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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 81811 times)
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WCN
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« Reply #30 on: November 15, 2021, 02:25:30 PM »

Very much enjoyed the first two - do you plan to keep uploading them to Spotify? I do my “podcasting” on the commute to and from work and haven’t seen episode 3 there yet.

Yes, just had to get my money right but will be uploading them weekly from here on out. I'm uploading episode 3 with Stefan Aune+Brad Griggs+Luke Tandy right now and will be uploading the new episode with Tommy Carlsson of TRERIKSRÖSET today, shortly after the Youtube version airs at 18:00 CET.
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« Reply #31 on: November 15, 2021, 03:56:00 PM »

Can't wait for today's episode, that brief clip on Instagram showed what's bound to be a very interesting and exciting interview.
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« Reply #32 on: November 15, 2021, 09:13:43 PM »

Episode 4 with Tommy Carlsson of TRERIKSRÖSET out now!

https://www.youtube.com/results?search_query=white+centipede+noise+podcast
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« Reply #33 on: November 15, 2021, 09:28:01 PM »

Very much enjoyed the first two - do you plan to keep uploading them to Spotify? I do my “podcasting” on the commute to and from work and haven’t seen episode 3 there yet.

Yes, just had to get my money right but will be uploading them weekly from here on out. I'm uploading episode 3 with Stefan Aune+Brad Griggs+Luke Tandy right now and will be uploading the new episode with Tommy Carlsson of TRERIKSRÖSET today, shortly after the Youtube version airs at 18:00 CET.

Awesome - I know Spotify isn’t the “coolest” platform but it’s the only one I use. Much appreciated!
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FreakAnimalFinland
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« Reply #34 on: November 16, 2021, 10:24:09 AM »

Neat WCN episode with sir Tommy Carlsson. After podcast was playing his Heteronormally musik… LP. Always fierce and nasty. I had to check my tapes. I may be missing 1-3 misc tapes of Treriksröset, but I didn’t realize the debut tape 1st private edition was so rare? As that is what I got back then, I always assume it was the… hmm ”prevailing edition”. I have never seen the Hatband version.
 
Nice interview to listen. Funny moment about the gatekeepers. I tend to hear it from the newbies, who seem to approach the subject from negative perspective. Blaming guys who ran zines, distros, wrote reviews, organized shows as gatekeepers who somehow dictate the public taste and limit someones opportunities… pfff..  What a bitter nonsense. ”Gatekeepers”, are usually not preventing anyones success, merely doing their best to push things forward, often ungrateful job done of… obsessive habit or some sort? I wish more of that type of folks, rather than the ones who’ll by hurt by one bad review or blame lack of success on others. 

Tommy good example of being perfectly content just creating immortal harsh noise release, barely concerned of its ”success”.

Treriksröset on this Heteronormally musik för… LP - sound is hard to really put into ”category”. It doesn’t sound like many Swedish acts. It is no way like USA harsh noise, nor like Japanese harsh noise. It is nevertheless so pure harsh noise, that you can’t say there is that much experimental in it. It is not always maximum distortion orgy, but it is noisy in other ways. Instead of crisp, it is always dirty and somehow rusty, live sounding and I guess most often straight flat mono recording. Leaving some stuff in that some others would maybe edit out? Sort of 90’s feel. Just enough of letting sound to drift a bit, so the utmost harsh blast ripper parts will stand out.
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« Reply #35 on: November 16, 2021, 02:53:18 PM »

Dare I say it? Tommy is one sexy motherfucker.
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« Reply #36 on: November 16, 2021, 02:57:43 PM »

Well I am behind on these already... need to finish episode 2 and really interested to see/hear the Stefan Aune edition.  Hope you can keep the momentum up - no shame in slowing down though!
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« Reply #37 on: November 16, 2021, 05:11:32 PM »

After watching I don't think that 'gatekeeper' is really the right term for what either of them are talking about. It seems to me like another comment on the issue of discourse and how much/little it takes to have a single opinion become the larger consensus within noise. There is still a reasonable conversation to be had about that. How much does the good/bad/popular/unpopular in noise get defined by social factors. But yeah, I don't think it's something anyone should be getting to bothered by, not if they're capable of adult thought anyway. Conversely, how often does anyone here genuinely hear the complaint that the big shots are actively denying the newbies their opportunities? I don't see it but perhaps I'm just lucky not to be exposed to it.

It was only a very brief mention but I'd have liked to hear a bit more about TC's issue with govt. funded gigs. He didn't go into it enough for me to understand what his misgivings were around them but I'd be curious to know. You don't need to think too hard about which organisations he's likely talking and, in comparison to the UK at least, these places are quite incredible propositions for those interested in abstract or avant garde sound, about so I wonder if it's specific issues with them? the related artists? or a wider ideological issue with public money being used to fund the stuff?!
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« Reply #38 on: November 16, 2021, 07:25:08 PM »

Conversely, how often does anyone here genuinely hear the complaint that the big shots are actively denying the newbies their opportunities? I don't see it but perhaps I'm just lucky not to be exposed to it.

