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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 81854 times)
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Zeno Marx
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« Reply #240 on: May 30, 2022, 08:29:16 PM »

listening to the youtube clip...

I've never heard of review for pay.  Amazing times.
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« Reply #241 on: May 30, 2022, 08:46:44 PM »

I've never heard of review for pay.

EDIT: The cases mentioned were not in the noise scene - I guess more of the EBM world?
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Zeno Marx
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« Reply #242 on: May 30, 2022, 09:02:38 PM »

I've never heard of review for pay.

What about a zine?
I've never heard of it at all.  Maybe something at the level of The Wire?  But even that would be surprising.  What do I know though?  I almost never leave the DIY circuit.
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« Reply #243 on: May 31, 2022, 08:12:52 AM »

I would assume that IF it would be possible, it could happen more.

For example metal music, it is very very common. There are basically couple ways. Either label/band needs to buy adspace to get covered in reviews. Or, in other hand, magazine or platform will flat out tell you the prices. I've been told popular youtube music reviewers will ask often fee from bands who benefit of given attention.

As small as the market area is, there are online metal media in Finland, who have fixed rates, how much it will cost to be reviewed and how much for interview. Their "journalists" have been known to approach bands in style of "your debut album is pretty interesting, I'd like to write about it, but...." and there is pricelist one needs to ponder would the publicity be worth it.
One more way is basically pay the promoter. You pay XXXusd for the "promo guy", who has the established connections to all sorts of magazines and online portals, and he'll prepare the starter pack for music-journalist-dummies, who'll then most of all cut & paste PR speech as "review" or "news" and post all your bandcamp and stream links. In some circles, it means that the PR guy is the guy who is associate & friend with a lot of guys anyways, so in theory you pay for one guy, who almost can guarantee that your reviews & news will then appear in all places he has foot between the door. You may not pay direct to media itself, but kind of one of guys in the system nevertheless.

None of this has to be really mainstream in usual sense of word. It works is surprisingly small scale music culture.
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« Reply #244 on: June 06, 2022, 06:19:38 PM »

OUT NOW! WCN Podcast with Sam Torrest of CRAWL OF TIME / KOUFAR / TERROR CELL UNIT

https://youtu.be/NrC49Dcz3dw
https://youtu.be/NrC49Dcz3dw
https://youtu.be/NrC49Dcz3dw

Don't forget, WCN Podcast is also available on all audio podcast platforms if that's your thing!
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« Reply #245 on: June 06, 2022, 08:36:48 PM »

Awesome episode, good touching on the current state of the industrial/PE scene being torn between remaining stagnant and tied to the same sound vs. people who want to push it forward into an evolving set of ideas.  Always good insight into the state of things, and I appreciate the shout-outs of my projects.  He's one of the people making the most interesting and forward thinking music right now, and I don't say that just with the bias of being a friend and collaborator. 
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« Reply #246 on: June 10, 2022, 08:15:17 PM »

Been for week out of finland, out of EU and wasn’t sure if youtube stream would cost a lot ot not, so waited wifi connections to listen this.

Good episode. It has a lot of things what one could catch for further discussion. Not only direct comment to Sam but like in podcats, people tend to be vague and no names or too direct details are being said…

Episode does have pretty good balance and laid back vibe. Sound decent, editing probably been easy with this. Also content. There is the personal stuff, but also art, gear and compositional process gets dealt with.

Oddity what I hear is the strange… kind of paradox of being kind of technically advanced, but then explaining the cluelessness of recording process itself. And settling on ”from mixer via usb to computer”. Generally, I do not like that type of sound. Or lets say, I do not prefer it. Been guity of digital line recordings many times, for sure. It is this odd habit that you know it will be sucky, but for reason or another it happens. In my case, mixer output to digital recorder. When listening the results, it sure was fast and easy, but it just quite ain’t what it was supposed to be and how it sounded like from blasting speakers… Next time, one knows few extra steps can and should be taken.

Sam tells about returning to some old tricks, tape loops etc.

I don’t really judge on digital and anaglue. I would guess most of my stuff, since 1995, been always about 50/50. I think it goes more into ear and taste.

Many times when people talk about advancing power electronics, and then I hear what is being done, I feel like we are talking about oil painting vs windows 95 paint. Sure, the latter was new. It was thing that some old master never used, but come on… haha. A lot of best gear, is kind of… not new or old, but… timeless? You can still today, use musique concrete and 60’s electro acoustic methods and sound futuristic and out there, while the 5-10 year old new power electronics sounds dated and old. 

