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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 81817 times)
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Duncan
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« Reply #150 on: January 12, 2022, 03:49:11 PM »

Body Carve episode was enjoyable even though I had next to zero awareness of his work prior to listening. I liked the way he described certain decisions that went into the project to actively avoid certain techniques or sound palettes in order to make his own kind of ideal version of what noise should sound like. Since we're now in a time where we can hear more and more about what an artist does to achieve their sound it can be equally interesting hear what they have opted NOT to do on a purely technical level.

I enjoyed his take on the medical/gross imagery as a kind of extension of his work in science but also his role as a parent who can contextualise these biological...happenings...with his own kid/s. It gave the impression of his exploring this morbid, grizzly stuff from a somewhat anxious or even concerned (??) perspective as opposed to a purely objective or vicious one. Finally, I REALLY connected with his statement that his life has always been filled with different aspects of his psyche and interest which had to be reconciled with more plain, adult parts. Not that noise is overly filled with strong characters leading crazy lives but I've always enjoyed affirmations that this highly niche and bizarre music would be privately enthused over by seemingly quite normal people. On the Troniks board once I saw some tongue in cheek phrase to the effect of 'noise musicians don't live as artists, they're all office clerks'. I'm paraphrasing. But I was drawn to this notion and still appreciate the idea that 80%+ of the frenzied noise/weird music people I know probably go about their daily lives entirely undetected and giving off no sense at all that they would be locked into such a strange and often distasteful world!

One incredibly small suggestion or request I'd make of the podcast going forward is that Oskar might consider adding a track ID (hah!) of the artist's music which gets played at the start of each episode in the vid description? Not an overly important detail but good for those times when the artist is less familiar to the viewer and would like to investigate based even on that short sample.
« Last Edit: January 12, 2022, 03:51:19 PM by Duncan » Logged
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« Reply #151 on: January 12, 2022, 05:46:45 PM »

One incredibly small suggestion or request I'd make of the podcast going forward is that Oskar might consider adding a track ID (hah!) of the artist's music which gets played at the start of each episode in the vid description? Not an overly important detail but good for those times when the artist is less familiar to the viewer and would like to investigate based even on that short sample.

I agree! Great selections at the start of the videos and for new listeners it'd be great to know what's playing

Enjoyed this week's episode as I enjoyed all of them since the first. Keep up the great work Oskar.
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« Reply #152 on: January 13, 2022, 02:54:17 PM »

I only got halfway through the Body Carve interview on my drive into work this morning but that story about how Guts in Red Plastic was recorded had me HOWLING. Great work!
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« Reply #153 on: January 13, 2022, 07:10:47 PM »


I heard a rumor that Worth was once on Judge Judy? Is it true? If so, can anyone find the footage online?
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« Reply #154 on: January 17, 2022, 02:28:22 AM »

Tomorrow, the interview with Kate Rissiek of RUSALKA will air at 18:00 CET. Until then, there's a new private episode of Noise On The Run out now for Patreon supporters, where I ramble about "broken" sounding harsh noise. This topic was suggested by a supporter, and I am taking questions and suggestions for future episodes from Patreon supporters. I am also starting to offer the opportunity for supporters to submit questions for me to ask my guests!

https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise

One incredibly small suggestion or request I'd make of the podcast going forward is that Oskar might consider adding a track ID (hah!) of the artist's music which gets played at the start of each episode in the vid description? Not an overly important detail but good for those times when the artist is less familiar to the viewer and would like to investigate based even on that short sample.

I agree! Great selections at the start of the videos and for new listeners it'd be great to know what's playing

Enjoyed this week's episode as I enjoyed all of them since the first. Keep up the great work Oskar.

I'll be adding a track ID into the video description from here on out, and if I find the time, I might go back and enter them in previous videos.


I heard a rumor that Worth was once on Judge Judy? Is it true? If so, can anyone find the footage online?

It is indeed true, and it used to be findable on YouTube, but I searched high and low around the time of our interview and could not find it. Will said he didn't have it and it would be a hassle to get it from the person who does, so we left it. It is a top notch noise relic though, so I hope it resurfaces someday.
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« Reply #155 on: January 17, 2022, 07:47:57 PM »

Episode 12 with Kate Rissiek of RUSALKA out now!

https://youtu.be/tBTS2cjOv8I
https://youtu.be/tBTS2cjOv8I
https://youtu.be/tBTS2cjOv8I
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Soloman Tump
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« Reply #156 on: January 18, 2022, 12:34:43 AM »

I am so far behind on these podcasts.  I applaud your quick fire turnaround.

