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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 81831 times)
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« Reply #285 on: August 16, 2022, 11:24:58 AM »

Really funny episode! My favorite moment is when Roemer starts to blast old-lady sex noise from amplifier and Oskar looks amused, but as it keeps continuing, there is certain expression of awkwardness being detected, haha...  And that might be also something to consider when doing content for Youtube. Not long ago friend of my got video removed very very quickly, even if there was no explicit footage, just audio that can be detected as XXX rated by fairly clumsy automatic sound detectors.

As far as I know, mr. Morris of Trash Ritual label, it wasn't that many years ago when he was still lurking at discogs, and buying few things. I suppose guy with family and serious job, it is tough to run label or make some sort of MSNP 10xCD box set happen, but I am amazed how popular it is for labels to just disappear and leave artists hanging in uncertainty. I could drop several names of guys who hoarded deals, masters, and never made them, but never cancelled nor returned master tapes. The little honour there should be, would be just admit artists I can't do this, and should I return tapes or send them to someone else. That should be easy as fuck in this case, when Roemer has always the same address and returning something would be easy.

Back when this MSNP box was still theoretically happening, Industrial Recollections took steps back on few plans of MSNP reissues since Trash Ritual insisted they might end up in the box. Now the only Macro CD I'd like to reissue is the FA's cd, re-mastered from original tapes as the old CD was quiet and lame transfer, by yours truly, in times when computer technology was still pretty new and far less advanced..
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« Reply #286 on: August 22, 2022, 07:09:53 PM »

Out now! Ted Byrnes on White Centipede Noise Podcast!

https://youtu.be/d_5IoY-Z0dQ
https://youtu.be/d_5IoY-Z0dQ
https://youtu.be/d_5IoY-Z0dQ
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« Reply #287 on: August 23, 2022, 09:07:36 AM »

I am not very well familiar with Ted Byrnes. The usual thing, that I tend to remember band names, not the people. I suppose it is mentioned a bit later that he is also in Wood & Metal, and then its "aah, that project!".

This is something that I would suggest to any podcast as a little adjustment for the structure. Instead of starting with long slow beginning of "how did you get into noise", it might be better to start instantly with who are you, how do we know you (what you've been doing lately, new shit happening, things that usually are somewhere in the end when podcast is just wrapping up episode), whats the interesting stuff happening right now. 
I would say, this would make listener who has interest, but not all the knowledge, captured from the beginning. Otherwise, I would suspect, there is relevant question why would we be listening stories of someone highschool band etc?  It is luring idea to think people would know artists, but if having a bit of realism, it could be benefit to mention to people that is being interviewed that if possible, talk as if nobody knows anything. Especially about other artists and people. This is helpful for listener. Lets say you get to hear "Matt's new stuff always slays!". And I'm wondering... Matt? Who? Shoemaker?  Sam? Sam who? McKinley? Stoxen? etc. haha..    Couple advices/plans how to talk in interview is very much accepted to make it relatable for listener.

This notion of not needing to know, is dealt in the Ted Byrnes interview. Oskar explains that it could be baggage if everybody would need to be first going through entire history of noise, to be able to start to make some. One could make great noise without any knowledge how and who were making it decades ago. In a way, I fully agree. It is not mandatory approach to noise that it would be study and research. There are plenty of other ways and reasons to approach.

But there is also another angle to it. One time, I was talking with younger artist who was very enthusiastic about nudity and splattering red paint. It was treated like new idea. Something that just came out into field of performance art. I didn't want to mention that... well... in history of roughly this type of art... the nudity and the red paint, the blood and the fake blood kind of thing.. It may not be new. Haha.

It is same situation that when in interview is being talked that everybody used scrap metal, but there is so many possibilities. Discussion how you could use glass. Wood. Stones. etc. and I am thinking... hmmm... I mean, sure, metal junk is popular because of obvious qualities. Its trusted sound, resonance, durability, and so on. This is especially for live sets. Anyone who has seen glass-noise live sets, knows why sheet of metal is more functional, hah.
But talking of these other things as if they would be obscure rarity in noise, makes me wonder what kind of noise is being listened? It is not mandatory to get educated on all things happening or happened in realms of noise, but it is helpful in a way that instead of wondering how come nobody is using glass for making noise, you could make top-5 noise/y releases using glass? Or most wild live performances using glass? Or dive into best stone recordings. Probably have to just grab Stein: Interpretationen Eines Geologischen Materials Und Seiner Symbolik -comp on mr. Ochu's label to get started. As soon as you've gone that, there is options to proceed even for purely acoustic stone noise live shows and such... Are these all NOISE with capital letters? Maybe not the baseball cap wearing HN shirt shakebox harsh noise, but in realms of same wider scene nevertheless.