When you are really at the core of expression, you got the personality and skill and most of all ear & taste to recognize both what you want, how to achieve it. To recognize what fraction of session makes that great 3 seconds loop that will sound fresh now, and in 10 years and can’t be recreated by anyone. That there ain’t a pedal, synth or settings that makes that sound, but just the creators ability to recognize something when it emerges.

When I look at what is happening with PE, I don’t see almost any old school PE out there. I see nobody doing Whitehouse, nobody doing Ramleh, nobody doing SJ. Musically or sonically. If there is, I’d like to see some names dropped, or won’t believe.
What I see is not genre what would be somehow wanting or willingly staying in past, as most of stuff sounds, at least in my years, that it sure as hell didn’t sound like this in the 90’s or early 00’s. I feel that thing is rather that it sounds so much of 2020!

What is the problem of sounding like 2020? Well, I guess most of all that putting some of the masterworks to your stereos, you have no idea when they were made. Clean, rugged, nasty, crystallic, whatever is the quality, unless you know, it could be any of last 4 decades. Then fast forward to big chunk of the 2020, it sounds like it is right now, with tech we have now, with mentality we have now. And that moment is most likely getting old way sooner than the timeless classic of 85, 95, 05….

I feel there are artists who are now doing things in PE what has not been done. It is most of all having their own personality there, not necessarily showing tricks, but doing albums that could not be confused to almost that exists before.

There is a lot one could comment, but one what stikes me funny as hell, is the ”hate feedback”. When worst examples are that someone blamed you as fake christians and other claimed your parents are buying your gear.. eh eh.. I thought PE was domain of old men, parents buying gear complain sounded so funny. 

Lots of other things, but I guess I’ll stop here. Its episode worth to listen and worth to comment too!
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« Reply #247 on: June 11, 2022, 01:53:50 AM »

I thought PE was domain of old men.

The comments have come that way for us because we started doing PE at a much younger age then what the average age 30+ was over a decade ago. We both started in our early twenties. Hence why people have made claims that "our parents buy our stuff".

But I remember when PE/Industrial was just fools +35. I remember Sam and I being the youngest performers at both United Forces Of Industrial fests we participated in too.
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« Reply #248 on: June 11, 2022, 02:04:58 AM »

i take old school PE be it from the 80' or 90' over any ''modern'' sounding PE why cause its sound simply better to me why get complex when you can go simple and be more effective less is way more striped down set up synth + vocal forever go back to amp to tape recording perfection no computer needed
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« Reply #249 on: June 11, 2022, 04:01:03 PM »

i don't know if this is what you're talking about mikko, but as far as i understand classic discussion among engineers with regards to analogue vs digital is, with analogue you have to get all parameters perfect before recording, ensuring that mic position and mixer eq, compressors etc. is on point, whereas with digital recording you get pretty shitty starting result and then "fix" it from there "in the box". i've heard pretty good results from both methods to be honest, but maybe you are only talking about line-in recording method. i would argue it could work, but soundwork on all grunt i heard has been really good, so of course the old school method is not to be taken lightly.
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« Reply #250 on: June 11, 2022, 06:31:07 PM »

Listened to the nightcore playback speed version (x1.5) at work this week. Really enjoyable conversation, Sam is a real standup person. In underground experimental music, you often run into people who really have their nose up their own ass in their self serious role as an ~artist~. Episode highlighted how Sam does take his craft seriously but is also very down to earth. The family stuff is always interesting to hear as well especially from an outsider perspective whose only exposure to that world is Gangland episodes and Blood In Blood Out. Commentary regarding the themes of Crawl of Time emphasize how refreshing it is to have a personal proximity and experience to the topic at hand vs. just being a distant study for a tape or whatever. I agree with this, but would like to add that another thing that makes it refreshing in regards to personal themes is that a lot of the time when people make personal experiences central to their work, I often wonder why should we care about your personal trauma, kinks, sex history or whatever. A lot of the personal themes just come off as mundane. However, this can't be said about Crawl of Time because these intense personal themes are intriguing and impactful especially when combined with the music/artwork.
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« Reply #251 on: June 11, 2022, 08:54:02 PM »

i don't know if this is what you're talking about mikko, but as far as i understand classic discussion among engineers with regards to analogue vs digital is, with analogue you have to get all parameters perfect before recording, ensuring that mic position and mixer eq, compressors etc. is on point, whereas with digital recording you get pretty shitty starting result and then "fix" it from there "in the box". i've heard pretty good results from both methods to be honest, but maybe you are only talking about line-in recording method. i would argue it could work, but soundwork on all grunt i heard has been really good, so of course the old school method is not to be taken lightly.

