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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 41554 times)
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FreakAnimalFinland
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« Reply #90 on: December 22, 2021, 10:11:19 AM »

By now we're probably all aware of this and mostly in agreement but simply pointing to the fact that Masonna wasn't following a playbook back in the day, while totally accurate, is not enough of a summary or proposition now that we're several episodes into the podcast and pretty much every one has long sections of this kind of talk (which is a good thing!) While I'm sure everyone would agree they'd prefer to listen to artists with their own vision and healthy disregard of conventions, the fact remains that the relative vacuum that all this brilliant, creative early stuff was made in cannot exist anymore and artists today have a fundamentally different creative backdrop they have to work in.

There is old Bananafish magazine with Jojo Hiroshige interview in it, where Jojo says about Masonna, that it is basically Whitehouse copycat, and unless Masonna can re-invent his style, it won't be interesting for long time. Comment is of course a bit strange, when there is barely resemblance of the two, but one can also understand his logic.

I would say that also in what is called "golden era of noise", there was always lots of people who felt as if everybody is merely kicking dead horse. Like declarations of industrial music being dead, done already in 1983 industrial culture handbook. And that by mid 80's it was all reduced from revolutionary experimentation into a subculture & genre music.

( Edit: That said, of course I don't meant situation, motivations and conditions would be the "always the same". Of course now situation is vastly more supportive for producing commodities or replicating genre music than ever before. Nevertheless, I would say there are so many unique artists, that being supportive for them and being interested to discover what they do, can be rewarding. )

I think technology to create sound is perhaps more to blame, than strong influence. When noise was made with "what you got", it became different, even if you tried to be something in particular. Lets say, try to copy Whitehouse without synth and efx boxes. If all you got is microphone and sheet of metal and shortwave radio, it ain't gonna sound like Whitehouse.
Now when you got literally "noise gear" to make noise, I am not surprised that sub-genre mentality can flourish, when you have the means to replicate things exactly how they are done by others. You can buy exact same pedals as you know is used in your favorite HWN release and replicate that.
« Last Edit: December 22, 2021, 10:32:57 AM by FreakAnimalFinland » Logged

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« Reply #91 on: December 22, 2021, 10:06:44 PM »

About 80 minutes into the Crumer episode.  It could have been titled Contempt and Expectation. Neither are virtues.  Common and seem to recur in the episodes.  I can certainly relate.  Not that it needs pointing out, but expectations affect the audience as well.  Ruins many an experience.  Unnecessary baggage that seldom offers anything positive.  With all of life.  I was only familiar with him via Facedowninshit up to around 2002.  Missed everything until Ottoman Black.  Consider him one of the best of the 2000s.  Interesting take to have intentions for, and to be a part of, Americana.  In ways, a lofty goal and would appear to be a significant, and substantial, motivator.  When he was talking about working in the morning, it reminded me of something from a Philip Roth documentary.  Building a studio away from the main dwelling and treating it like a job.  Being at the studio at 8AM, writing all day, and going back to the main house for supper.  That some artists don't wait for inspiration.  They create the situation for productivity.

A lot to already unpack.  It could have been a 5-hour episode.
« Last Edit: December 22, 2021, 11:34:48 PM by Zeno Marx » Logged

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« Reply #92 on: December 23, 2021, 02:31:38 AM »

always dug crumer, enjoyed this interview a lot. Agreed RE: expectation and contempt; it's funny how we sometimes build these archetypes up in our head, but then whenever confronted by the reality of them we make an exception (well HE'S a cool metal dude, I don't like drone but HE's cool, etc.) so then what's the point really? Everyone's just out there doing their thing and stereotypes don't hold up under scrutiny. I did really like the point he made re: attempts to "academicize" noise by creating this european referencing lexicon but ignoring noises greater connection to an unbroken strain of American creativity. cool stuff
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« Reply #93 on: December 23, 2021, 02:41:49 AM »

Hello, my name is Diam Mati and I have a podcast called NOISE PEOPLE. If u would ever like to collaborate on an episode together, please DM me.

My podcast is linked here - https://youtu.be/8j0bn9fLT20 a
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« Reply #94 on: December 23, 2021, 11:08:09 AM »

...
That some artists don't wait for inspiration.  They create the situation for productivity.
...

There is a German music-magazine which has a standardized interview-format on the last page of every issue. And one of the questions is something like "Does the real artist wait for inspiration or just goes to work?". Which seems somehow connected to the quote above and which is a question I think about a lot.

Is is real desireably for an artist to be "productive" or produce a lot? What does that say about the art he/she creates? Is is an economical factor and mainly serves to secure his financial income or is it an honest expression of some inner-self?

Here in Germany there is a certain separation of "artists" with a formal training that do art as a job and "artists" that are self-trained or autodidacts and usually have a regular day job. The later ones are usually seen as of minor quality and are often locked out of certain galery spaces or performance rooms.

