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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 79086 times)
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Eigen Bast
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« Reply #345 on: November 15, 2022, 07:56:41 PM »

When noise gets "big" it becomes fine art. You go from "harsh noise" to "a chaotic meditation on embodied conciousness in a rapidly accelerating network of modernity"
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WCN
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« Reply #346 on: November 21, 2022, 07:34:45 PM »

Out now - Episode 39: NETWORK GLASS + JASON CRUMER

https://youtu.be/ZSdJBSLWAlw
https://youtu.be/ZSdJBSLWAlw
https://youtu.be/ZSdJBSLWAlw
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https://whitecentipedenoise.com/
FreakAnimalFinland
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« Reply #347 on: November 22, 2022, 10:25:43 AM »

Starts quite chaotic, everybody talking over everybody kind of thing. Which is why I would prefer 2 guys, over 3-4 guys in podcast. Crumer laughing during half of sentences. Episode starts to get shape after perhaps 1/3 and actually make more sense. Interesting discussions and information will follow.

Most memorable part for me was when they both were talking about noise gear (software, hardware) that supposedly enables to do anything, but kind of all sound the same. Network Glass mentions Max and was it.. modulars? In theory, everything is possible, but in reality, you will hear the "max" or "modular" in everything what is done with these. Crumer mentions Sherman filter back. Recalling giving it a try, and realizing how all these great harsh noise releases that were formerly kind of "how can he do it" -category, and after just unboxing sherman and connecting it with your gear in pretty much default settings and suddenly the golden mid 90's Japanese harsh noise emerges, haha. Yeah... As tempting as Sherman is, that is exact reason why I never bought it.

Of course same argument can be done for everything. Lets say metal junk. No matter if one would say you can do a lot of metal - that is just resonant object. You can relate it to as music instrument like guitar strings, trigger, you can use all sizes and shapes, percussive, droning, scratching, rhythmic, abrupt noise, hum, tonal, whatever.. but eventually when it comes down to noise, a lot of usage is still ...."junk metal noise".

Network Glass explains in the interview escaping this type of thing by approaching his sound as kind of... I'd say technological process than composition. Or if it is composition, it happens in writing, not playing. Just opening raw data as sound file or writing patch or script where program chops soundfile into 500 random cuts. No artists ear or taste involved, just technological process. He even mentions putting out stuff, that he has yet to listen. Writing script, having wav of that, burning on CDR and selling those, not knowing what is on the CDR. Conceptually it can appeal, and sonically too, but I think escaping the "box" is very hard. Not being involved with it with your taste barely changes that. Lets think someone opens raw data as audio file. One can pretend as if you had no idea what it is going to be, and how it will sound. Nevertheless, same as with a lot of gear, it will sound as: Raw data opened as audio file. That's that. It is not like there is suddenly a surprise, and Elvis and ass-fucking samples appeared out of nowhere in middle of elegant noise and suddenly got buried over some weird noise. Like could happen in noise where artist has jumped out of the box and done something what you couldn't expect to happen. Or could, but wasn't sure what the surprise will be.

He does illustrate the difference of noise as music vs the thing he makes. Like the critique against John Cage type of hearing everything as music, is solved by hearing something what sounds too good, is cut away. Leaving just the random noise. Hah.. That it would not be music. Not having parts that resemble you of experience of music, but take the sound as what it really is. Just odd random-ish sounds.

 
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Strangecross
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« Reply #348 on: November 24, 2022, 03:35:31 AM »

I certainly feel it is important in life to experience noises in a non-musical sense...I think Door is right it can be a failure to express everything as music.
It can get into a very muddled argument about 'non-music' and such- especially the types of things Door is producing, but what got me the most is the notion that when you are just out and about on a walk or whatever, just experience sound and don't think about cutting a tape from it...

this conversation of course could be examined and magnified and turned inside out into a macrocosm but-  don't hear that train as 'INDUSTRIAL MUSIC'



And the gear thing hit the nail right on the head.
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« Reply #349 on: November 24, 2022, 09:55:09 AM »

I certainly feel it is important in life to experience noises in a non-musical sense...I think Door is right it can be a failure to express everything as music.

To me the difference has always been given by intend and context. Train rolling by while walking along the tracks is noise, train rolling by while walking the tracks recorded and released as C10 is Noise(-music). Through the process of recording and everything after there have been made a lot of conscious and unconscious decisions which differentiate the noise from the Noise. So I agree that not everything we hear is music, but it can be turned into "music".
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Strangecross
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« Reply #350 on: November 24, 2022, 08:21:17 PM »

Yes, music and sound being two separate phenomenon, one is all encompassing and the other is behavioral. Behavior- thats why that no matter how anti, noise genre cannot escape rock n' roll or music in general.
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FreakAnimalFinland
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« Reply #351 on: November 25, 2022, 09:58:13 AM »

I don't know if "rock music" needs to be the reference, but there is something about human behavior and perspective what changes the object when it is placed in display.