I beg to differ. A shitty take is a shitty take and there's only so much you can do with a computer, especially when you're not a professional engineer.
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« Reply #252 on: June 11, 2022, 09:52:01 PM »

No, it was not about that really.
Like I probably said several times, since early 00’s, none of my work is purely analogue. I was never analogue purist, and if you listen to my noise from mid 90’s, you’ll hear teenager getting hard on with (then fairly new) digital guitar multi-efx unit. Haha.

what I meant, is easily audible by listening handful of old noise items, and handful of new noise items. When there was no ”noise gear”, and nobody really knew how other people did their stuff, and there simply was not access for stuff, there was often something utterly unique in terms of … hmmm… Timbre? The color of the sound, the character, that has very little to do with composition, gear of sound creation, and more about process of recording.

Lets have examples, early Ramirez. Man did some of utterly magnificent harsh noise recordings with his grandmothers stereo set-up. some sort of tape-deck-turntable-tuner type of package deal, and he’d just hit rec on tape deck and you just can not replicate this sound.

The Haters works of old times. Man is using scrap metal, broken glass, sampled car crashes, etc, anything anyone can do, but pretty much nobody sounds like The Haters. Never.

You got entire genre of power electronics, with to this date, nobody sounding like Sutcliffe Jugend. Sure, there are bands with vocals, feedback and rugged keyboard tones. But that ain’t the SOUND, the timbre of SJ. I have listened every band ever praised to sound like old SJ, and I can tell, nobody sounds like it. I am not saying it would be impossible to sound like it, but first of all, there is no reason really, but also I am fairly confident many have no idea what is the element that makes bands sound like that.

Now, in digital era, of course bands can sound different. There is no question about it. But the fact remains, especially among people who are clueless about gear and who are just victims of having to settle on what is commonly available, commonly known to be ”recording method”, that you will end up with power electronics, that may have nice synth modulations, may have unusual theme, even somewhat personal angle on the songs, but then…. In the end, we have the situation as we have in almost any music today.

New art music of symphonic orchestra will sound … just like it does.
New metal music, that is known as ”well produced”, will sound basically the same, despite different music, you got the timbre and pallette that is what you get when you are recording on compiters, line-in, state of mind how music production of 2022 is.

I know some will say that you can do different things on computer. I know, and that’s what is the frustrating part of it. We know it can be done, but just about 9/10 promo recordings I receive sound like what I described before.

As clear example, look for Emil Beauliea ”Memories” CD. Play Shimpfluch track. My most loved modular synth patterns are there. But they key is not only the synth and it’s patch, but the timbre, the color of sound of recording. I have searched if there would be something like that, and only one I have ever heard, during decades of search, is fairly recently Kartio 2x tape that comes a bit close. Using modulars, but having excellent production what escapes this feeling as if you are not listening to piece of art, but someones synth tutorial video. The finest detail what often seems impossible to explain. I set next to a guy, explaon what is totally unbearable in some recording, and in bizarre way, in genre so focused on SOUND and its microscopic qualities, one you talk to doesn’t hear the thing you talk about. They hear it in ways of riffs, drum beats, melody patterns, synth oscillations etc… but not in the fine detail what is purely the SOUND itself what is most of all recording method.

This doesn’t mean it has to be lo-fi or rugged. One can listen Whitehouse ”New Britain” for example. I consider it high fidelity. Brilliant, fierce, and very very very hard to mimic, despite it seeminly would need wasp synth and vocals. There is this other quality, that often is understood more in noise, than in contemporary PE. I think.
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« Reply #253 on: June 13, 2022, 06:59:34 PM »

Out now on WCN TV - AFTERBLAST with Will Vangorder of WORTH

We follow up after his first interview, and he fills me in on what he's been up to lately. He also tells me about the time he ate a rattlesnake in the wild and used the skin years later to package a tape, as well as his legendary day in court on national TV, to name just a few topics we get into.

Only available on WCN TV for Patreon supporters. 5€ / month gets you access to this episode and much more exclusive WCN TV content - consider supporting now!

https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
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« Reply #254 on: June 13, 2022, 09:41:56 PM »

Nice interview. The animation perspective was real interesting as that’s what I do for my full time job, though never really thought of applying those fundamentals to making sounds… squash, stretch, and so on.  You touched briefly on that being a possible way to move noise/PE forward and I think you’re on to something there. Applying basics of one art form to another. might be something I’ll have to think on.
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