Anyways, episode is good and gets better all the time by the end. Percussive qualities of noise, that is something what interesting topic. Also Byrner saying that he dislikes the sounds that lasts more than a note. Not doing any long sounds with his work. That is quite unusual in era where endless drones, echoes and stretching seems vastly more popular. It would be quite interesting topic to discuss whether such approach is kind of more noisy? When it is abrupt, fractured, not really beats and grooves, but percussive elements lacking what is traditionally musical. We are not lacking substance to observe. You could grab bunch of late 80's Merzbow cult album, that are noise/noisy, but on level of ideas, they are percussion music. Storage for example. Ecobondage. There was other stuff where his main idea was study object percussion. Or lets say Finns, have often possibility to see Umpio starting harsh noise sets with experimental percussion  (example https://www.youtube.com/watch?v=e_DAwOwBo_8  just short clip from beginning).

Very much is appreciated the nod toward MANIA. Those who wonder why he is one of the masters in metal junk, I would say there is plenty to hear, but ALL AFTERMATH tape, that was the last of Mania and best. It makes one wonder what could have become of Mania if still after decades of using junk metal, really since the late 80's, he could come up with his best metal junk recordings? We talked back then that all FA Mania tapes should be collected into CD, as they well deserve it, but I just haven't got it done.  All of them are great, but All Aftermath would most certainly deserve to be remembered how artist can make their best stuff last and good reminder how talking about recent things and recommending recent releases can be good. Not just hunt for ancient noise..


But now that there was some talk about noise and other sound sources, any label who likes harsh noise and Jeph Jerman etc, could want to ask him or Ben Brucato about their collaboration project called ENTITIES. This was loud harsh noise, made out of wood. As far as I know, album never came out. There was talk that it could be on Freak Animal, but never got done for various reasons. It would be kind of waste to that project never get heard by anyone...  There was Brucato playing metal & wood on Jeph Jerman – The Bray Harp (on WCN), but this Entities project is something else.
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« Reply #288 on: August 23, 2022, 10:27:07 AM »

But now that there was some talk about noise and other sound sources, any label who likes harsh noise and Jeph Jerman etc, could want to ask him or Ben Brucato about their collaboration project called ENTITIES. This was loud harsh noise, made out of wood. As far as I know, album never came out. There was talk that it could be on Freak Animal, but never got done for various reasons. It would be kind of waste to that project never get heard by anyone...  There was Brucato playing metal & wood on Jeph Jerman – The Bray Harp (on WCN), but this Entities project is something else.

Now that several old goodies and archival treasures are being reissued/released it would be great to hear Entities as well! Jeph Jerman has been releasing quality stuff on many labels in the recent years so I would imagine I am not the only one who would be interested in this. So much great stuff out there all the time!
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« Reply #289 on: August 29, 2022, 09:55:18 PM »

Forgot to post here, but no standard podcast episode this week. We had the monthly video party instead which was great fun! I'll try to do it on a weekend next month, as some people have mentioned that's more fitting to their schedules.

Later this week, WCN TV is dropping its first batch of "Premium" content:


-Documentary of this past weekend's gig in Stockholm featuring ALFARMANIA, TRERIKSRÖSET, OCHU, HINGST and FEBERDRÖM organized by Johan of Ominous Recordings, featuring excerpts of the live performances, on-site interviews, and behind the scenes footage. Shot in 4K by Basia Napora.

-In-person interview with Love Rosenström of OCHU back stage before the show.

-In-person interview with Mats Alm of YOUNG HUSTLERS at an undisclosed location.

-Each performing artist's extended set.


This content will only be available to Maniac's Circle supporters of WCN Podcast.

https://www.patreon.com/whitecentipedenoise
« Last Edit: August 29, 2022, 10:29:30 PM by WCN » Logged

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« Reply #290 on: August 31, 2022, 04:37:04 PM »

Out now!

