WHITE CENTIPEDE NOISE PODCAST

Started by WCN, October 18, 2021, 11:45:20 PM

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FreakAnimalFinland

Good episode. Listened it at one session yesterday. Lots of hip hop things, but I'd guess amount of harsh noise/noise talk is equal or even more than normal episodes have, as this is so long. It didn't become too long at all,  if you ask me.

It is funny that it gets mentioned many times by Oskar how big clipping. is, but I was familiar with TATTERED SYNTAX and Anthracite, but I doubt I ever heard clipping. mentioned in my life.  When talking to friend, he mentioned it is one of those Wire approved noise bands. That is nice category to put it, I guess! And may explain why never heard of it.

While ago I had discussion about Cult Of Youth, and American friend considered them pretty big name, while I mentioned I have never had single person ask me their stuff, nor I have heard anyone to talk about them over here. While there is no shortage of sales, talk or appreciation for wide variety of eccentric neofolk -related stuff. I mentioned, I have no doubts they are relatively big and successful, but I don't know if "big" is right word for it?

Question would be interesting, is it possible to be "known"/"big" in such a scattered music culture as we have now and what does it mean? Ability to tour? Getting some press coverage? Sell slightly more units than random newbie? etc? If noise artist would get bigger, what kind of things it does cause, that having pretty much microscopic recognition doesn't cause? I would guess label perspective could be easy to ask. It might be difficult to find artists that somehow made "breakthrough" (in level of noise), as funny is it may sound? Got name, reached non-scene audience, put out stuff on music labels, noticed that people actually knows your work, perhaps pay big bucks for it, etc. etc.  How different it is from being 100 copies C-20 -category, and what reaching slightly bigger "success" would mean?
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
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HONOR_IS_KING!

Quote from: FreakAnimalFinland on November 10, 2022, 03:12:34 PM

Question would be interesting, is it possible to be "known"/"big" in such a scattered music culture as we have now and what does it mean? Ability to tour? Getting some press coverage? Sell slightly more units than random newbie? etc? If noise artist would get bigger, what kind of things it does cause, that having pretty much microscopic recognition doesn't cause? I would guess label perspective could be easy to ask. It might be difficult to find artists that somehow made "breakthrough" (in level of noise), as funny is it may sound? Got name, reached non-scene audience, put out stuff on music labels, noticed that people actually knows your work, perhaps pay big bucks for it, etc. etc.  How different it is from being 100 copies C-20 -category, and what reaching slightly bigger "success" would mean?


Yes it is possible to be known and big in all of it because God is War is proof of it. Especially after I did that tour with Full of Hell and Blood Incantation. Eventually TCU will too because we have a collaboration in the works with The Body and am planning one with World Peace. My label bought me my Makenoise Strega. I sold through all my artist copies of my LP on that tour with Full of Hell and had to buy more from the label. The label pressed 500 copies of my newest LP and the label is looking to reissued next year it because its looking to be sold out from the label by then.

Trust, don't be surprised when Crawl of Time goes this route too.

It's very different in terms of the shows which will have people in the audience and the money, other then that performing is still just performing as always.
KOUFAR x TERROR CELL UNIT
https://soundcloud.com/crimesofthecrown

PSALM 109

Theodore

Big in what audience ? In any genre, noise as well, one could only be as big as the audience of the genre is. A 'noise' band big in pop audience ? Sorry, something is not going well ... A noise guy doing something else, ofcource he can be big / known / famous if he is good at this, either that be other kind of music or his profession, whatever.
"ἀθάνατοι θνητοί, θνητοὶ ἀθάνατοι, ζῶντες τὸν ἐκείνων θάνατον, τὸν δὲ ἐκείνων βίον τεθνεῶτες"

FreakAnimalFinland

#333
Well, this is what I mean, question being: What it really means to be big? It is not unreasonable to think that band/artist could do most of these things mentioned above without being "known" or "big". Merely being good may be enough and suddenly 500 units of album may sell, and gig offers coming in, etc. while being largely unknown and small artist firmly standing in corner of niche scene.

My speculative evaluation would be like Merzbow, as obvious example, could go to Helsinki, Riga, Prague, Berlin, Hong Kong, Pittsburgh and his work or name would be known to some extent. Pull crowd, awake media etc.  Something that is beyond the bands who are merely known in context of noise, or happened to get good warm-up slot.  