Maybe well reference to modern art (as mating call to Jliat, haha..) and thing certain things like display of "ready mades" as art. Or perhaps even hyperrealist painting. Many times artists have expressed the content itself can or should be something meaningless and banal. Content being absolutely meaningless, while the hyperrealistic method is the "content". As a audience, you may wonder why I am looking at this thing? Its just depicting reality as is, not adding anything, nor being aesthetically interesting.

Simply being there, may be the process of "art". Just like sound on tape, when it is sound from tape, into your ears, regardless what it is, is it some sort of sound-object originally not intended as music, not made for musical sense, but just like whatever object displayed on gallery pedastal becames art object, the sound on tape tends to change its nature. As soon as enka song tape has Gerogerigegege J-card, it suddenly is no longer just random enka song tape etc... Bunch of noiseheads will listen it though, while having no interests in such music in general. Why? Who knows.

Does the notion of music/noise change much? I think it is odd to think that listening noise as "music" would mean you start to seek rhythm and melody. If what lead you into listening noise in first place, in music, was the disharmony, distortion, chaos, unpredictability and so on. That would hint that how the brain relates to music, might not be the most traditional one. Hearing sound, might be hearing it "musically", but what that means, might be totally different from associating it with conventions of music (rhythm, melody, harmony) and associating it with all those things you seek from music but can't find - and therefore proceeded into listening sheer noise sound.
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Bloated Slutbag
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« Reply #352 on: November 25, 2022, 05:49:06 PM »

thats why that no matter how anti, noise genre cannot escape rock n' roll or music in general.

That is why we reject it.
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« Reply #353 on: November 27, 2022, 05:00:22 AM »

Could harken back to the Sam McKinlay episode. If you drown in a minor avalanche, is that HNW? as long as it is documented
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« Reply #354 on: November 28, 2022, 07:30:21 PM »

Out now - Pyry Ojala of NUORI VERI on WCN Podcast!

https://youtu.be/wguB1QCFdOA
https://youtu.be/wguB1QCFdOA
https://youtu.be/wguB1QCFdOA
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FreakAnimalFinland
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« Reply #355 on: November 29, 2022, 09:40:20 AM »

Good one. It does display the challenges in language. Like Nuori Veri describes the decision to use Finnish for lyrics, that it is the language that is used for thinking, dreaming, etc.. that you can express something very differently compared to english. That said, episode is easy to follow and clear. Way more than more hectic USA discussions, especially if multiple people involved. Now you got the pace suitable for listener, hah.. Words you know, calm talk with pace you can follow without missing things.
Nevertheless, knowing the depth of project and his interview(s) in Finnish, there is soooo much more to it, what was said, or could be said.
One clue of that can be found when talking about the kind of rural recording methods, and in english, some moment may be described as crumbling dry plants and recording with contact microphone. In Finnish, discussion quickly escalates into specific plants, specific insects, specific wildlife, importance of those details. None of this would really work in spoken english interview, if it would go repeatedly into "ehm... let me check the dictionary what is word for...", haha. This includes even adjectives used for describing the sound.

Good episode anyways. It just makes me think how current age of podcast interviews probably shifts the attention even more to certain direction. For example, regardless of importance of Japanese noise in history of genre, no Japanese artists in interviews at all. In printed format, this is way less obstacle and language barrier probably less of issue.
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Euro Trash Bazooka
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« Reply #356 on: November 29, 2022, 10:11:07 AM »

I really enjoyed that interview (no surprise, I love Nuori Veri.)

The question about why one would use a particular language instead of another one in their musical projects was interesting because in my humble opinion, it showed how most music is so centered around English lyrics in general that it becomes some kind of given that lyrics should be in English. It's a form of cultural imperialism that becomes less and less questioned as English becomes a tool more than a language for most. I'd also assume it becomes harder to question when English is your native language and that non-native English speakers will always have funny accents or be less fluent than native speakers. It also shows when non-native English speakers try to export themselves singing songs in a non-native language and fail because it doesn't come off as natural, and if they sound in their native language, it sounds funny or impossible to relate to (I'm talking on a mostly western/occidental scene.) And there's the fact our ears are more trained to listen to English lyrics when it comes to non-native-language lyrics than lyrics in other languages as well.

As far as I'm concerned, all the bands or projects I'm in have lyrics in native or local languages, in which we can communicate better, write better lyrics, etc.

Which also makes me think that I always find it funny that English-speaking people would have difficulties reading long foreign names in which we pronounce all the letters whereas they don't seem to think it can be difficult for non-native speakers to pronounce English words in which so many words aren't pronounced the way they're written (which is I believe is why people can't pronounce Worcestershire right or misspell "Night" so often for instance. No diss by the way, my native language is the worst offender when it comes to that kind of stuff.)
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