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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 94038 times)
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FreakAnimalFinland
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« Reply #360 on: December 06, 2022, 10:08:05 AM »


Excellent. Die hard noise collectors are always satisfying to hear. One curious aspect that returns multiple times, is Jim urging people to "talk to eachother". As means of being involved in noise, not just some sort of external consumers. I certainly agree. I'm sure some people do not like getting feedback or getting email from people, but generally it seems that this is what most people see as one of biggest flaws of current noise culture. Releases that happen, but disappear in total void of silence. Amazing gigs, nobody talks of. Great new upcoming artists that very few comment. Many many years ago I made conscious decision to comment probably too many things. Writing reviews, talking of releases, writing gig reviews, contacting artists or podcast makers directly and write comment. I know it can be total punishment for someone, opening email and "...not again this guy!", haha.. But someone gotta do it.
There are the category of people who stand for "more noise, less talk", but I feel the opposite. There is endless amount of noise, but surprisingly little public talk. Of course you can always retreat into private chats and all that, but for sake of cumulating information and making a bit more long lasting foundation for something to grow, I feel public discussion in fandom of noise could be more vivid. Nothing to be shy of. Like have you ever seen anyone start topic BEST FUSTY CUNT tapes? You got label with 300+ releases, and people clearly buy them, and out of hundreds of people, where are the guys who feel irresistible urge to talk about their most insane Fusty Cunt tapes? There probably are, but I don't remember seeing.
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« Reply #361 on: December 06, 2022, 03:43:38 PM »

Salute to all those who make thoughtful comments and feedback on anything related to noise, over whatever platform it may be. I'll always love forums, cannot understand how people roll their eyes at "noise message boards." They're full of solid gold and should be revered.

On another note: please get in touch if you know a Japanese-English translator who could possibly help me do some interviews with Japanese artists. Preferably someone who does it professionally, not just someone who speaks some decent Japanese. Willing to pay fairly. I've had some leads that seems to have dried up, so even if we have been in contact about it previously, please hit me up again so we can revisit.

whitecentipedenoise@gmail.com
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« Reply #362 on: December 06, 2022, 07:48:00 PM »

Another really great episode. Jim's a solid dude and pretty easy to work with. His willingness to put out new or unknown acts is a sign of true dedication to noise. He took a chance on me by releasing one of my one-off side projects and I appreciate that.
I'm personally not a huge fan of over-the-top special packaging but it's cool to hear his passion for it. Also the tons of advice - a lot of good points made in this interview.

As a side note, Oskar - that release you had with the cassette wrapped around driftwood I'm pretty sure is from Xenojothsz: https://www.discogs.com/release/16575150-Xenojothsz-Naturaleza-Inmutable
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morbid_dyspepsia
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« Reply #363 on: December 07, 2022, 08:20:31 AM »

On another note: please get in touch if you know a Japanese-English translator who could possibly help me do some interviews with Japanese artists. Preferably someone who does it professionally, not just someone who speaks some decent Japanese. Willing to pay fairly. I've had some leads that seems to have dried up, so even if we have been in contact about it previously, please hit me up again so we can revisit.

whitecentipedenoise@gmail.com

Actually, on second thought you have asked this a few times - surely there is somebody out there in contact with a professional Japanese-English translator. Maybe someone in film, that works with subtitles, etc. I'd be willing to donate to the cause as I think it's important to show the global spectrum and history of noise.
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« Reply #364 on: December 07, 2022, 05:50:46 PM »

On another note: please get in touch if you know a Japanese-English translator who could possibly help me do some interviews with Japanese artists. Preferably someone who does it professionally, not just someone who speaks some decent Japanese. Willing to pay fairly. I've had some leads that seems to have dried up, so even if we have been in contact about it previously, please hit me up again so we can revisit.

whitecentipedenoise@gmail.com

Actually, on second thought you have asked this a few times - surely there is somebody out there in contact with a professional Japanese-English translator. Maybe someone in film, that works with subtitles, etc. I'd be willing to donate to the cause as I think it's important to show the global spectrum and history of noise.

Why not contact a university? They should have contact details for this purpose.

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« Reply #365 on: December 08, 2022, 12:42:39 AM »

Salute to all those who make thoughtful comments and feedback on anything related to noise, over whatever platform it may be. I'll always love forums, cannot understand how people roll their eyes at "noise message boards." They're full of solid gold and should be revered.

Exactly! forums like this are full of insight for people who are more or less new to noise. I'm pretty sure I literally read the whole forum before registering. The podcast is also really great, yet to listen to the newest episode but seems to be another lengthy one so lots of great listening for walking outside...
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« Reply #366 on: December 08, 2022, 12:50:56 AM »

On another note: please get in touch if you know a Japanese-English translator who could possibly help me do some interviews with Japanese artists. Preferably someone who does it professionally, not just someone who speaks some decent Japanese. Willing to pay fairly. I've had some leads that seems to have dried up, so even if we have been in contact about it previously, please hit me up again so we can revisit.

whitecentipedenoise@gmail.com

Actually, on second thought you have asked this a few times - surely there is somebody out there in contact with a professional Japanese-English translator. Maybe someone in film, that works with subtitles, etc. I'd be willing to donate to the cause as I think it's important to show the global spectrum and history of noise.

Why not contact a university? They should have contact details for this purpose.