ALFARMANIA, TRERIKSRÖSET, OCHU, HINGST, FEBERDRÖM, YOUNG HUSTLERS - STHLM 26.8.22 (Patreon only)

Trailer: https://youtu.be/uirjlYa_Qjo
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« Reply #291 on: September 05, 2022, 06:10:20 PM »

OUT NOW!

Dean Fazzino of ROBERT FUCHS!

https://youtu.be/aFELTxpGOr0
https://youtu.be/aFELTxpGOr0
https://youtu.be/aFELTxpGOr0
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« Reply #292 on: September 06, 2022, 11:35:06 AM »

There are many good topics on the episode, but perhaps the slightly muddy sound and slowness of dialogue doesn't make topic fully blossom.
I suppose Oskar will have easy task to return back to many of the themes. I think the discussion about what is "label" is curious. I can easily admit being somehow stubbornly thinking label should have some specific qualities. If being publisher, but then... doesn't send out stuff and doesn't reply people trying to contact.. is that a "label"? If its logo on tape that barely exists? Answer is, of course, that yes it is a label. Just not the style of label I like the most.
At the same time, knowing it would be foolish to insist, that labels work in a ways, like record labels sometimes do. One can't expect there should be convenient store where place orders or wide distribution and such..   but still, for me the question what really is a "label" in context of noise is quite interesting one. I'm hoping one day there would be some sort of collective multi personnel episode where label bosses of different types would talk about how they run their thing and what kind of ideals they have, for themselves or for noise labels in general.
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« Reply #293 on: September 12, 2022, 06:13:32 PM »

Out now!

Greg of Dada Drumming / A FAIL ASSOCIATION!

https://youtu.be/J-LIQ16j0ME
https://youtu.be/J-LIQ16j0ME
https://youtu.be/J-LIQ16j0ME
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« Reply #294 on: September 13, 2022, 08:16:30 AM »

Excellent episode. Best of the recent ones, or should I say absolutely fantastic!
I like the enthusiasm as well as very firm ideas what it takes to run the label, and even aim higher with it.

There is this question should/could noise label pay artists and I suppose question is more important now than ever. When shipping things became so expensive, discogs turned pretty much garbage as far as I know, it seems unlikely that guys who may not be heavily involved in active scene, would somehow benefit from getting box of reissue 50 CD's? I see that there would be couple ways to look at benefit of paying artists. If it is a CD (or any format) that actually sells, then you can basically pay for example wholesale price of the item to artist in cash. In a way, just sell his copies behalf him. Perhaps pay little more now that you don't have to pay huge shipping of big box of stuff. If release ain't going to be realistically hot seller situation might be that you are passionate about it. So might just pay, regardless if it takes ages to recoup the costs. If you are not feeling passionate about it, then we got question why you're putting it out?

I fully realize not everybody simply have the budget to do such thing, extra few hundred may be real tight. Still wanting to do things. That's what underground is for. You'll be in contact with artists and with people you appreciate, and trying to advance and cultivate this art in ways that are possible.

Due the increasing costs, just recently one Finnish label decided to cancel agreed releases. As he had no webshop, relying on wholesale deals, and news of some distributors scaling down operations just resulted obvious decision. Of course you could do it just for fun. But is it even fair for artist? Put of release, then stash it to your storage. Not enough distributors who'll buy it, no possibility to do trades. Even personal trades getting too expensive. So honest decision to say artist it would be bad situation. Better to get label who can get your stuff out there.

I think many labels could spend few moments in thinking, that besides it may be fun time for you, what it is that you're doing. Dada Drumming has very focused idea what label is meant to do. He even appears to spend enough $$ that basically demands him to take it seriously. Sometimes that element is exactly what is needed. Like all the talk about respecting live artists and giving them money or buying food/drinks. It may be good for artists, but it may be good for gig itself. As soon as organizer invested money on it, what he may want back, he needs to do a bit of promotion. Even remind his friends we have this thing going. It benefits everybody that there suddenly is crowd of people, and not just 5 guys who noticed your "facebook event" or something. This entire "you get the door money" deal is lame, if it is there simply to create apathy. 