Definitely going to listen to WORTH and RUSALKA (at some point)
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« Reply #157 on: January 18, 2022, 06:10:41 PM »


Good interview. Never seen Rusalka live. Once took a bus ride, about 600km one way, to north of Finland, just to find out gig was cancelled, haha.. Well, there was other things happening, so no problem.

There was a bit talk about Hydrophones. They may seems odd for those who never thought or heard of them, but are very common and cheap microphones. I have seen at least SMALL CRUEL PARTY use them in live sets, where he would use it for recording little stones under water, test tubes with bubbles and whatever. I think regular contact mic works, when it is waterproof.

The real deal:

https://ambient.de/en/product/asf-2-mkii-hydrophone/


« Last Edit: January 21, 2022, 06:09:53 PM by FreakAnimalFinland » Logged

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« Reply #158 on: January 24, 2022, 10:02:15 PM »

Episode 13 with Vilho Koivisto of APRAPAT and THE NEW BOYFRIENDS out now!

https://youtu.be/6ucQGIEUVfI
https://youtu.be/6ucQGIEUVfI
https://youtu.be/6ucQGIEUVfI
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« Reply #159 on: January 24, 2022, 10:15:47 PM »

I was just about to link it..
Good episode, once again!

There is some talk in it, how big currently blossoming noise could be or how long, below things calm down. I don't think darker visuals or topics have much to do with it (as to enjoy noise may require mentality that you can check things fairly open mindedly), but overall impression I have, is that noise has never really tested its potential. All former era when noise "boomed", was kind of pre-internet, or pre-social media. Pre-streaming services. And so on. It had very limited means of reaching people. Especially for smaller labels or artists.

This could be first time in history, that there are pretty easy access (and affordable) platforms, means of communication, distribution and so on. One certainly battles of peoples attention. But theretically, there is entirely different level of possibilities to expand reach of noise, and one can't really estimate how far it can go. The new guy hearing noise first time today, may be the one sparking up local scene somewhere where it didn't exist.

I have often mentioned to new labels or artists, that why stop at 50 tapes, if you can move 100. If you can move 100, why not next time 150? Eventually, when bunch of people got enough, and the bigger hunger is over, it is vastly better to lose half of your thousand followers, than half of you 20 followers... heh... I don't think it is about trying to become popular, or successful, but creation of foundations where this artform could perhaps go further. In way or another.
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« Reply #160 on: February 01, 2022, 12:48:35 PM »

https://www.youtube.com/watch?v=_jwuF1Ty_ZE

Quote
Nice chat with good friend and Canadian harsh noise veteran Nick Wainwright of TASKMASTER on his background and thoughts on a number of issues.


Really funny story of Swedish power electronics guy in Yale!
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« Reply #161 on: February 05, 2022, 02:43:15 PM »

Good talk with Koufar, I like his synthesizer sounds but what usually fails for me are his vocals. Would love to hear an instrumental album from him (or something without shouting). Nice to hear someone with different vision and approach.

Also don't be afraid to go all out on gear talk :D esp. with synthesizers and modulars, good stuff.
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« Reply #162 on: February 07, 2022, 07:22:16 PM »

New episode with Taylor Geddes of SCREAM & WRITHE, ABSURD EXPOSITION and PRIMITIVE ISOLATION TACTICS out now!!!

https://youtu.be/EC_Ne1TRFRI
https://youtu.be/EC_Ne1TRFRI
https://youtu.be/EC_Ne1TRFRI
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« Reply #163 on: February 08, 2022, 09:58:13 AM »

I don't know how interesting the "noise biz" are for listeners in general, but perhaps in noise where most people are somehow selling or trading their stuff, it is quite interesting topic. For me certainly is interesting. What I generally have observed, most people tend to assume that other people sell more, and they don't. Or expect that stuff should just fly out of shelves. When talking of numbers, I guess in episode wasn't talked about exact numbers. I would assume vast majority of noise falls between 50-300? To press 500 these days requires more trust to demand. In any format, I guess? Doing 1000 copies of noise/PE release, that probably indicates its unlikely there would be so many bands or labels selling more? I would be curious to hear the numbers if someone is actually pressing more than 500 copies of album in 2020->

I think more distros would not hurt a bit. I think there is HUGE wasted potential noise crowd, who would buy stuff, if these is "local" supply, by dealer who they like to buy from. Anyone can probably remember recent case from their own, where looking at announcement of release, thinking "I'd buy that if it was available here".

