such as the aforementioned Soup.
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« Reply #26 on: November 10, 2021, 09:08:35 PM »

This mentioned "silence" was one reason why I stopped Special Interests magazine reviews. It felt annoying to be sometimes only guy, who’s word on some specific release would be permanently immortalized on paper...//...Why I would have to be "authority" to comment it?

That's a shame. I dont own a single issue of SI mag and dont intend to buy one. As a follower of your reviews on here, you're a top reviewer.

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« Reply #27 on: November 10, 2021, 10:52:11 PM »

Last episode is great, however for someone not that much versed into the American side of things a little introduction to the guests would have been nice! :)
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« Reply #28 on: November 10, 2021, 10:53:57 PM »

I think it would be great to hear Japanese, but I guess it might be language barrier why it isn't happening. This is something what I see related to "lack of journalism".

How are your video interviews going? Last one was ZSS, any follow up interviews planned?
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« Reply #29 on: November 11, 2021, 09:09:00 AM »

I think it would be great to hear Japanese, but I guess it might be language barrier why it isn't happening. This is something what I see related to "lack of journalism".

How are your video interviews going? Last one was ZSS, any follow up interviews planned?

There was Edge of Decay done after it. Video documentaries are good and there is one "under work" now.
Meanwhile bunch of Finnish language podcasts and ton of writing in Finnish. It has seemed that focus on "local" scene has been good thing to do, already language-wise allowing more depth, and they tend to have sort of "educational" purpose as well.
There is always plan of more of everything, but I paper zine SI#13 should be tweaked ready..

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