Label who just spend $$$ amount of money, may have motivation to recoup some of it. Actively try to get release into distribution around the world and so on. I think that is the real purpose of label these days, and separates good ones from the average. Is label committed to get stuff out there, and reach some new guys, new listeners. If he is just going to upload it on bandcamp with handful of followers and dub 20 tapes, where you really need label for? That's why it was absolutely inspiring to hear this Dada Drumming / A Fail Association interview when you got not only fairly long time noise head there, but also guy who clearly thought about what it really is to run label, or put on shows, etc.. 
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« Reply #295 on: September 19, 2022, 10:38:59 PM »

   Hi! In my opinion tha latest one is the best one of this "season". This episode shows totally new angle to whole these thing called scene. I so can feel this ladys experiences with records she cannot chose. Nowadays I can figure what my passion my could sound like. Now my days goes with massive ear damage +everything else... im happy when my ears can take much more than an album of Noise, every second I have some noise,..
But yeah,really nice way yo come close to sounds.
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« Reply #296 on: September 19, 2022, 11:37:24 PM »

   Hi! In my opinion tha latest one is the best one of this "season".

Thank you! I'm late to the punch, but...

OUT NOW! Episode 34 of White Centipede Noise Podcast with Kate DeVoe of NOISE WIDOW ZINE!!!

https://youtu.be/Yn7CDPnep7Q
https://youtu.be/Yn7CDPnep7Q
https://youtu.be/Yn7CDPnep7Q
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« Reply #297 on: September 21, 2022, 09:08:32 AM »

Good one! Actually, it was several years matter of joke among group of friends, how it would be different angle if there would be artists wife talking in the interview, hah...  Sarcastic remarks of.. all sorts of things.

I tried to order zines while ago from WCN store but at that moment they were sold out instantly. I know they are back now, but hoping now some copies would come to Finn distros eventually!

Discussion about not knowing too much what is happening or all the little details of genre, it is kind of old school. I remember even just handful of year ago, which is: Before discogs was popularized, that there used to be things like on noise forum people would collect information what was discography of some particular power electronics artists. You simply didn't have that info pretty much anywhere, and very few, if anyone, had the complete collection. When people started to do 'zines, I would guess fanzine is the better word. They most likely had merely couple years behind them and then doing what they can. I would suspect nobody would expect zine to be dictionary or history book, but personal reaction for mentioned persons situation. If you praise Anicca in review, without knowing what Noisembryo is, that's fine. I know I also often advocate knowing what some writes or says, but in terms of writing of noise, instead of history and context - just the gut feeling is probably more crucial. It would be better to know why YOU like it, not why it is generally appreciated.

The talk about need of zines being different.

When SI #1 came in 2009, we lived in quite different times. There was not really noise zines anymore. All the oldies, gone. New one, occasional one issue may have come here and there. At that moment, there was barely need to think that noise zine would have to be different. There was just need to be something. Pretty much anything. Now we have kind of luxurious situation, where people can be even critical to zines like "too many reviews". "Not again these type of bands". "I don't like the graphics". hah... Most of the time in noise history its been like "please, something!" and pretty much anything will do. When RRReport came out, level was that it was enough for Ron to send 3 questions. Who are you? What you do? How can people contact you?  And that was success. Lots of different kinds of noise zines, or zines that had some noise in them.

It would be really nice, to see how noise zines developed. What types of noise zines there has been, in what ways the zines are similar or different. And it seems that in such moment, suddenly something like Special Interests comes along, haha...  Sometimes unpleasant situation of having done research, knowing and wanting to share type of info and thinking that would be interesting. While people may not be interested in the obsolete nuggets of old info, but something that is now alive, happening, and also fun to get involved in. To find balance of both worlds, was one of goals of SI zine.

Waiting to get my hands on Noise Widow zines, as the interview was really fun.
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« Reply #298 on: September 21, 2022, 02:09:05 PM »

This was one of my favorite episodes yet! Kate has always had some of the best takes in every issue of Noise Widow, I'm anxiously awaiting the upcoming edition about Summer Scum VII. Her report on the fest is bound to be hilarious and informative haha.
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« Reply #299 on: September 21, 2022, 06:36:14 PM »


Great to hear people really like the episode with Kate. Obviously, I can highly recommend reading Noise Widow Zine. She was pretty diplomatic in this conversation, we've already talked about doing an AFTERBLAST soon where she can really let loose and be an asshole.

Also pardon the crosspost, but I'm offering an exclusive WCN T-shirt as a gift for Maniac's Circle Patreon supporters, and bomber jacket for HEAVY SPONSORS.
Details at https://www.patreon.com/whitecentipedenoise
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