Even as simple as listening Jason Crumer episode from WCN podcast, and I was thinking I should get these new JC albums. But ordering single album from american label? Not going to happen. If it was available from some Finnish dealer (say, Kaos Kontrol, Satatuhatta,..), I could buy it. So question is not so much about if album is good, does one want it, but where it can be bought and what it might cost. Fact is, that most people don't have the luxury of "I'll pay what it costs" -attitude. As there is no shortage of good noise, you just buy something else.

That album is available somewhere, is not "distribution". It is just centralized sale. Distribution, by definition, would be shared out among a group or spread over an area. To enable scene, that there could be almost random guy, who'll be browsing distro table at noise gig and grab something. Or quite small social circles, when someone can say to 5 friends that I got bunch of these phenomenal noise CDs, you want some? Not even needing to do writeup's, just tell to friend you know this is right up your alley. Perhaps even record stores having it on shelves so guys who don't even know what they are looking after, might grab it. I do not think abundance of distributors necessarily compete with eachother. They do in platforms like discogs. But if you have your own network, that is actively communicated with, I am confident, that one doesn't have to compete about same international die-hard collectors, but enable entirely new local noise crowd to emerge.  I'm 100% sure, most guys would grab bunch of noise tapes for 7 euros, on monthly basis, even if they have been formerly firmly opposed to buying them. If that meant... 20-30usd ppd a pop from overseas? I am confused, if someone would live in country, bigger than Finland (5 million people, entire country) and claim there absolute doesn't exist 5 guys willing to pay for great noise album?

I know this episode was recorded before Scream & Writhe opened his noise forum, so there is no talk about it. I'm sure most have heard by now, but if not, there is new noise forum opened, More smartphone friendly and pic upload possibility:
https://www.screamandwrithe.com/forum/index.php

Like with distribution, I feel more is better. Having handful of forums is good. Usually there is specific spirit or leaning and there emerges new users perhaps even new crowd who don't feel other forums are their taste for whatever reason. If momentum is there, good things can happen. Forum already now has starting discussions where would be plenty of substance to contribute. Excellent decision to start taking back noise from platforms of multination social media companies.


(I do not want to make SI more mobile-friendly, nor more picture oriented. Quite opposite. I prefer conditions what force people out of social media type climate. Also, the 90's style everything goes attitude: Incel brutes, funny hat experimentalists and HN t-shirt crowd all together, able to get along in somewhat same scene)

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« Reply #164 on: February 08, 2022, 05:36:58 PM »

I think more distros would not hurt a bit. I think there is HUGE wasted potential noise crowd, who would buy stuff, if these is "local" supply, by dealer who they like to buy from. Anyone can probably remember recent case from their own, where looking at announcement of release, thinking "I'd buy that if it was available here".

I would agree. I think maybe my comments were a bit contradictory in the sense that I was trying to talk about a distro's potential importance in helping foster a local scene at the same time as trying to say why I think there should be less to some degree. I think I cleared it up a bit later in the interview, but when speaking of less I was referring to regions that might have a several very similar distros (specifically the US where it costs the same to ship anywhere within the country) and when all the copies of a short-run release get sent to these places*, what does that really mean if it's all kept within the same "market"? I think that is less of an issue these days as there are less distros in the US but even for example I was surprised when, almost immediately after the interview was recorded a few weeks ago, another Finnish label wrote me for a trade and ended up taking a fair amount of stuff. The surprise came from the fact that Freak Animal and Satatuhatta already have copies of these releases readily on hand, so I was wrongly convinced that the region had been "covered". That definitely shone some light and if the interview had been recorded after that exchange my answer probably would have changed to reflect that new insight.

*The other counter to that then is, yes, if 50-100 copies are selling out quickly and getting eaten up by distros - why not make more? I do think more everything is probably the right answer.
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