As successful as God Of War would be, and even when being right there at top of contemporary noise foodchain, I have my doubts if being at venue of mentioned cities, would there be audience who are aware of any releases? This is certainly valid for my own works. Despite several albums have sold 1000 or so, it seems obvious that beyond fairly narrow genre and geographic frame, nobody else knows any of it. Out of mentioned cities, maybe Helsinki would have more than couple or handful of people aware of existence of project(s).

So what really separates the "big" and "small" noise? If difference is article on non-noise magazine or album selling twice as much as newbie did with debut album, difference seems almost nonexistent. I would assume one way to really be "well known" is being able to pull local crowd without headliner in many different countries and cities? That would be interesting to know what is that type of "big noise" in 2022. Now that I think, actually Puce Mary, Pharmakon, perhaps Prurient too, was something that they could do it. Just curious if I can be totally clueless about clipping. maybe there is other contemporary big noise, that I just didn't think about.


E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

Theodore

People want to be 'in' , people want to pretend that they know things, about a lot. Well, these are the names the average people interested in 'things' knows when the genre 'noise' is mentioned. And yes they might go see them when playing in the city even though they dont care about noise really. They may buy their album too to put it in their small collection that is consisted of a little of everything. - But why they know them and not others ? Good question. Obviously they are good enough. But many others are good too, even better. Maybe it's matter of they are more active, they care more about 'music career' , they have better PR, even manager ? Dont know.

Merzbow is the absolute token of noise. Just like a non metal guy may go to an Iron Maiden concert, the same way they go to Merzbow.
"ἀθάνατοι θνητοί, θνητοὶ ἀθάνατοι, ζῶντες τὸν ἐκείνων θάνατον, τὸν δὲ ἐκείνων βίον τεθνεῶτες"

WCN

Not really chiming in on the topic in general, but I think it's worth specifying here that clipping. is not a "noise" project at all - they are are a hip hop group. When you listen to their music, it sounds clearly like hip-hop music - albeit incorporating elements of harsh noise, industrial, experimental music etc. in the production, but it could not be mistaken for "noise". In this context, they really are "big", in that they have a fanbase of tens of thousands that loves them for being a hip-hop group and have probably very little knowledge and/or interest in noise music.
Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

Haha, yes, well, the friend who said one those Wire approved noise bands. continues in next sentence saying "so, not really noise at all".

When reading for example Noise Widow, you get quite many remarks .. was it about guys with beards coming to talk and ask if you know Pharmakon....  It is kind of side effect of some sort of success, I guess. I do not know any noise heads - besides myself - who actually has Pharmakon records. In NW magazine, ways it is used, it seems like synonym of stuff, that non-noise people can apprecite and think they are listening noise, while harsh noise people don't see it has anything in common with Noise with capital N. 

This is along questions that feel interesting. Could the real deal harsh noise become "big" anymore. Is it only  possible for genre originators, and some sort of alternative music flirting with noisy sounds,  and kind of out of reach for any new actual noise?
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

-NRRRRK-

Quote from: FreakAnimalFinland on November 10, 2022, 11:17:24 PM
Could the real deal harsh noise become "big" anymore?

I ask myself why and/or if it should strive to get "big"? What for? Economic success is nothing that I associate with Noise. And I cannot see it as a goal anyway. Even though we live in a world that makes it pretty much impossible to avoid living in capitalist structures, Noise relies on them very little. Releases are done in super small editions with extensive packaging and still sold for reasonable price that makes break-even almost impossible. There is only minimum "advertising". Labels work in a very different way than "real" music-labels. There is no need for the faux-professionalism that we see in parts of the extreme-metal and hardcore scenes, where music is more of a career-choice than an expression of the artist self and which pretty much kills the vibe that made the scene in the first place.

Enough art is created while keeping economics and commercial exploitability in mind already. The educational system is shitting out new "artists" non-stop. Rather keep Noise underground and exciting.

Bloated Slutbag

Wait. And sorry for derailing the thread. But Dr Hutson wrote about fucking While You Were Out for his fucking PhD dissertation? Like, are more pearls to drop on this subject? Like,


.
Someone weaker than you should beat you and brag
And take you for a drag

FreakAnimalFinland

Quote from: -NRRRRK- on November 11, 2022, 09:24:40 AM
Quote from: FreakAnimalFinland on November 10, 2022, 11:17:24 PM
Could the real deal harsh noise become "big" anymore?