Formerly, it would be zine editors who won’t include X, but would include Y. Distributors who refused to carry X but carry Y. Gig organizers who never gives ”you” chance but seemingly everybody else. I get to hear enough about elitism, gatekeeping and such. If not gatekeeping, it’ll be related concepts of ”scene influencers” or ”scene police”, hah..  Even original DIY culture was the solution against gatekeepers. I think concept of gatekeeping became nearly obsolete by the time internet was popularized.

I think SI forum is good example. As long as one is not annoying cunt,  it is open forum where anything noise related goes and any voice has possibility. From private persons, to DIY to official companies. All gates are open, just things interest people in varied amount and for ”success” or ”attention”, years of hard work doing interesting stuff may eventually result that every release one makes is not like starting over from zero.
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« Reply #39 on: November 16, 2021, 08:19:07 PM »

Great ep, love his perspective on playing live; "it's trench warfare". First I heard of his contact mic on the penis trick....don't think I'll be pulling that one off any time soon.

With regards to gatekeeping, I think it's a word that's gone on to mean "things I perceive are dominating the conversation"; that is, due to the nature of social media algorithms, fans of the genre find themselves exposed to the artists/labels/distros which also engage in social media, thus creating a false sense of perceived authority, which breeds resentment.

Here's a hypothetical:
Label X is prolific, and has "high engagement", and posts a lot on instagram. Fan Y sees their posts more than other, less prolific posters. Fan Y begins to feel that Label X is dominating the conversation in a way that could be perceived as "gatekeeping" when in fact it's the algorithm that's driving this resentment.

When there isn't an active environment of information sharing in the genre, people default to social media, and the result is a distorted view of reality. Basically, we need more zines, more podcasts, more live shows, more active forum posters, and generally a larger landscape of critique, info sharing, and documentation. Is anyone even capable of gatekeeping? Just zuckerberg and his AI legions at this point I think..
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« Reply #40 on: November 16, 2021, 08:22:37 PM »

Formerly, it would be zine editors who won’t include X, but would include Y. Distributors who refused to carry X but carry Y. Gig organizers who never gives ”you” chance but seemingly everybody else. I get to hear enough about elitism, gatekeeping and such. If not gatekeeping, it’ll be related concepts of ”scene influencers” or ”scene police”, hah..  Even original DIY culture was the solution against gatekeepers. I think concept of gatekeeping became nearly obsolete by the time internet was popularized.

Well, we are talking about two different things then. Gatekeeping i.e. a person actively guarding or preventing someone else from 'progression' within whatever scene they have the dubious honour of being an 'influencer' in...probably doesn't ever really happen.

Certain people who organise labels/shows/distro/zines having their preferences and maybe being less willing to bring new people into those preferences? well this certainly happens. In most cases it's inevitable and sure, the result of years worth of involvement with particular stuff. And why should someone have to disobey their own tastes for the sake of being more open to things if everything they do is out of their own pocket and time and energy? I guess it only becomes a problem when the persons at the, ummm, top of the table start acting like embarrassing dicks about those preferences or feel that their particular approach to producing unpopular extreme sounds makes them important outside of that highly limited context. We've definitely all seen this too. Even from some of the heavy lifters! I probably don't need to give examples but I have a great many under my belt which are hilarious and pitiful in equal measure. Those things are social problems though and the answer should always be to laugh, move on, do your own thing, find more meaningful connections away from those people.

It's always the audience that should be held to a higher standard anyway. If fashionable views or taste making exists even in a world like noise it's only because there are people who are susceptible to having their tastes and opinions made for them. If you don't have the faculties to be able to tell when an album is underwhelming or amazing to your ears vs amazing to the ears of others or even, in many cases elsewhere in underground music, given to a low rate PR company who duly ensure the press release is ctrl+V'd into popular platforms...well...you get the quality you deserve.
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« Reply #41 on: November 16, 2021, 09:33:42 PM »

Talking about gatekeeping in such a DIY genre makes no sense to me, and i dont really have heard / read anyone complaining about that. Though i can imagine the type of person who would think like this, and i dont doubt they exist. "I have uploaded 10-20 releases on Bandcamp, i put the links everywhere i could, still i dont get feedback, the recognition i deserve." . Or maybe there is another type too, one with releases on known labels, that he still wants his name to be talked by those he percieves as 'gatekeepers' . In any case, anyone who complains about gatekeepers has to ask himself why he seeks someone else to promote him, why he seeks recognition. Even if it is just a personal 'innocent' wish, that he wants to be noticed by these he regards highly. - I think in the interview Tommy gave his perception on "No to new support" . You must do what you do for your own satisfaction, with no other intentions, without caring if your work will be liked by the 'public' .

Want 'fame' ? Go to a reality show ! - Want money ? Get a job !
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« Reply #42 on: November 18, 2021, 04:44:07 AM »

Everyone needs those Mania tapes that Tommy is doing. The dubs are amazing - crystal clear and LOUD.
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« Reply #43 on: November 18, 2021, 05:36:42 AM »

Everyone needs those Mania tapes that Tommy is doing. The dubs are amazing - crystal clear and LOUD.

I second that.
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« Reply #44 on: November 18, 2021, 09:48:55 PM »

I only watched a part of the first episode with Haare and I´ve enjoyed it. Will watch the new ones as well, good work!
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