Definitely an option, but it would be ideal to work with someone who already "gets it," and who might have connections or co-signs from people in the scene.
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« Reply #367 on: December 09, 2022, 10:09:12 AM »

I don't know if being aware of the Finn artist JUNKYARD SHAMAN. He has lived in Japan for handful of years. I doubt he is able to translator, but if looking for someone who could maybe be interested to be interviewed. It could interesting to hear his perspective on Japanese noise at this moment, while been living there, having projects with Japanese artists, playing shows and so on. New tape on Satatuhatta is brilliant, but also his former works are very much notable. So not exactly Japanese, but perhaps slightly unusual peek to Japanese current scene from eyes of western artist living there.
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« Reply #368 on: December 09, 2022, 10:19:00 AM »

There's also Kenny Sanderson, right
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« Reply #369 on: December 11, 2022, 03:46:54 AM »


Excellent. Die hard noise collectors are always satisfying to hear. One curious aspect that returns multiple times, is Jim urging people to "talk to eachother". As means of being involved in noise, not just some sort of external consumers. I certainly agree. I'm sure some people do not like getting feedback or getting email from people, but generally it seems that this is what most people see as one of biggest flaws of current noise culture. Releases that happen, but disappear in total void of silence. Amazing gigs, nobody talks of. Great new upcoming artists that very few comment. Many many years ago I made conscious decision to comment probably too many things. Writing reviews, talking of releases, writing gig reviews, contacting artists or podcast makers directly and write comment. I know it can be total punishment for someone, opening email and "...not again this guy!", haha.. But someone gotta do it.
There are the category of people who stand for "more noise, less talk", but I feel the opposite. There is endless amount of noise, but surprisingly little public talk. Of course you can always retreat into private chats and all that, but for sake of cumulating information and making a bit more long lasting foundation for something to grow, I feel public discussion in fandom of noise could be more vivid. Nothing to be shy of. Like have you ever seen anyone start topic BEST FUSTY CUNT tapes? You got label with 300+ releases, and people clearly buy them, and out of hundreds of people, where are the guys who feel irresistible urge to talk about their most insane Fusty Cunt tapes? There probably are, but I don't remember seeing.

I totally agree. I think that's why zines are still very important. And even this forum. People talk about new and old releases / artists and it's always interesting. In my opinion, it's very healthy to talk about noise and releases or shows because to me noise is 80 to 90% about feelings, and hearing what other people feel about a release you love, or about a show you missed, or about a record you made, is priceless. If we dont talk about it, no one will, because we are so few. Zines for example will last, you will be able to read an interview or a review and enjoy it in 15 years, while a story on instagram about a record is only good for a day. Everything in this society is done with a very short term view, and noise, or the underground in general maybe, should see it as a long term thing, in term of preservation of all these unique recordings and artworks, all these crazy packagings. With all these obsessive people out there! Share your collection, share your views on old and new tapes if you feel like it (I say this but I have a hard time doing it myself...). I dont think that the noise "scene" thing is important, as opposed to noise culture, with its past, its present, and its future. It's such an antisocial genre, filled with a lot of very odd characters, that it makes it something special that needs to be talked about.

And WCN podcasts are amazing for that! Thanks again Oskar, you rule!
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PTM Jim
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« Reply #370 on: December 11, 2022, 06:43:11 AM »

I dont think that the noise "scene" thing is important, as opposed to noise culture, with its past, its present, and its future.
This. 100% this. Kind of what I was stumbling around my words on why it isn't "music." It's CULTURE.
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« Reply #371 on: December 12, 2022, 07:02:03 PM »

Out now! Marcus LaBonte of CLOISTER RECORDINGS

https://youtu.be/AqOTH7HlfwU
https://youtu.be/AqOTH7HlfwU
https://youtu.be/AqOTH7HlfwU
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FreakAnimalFinland
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« Reply #372 on: December 13, 2022, 09:47:26 AM »

Interview takes quite a dark turn when going in detail to health problems. Or lets say, if it goes down to man actually dying and brought back to life, maybe "health problem" is understatement here.

I do not know when I first heard about Cloister, but it was already years. It was always praise, but like Oskar mentions label keeps kind of low key presence. I often just lumped it among those US labels that does good stuff, but do not seem to be available for reason or another. Like Finders or Breathing Problem or such US labels active same time. Which is untrue of course. Several releases I got other formats made by other labels and big part of the artists I have something on collection, just very very little of actual Cloister releases. Very brief contact with him happened just before the above mentioned incident and planned trade never happened. Hopefully one day, hah..

This is one element they discuss in podcast. LaBonte being passionate collector as well. You can always hear certain tone of excitement, when there is actual noise / industrial collector talking. There are people who have cumulated stuff, but there is difference for guys who also do not follow particular trends. You know now what types of releases would be neat to collect, but then going into talking about urge to keep carrying stuff like Apoptose despite it has no real demand at USA. And praising African Imperial Wizard and so on. Or confessing the kind of less admirable, yet obsessive habit of collecting multiple versions.  Was it up to 7 versions of specific Trepaneringsritualen title.. That element is very good in running label, when not only being excited of stuff you put out in deeper level and perhaps also being excited about stuff that other labels / artists are doing. They do touch the topic of some labels perhaps being more interested in signing easy and sellable artists, and just selling items. I don't know if there really is that many labels who would be most of all in it for money (as choice of genre would seem odd for that reason), but there certainly may be variation of degree label is part of overall passion to industrial/noise culture or perhaps something else.

Also his style of arranging shows is neat.

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« Reply #373 on: December 14, 2022, 01:10:12 AM »

I hope Prurient ends up on WCN sometime in the future. One can hope. The 2 episodes on noisextra with prurient were nice, but I think they just scratched the surface of the mere beginning. There's so much to Prurient and Dominick's side projects that I would love to learn more just about anything. Such a prominent figure in noise/PE overall. It's a shame that there isn't more interview material.
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« Reply #374 on: December 14, 2022, 02:51:58 PM »

Good one with Marcus. Luckily literally dying didn't turn him off death industrial, would suck if he changed the path of Cloister. We need labels with that profile. His excitement about his collection is really infectious too.
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