I ask myself why and/or if it should strive to get "big"? What for? Economic success is nothing that I associate with Noise. And I cannot see it as a goal anyway. Even though we live in a world that makes it pretty much impossible to avoid living in capitalist structures, Noise relies on them very little. Releases are done in super small editions with extensive packaging and still sold for reasonable price that makes break-even almost impossible. There is only minimum "advertising". Labels work in a very different way than "real" music-labels. There is no need for the faux-professionalism that we see in parts of the extreme-metal and hardcore scenes, where music is more of a career-choice than an expression of the artist self and which pretty much kills the vibe that made the scene in the first place.

Enough art is created while keeping economics and commercial exploitability in mind already. The educational system is shitting out new "artists" non-stop. Rather keep Noise underground and exciting.

What stirred my question, was the WCN talking about being "big", and in relation to noise, even if not in this case pure noise project.
Like my replies say, I don't think there are many things being "big" enables in noise, what are somehow different than being small noise artists who just does their thing.
However, benefit that being bigger would be, could be something such as live show organizer in specific city booking Heat Signature, A Fail Association, Koufar or whatever, as they feel the artists is known enough, to pull crowd and be worthy of one or couple plane tickets. As a noise fan, and audience member, it would be certainly nice. Good noise bands, big enough, to be recognized legit artists worth to bring over, and trust audience has heard about them in some sort of platform that introduces them good artists.

My feeling is, that the last one does not exists, and it leads to lot of things, such as accepting there barely is "well known big noise" to be expected. Not negative, nor positive remark, just observation how it probably is.
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

-NRRRRK-

Quote from: FreakAnimalFinland on November 11, 2022, 08:02:00 PM
My feeling is, that the last one does not exists, and it leads to lot of things, such as accepting there barely is "well known big noise" to be expected. Not negative, nor positive remark, just observation how it probably is.

I agree with that. "Big" in relation to the scene, but in no way in relation to a successful "regular" music-act. Size of the "scene" being the natural limit and with the wide-spread, almost isolated "cells" of noise-fans everywhere making it even harder.

WCN

Harsh Noise label and EU based distro of American Imports
https://whitecentipedenoise.com/

FreakAnimalFinland

Good one again.

I think one thing, what was once mentioned in advices about artists contacting label, I think one easy indicator is honest interest in physical releases. All the time you tend to get contacts from people who have mass-mail prepared, that says they are big fans of your label, but clearly have no idea what it is that the label really does. Submitting type of sound to label who never puts out that stuff.

When you recognize the name of guy, as someone who actually bought something from you over the years, maybe seen at gigs, maybe written comments on topic somewhere, and it may hint the guy has actual interests in art form. Honest appreciation for your label or other artists are not qualities that ensure noise they make is good, but at least for me it makes likelihood of listening promo vastly higher.  If you get feeling it is just some bozo sending out mass mail to everybody in hopes someone with catch it,  and he has zero connection to any of it, it is very likely material sucks ass and totally lacks perspective.

Someone who doesn't want to be involved, ain't buying physical items, isn't interested in what labels do, I do wonder who they want to be on one in first place, but appears that there is plenty of those. I know some buy stuff elsewhere, and its not like you'd have to buy your way into label. It is just one of many indicators of honest interests in exact thing.
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
LABEL / DISTRIBUTION: FREAK ANIMAL http://www.nhfastore.net

Cementimental

#343
Quote from: FreakAnimalFinland on November 10, 2022, 03:12:34 PMclipping.

Seeing a packed out with mostly non-noise-people Corsica Studios going absolutely wild to a track sampling Wriggle Like an Eel gave me some glimpse into a parallel universe where Noise actually is big :D

Going to see them again on Thurs :)

QuoteSo what really separates the "big" and "small" noise?
"big" noise artists make Music but have the music press still call it Noise :D

HONOR_IS_KING!

Quote from: Cementimental on November 15, 2022, 06:05:47 PM
Quote from: FreakAnimalFinland on November 10, 2022, 03:12:34 PMclipping.

Seeing a packed out with mostly non-noise-people Corsica Studios going absolutely wild to a track sampling Wriggle Like an Eel gave me some glimpse into a parallel universe where Noise actually is big :D

Going to see them again on Thurs :)

QuoteSo what really separates the "big" and "small" noise?
"big" noise artists make Music but have the music press still call it Noise :D

That last bit right there Tim. Correct.
KOUFAR x TERROR CELL UNIT
https://soundcloud.com/crimesofthecrown

PSALM 109