And then there are "pros" like for example Neil Young, who says that you cannot force being creative, the muse has to kiss you by her own will.

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« Reply #95 on: December 23, 2021, 02:36:40 PM »

It can be also matter of approach. Especially in context of noise. Some aim for album that is masterpiece. Others may aim to create a piece, that is part of the masterpiece, that is the whole body of work rather than one album.
Latter approach may offer the creative freedom. Next album does not have to objectively be better than previous, simply a path to new directions. When looking back, the album may suddenly make sense, even if it has no absolute memorable hit potential so to say. Those who want and have patience to dig deeper into entire discography, can appreciate CD as part of body of work, even when its not artists highlight. Just good and inspiring, nevertheless.

There's a lot of talk about this through-out history of art. I think simply being self aware, what is worth of other people time and attention is enough. Lots of people never complete things, but seek ways of making it better and better, to the point that any improvement has become obsolete long ago. Lots of people put out seemingly whatever. There is plenty of space between to be creative in free way.
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« Reply #96 on: December 27, 2021, 11:13:50 AM »

The podcast is FINALLY available via Apple Podcasts, if that’s your thing.

https://podcasts.apple.com/de/podcast/white-centipede-noise-podcast/id1591297508
https://podcasts.apple.com/de/podcast/white-centipede-noise-podcast/id1591297508
https://podcasts.apple.com/de/podcast/white-centipede-noise-podcast/id1591297508
« Last Edit: December 27, 2021, 11:16:45 AM by WCN » Logged

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« Reply #97 on: December 27, 2021, 03:59:40 PM »

Complete professional footage from both days of AMPLIFIED HUMANS FESTIVAL, featuring legendary performances from THE RITA, AARON DILLOWAY, KILLER BUG, PARANOID TIME and many many more now available through the WCN Podcast Patreon.

https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
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holy ghost
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« Reply #98 on: December 29, 2021, 04:50:42 AM »

Paranoid Time podcast was GREAT! Really enjoyed it. Like that’s my kind of noise interview, had some legit LOLs.

Also Apple Podcasts is my platform of choice so thank you.
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« Reply #99 on: December 30, 2021, 08:11:18 PM »

tried to check that crumer episode, but yt asks for my id or credit card.... what is this? is the video posted somewhere else alternatively?
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« Reply #100 on: December 30, 2021, 08:23:51 PM »

tried to check that crumer episode, but yt asks for my id or credit card.... what is this? is the video posted somewhere else alternatively?

It's because Crumer uses to much fucks in the video (no I'm not kidding)

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« Reply #101 on: December 30, 2021, 08:30:28 PM »

I would also assume that even displaying self titled CD cover briefly may be enough?
Several videos been removed. Grunt material that had classic torso statue used in collage. Grainy photo of old statue enough to be K18.
Couple Contortus videos were removed or turned K18 simply due moderately ”insensitive” track title.

I would no advice anyone to rely on one platform if they like to make thing working on long run. Even trying your best to keep it clean, so to say, these days it won’t be enough.
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« Reply #102 on: December 30, 2021, 08:49:39 PM »

From the USA and logged into youtube through google, just tried the Crumer, and it functions as it did.  No pay wall, warning, or anything unusual.  Youtube has always been funny about profanity, sexual content, etc when not logged in through some other means, needing some verification of being older than 18 years old to view.
« Last Edit: December 30, 2021, 08:51:44 PM by Zeno Marx » Logged

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« Reply #103 on: December 30, 2021, 10:25:30 PM »

For some videos, it depends where you are. A lot of things that are not visible in Germany, can be seen elsewere. Couple years ago, they started to suppress a lot of videos inside EU. Anything that could theoretically be considered ”hate speech”, and obviously automatic process and people filing complaints were putting tons of material there was barely differs from most of underground music. Video would be still there, but not accessible inside EU and many european countries. Not showing up in searches etc.
As usual, there is no way to get actual human to check your video or restore your deleted account if it was shut down forhaving one unacceptable live gig among hundreds other uploads.
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« Reply #104 on: December 31, 2021, 12:46:22 AM »

tried to check that crumer episode, but yt asks for my id or credit card.... what is this? is the video posted somewhere else alternatively?

Yeah, super lame. Sorry about that everyone. They said it was for “sex and nudity,” so maybe it was really the cover of self titled? There’s really nothing spicy or controversial said or shown otherwise, besides a fair amount of swearing, but I watch all kinds of videos with millions of views full of foul language on YouTube that don’t have age restrictions. I guess I’ll have to consider bleeping out cursing from here on out :-/ if anyone has any more tips or info on how they screen and how to avoid I’d definitely appreciate it.

I’ll look into re-uploading the Crumer episode soon. The audio version is available on podcast platforms with no identity scans.
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