NOISEXTRA - A podcast about noise

Started by FreakAnimalFinland, May 31, 2019, 12:16:12 PM

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PRISONFOOD

Checked out a few recent episodes this week, its been a good way to start the day with some noise news & chit chat. The Format of a 3 person panel discussion grazing over the tapes they listened to this week and then a deep dive into whatever classic noise release works well. Book of the month club meets morning talk show vibes go well with my cup of coffee.

One of the episodes I checked out was posted on youtube with video feed and I must say that the visual element is my preferred method of podcast consumption. Body language counts for plenty and seeing the album art being unpacked seems essential to the "review".


FreakAnimalFinland

#166
https://www.noisextra.com/2022/01/12/chop-shop-steel-plate/

Chop Shop episode. I recall when I was always drooling on this, but RRR catalog at the time said "weight counts like 10 LP's". I'd check the postage rates how many USD to add per LP.. and in the end, always thought, I got to stick on ordering CD's at 3 for 20 bucks...
It took until probably 10-15 years ago, when was visiting mr. Putrefier, and his label was long gone, but not only I got to buy his unplayed DISTRO copy of Whitehouse Right to Kill LP, but I do remember that I also bought this Chop Shop. It is most likely the best Chop Shop release.

New one today:
https://www.noisextra.com/2022/01/19/questions-and-answers-pt-2/

QuoteThe tables are turned on Noisextra as we reached out to listeners to see if they had any noise questions for us. Inquiries concerning running a label, favorite releases, show memories and more.

Someone mentioned that episode they were going to do, somehow didn't work out, so here we have second Q+A episode.

I think sometimes that even the "veterans" of the underground publishing may need some advices, or perspectives on things like how to run labels. Like this question of how big royalties should be. Especially with pressed bigger runs, 20% sure, very standard. But, also especially with the CD, it costs next to nothing to press more. So giving more royalties is no problem. Guys who like to give out freebies to his friends, especially those who have lots of friends and associates, and can move 50 copies easy, and doesn't ruin labels possibilities to sell.. I think it can be wise just ask how many free copies you need. Even if band would need 100, and you only thought of making edition of 100, it really is just about the same cost to press 200, and give half to artist. You pay almost identical manufacturing cost anyways. Most of the time, in my experience, artists want less CD's than I'd be giving. They have no contacts, no distro, no gigs.. so they prefer to take handful of their own, and pick up other label titles for their own collection.

I think only thing what one can consider, is that will the artists undercut the price and ruin it for label. Trying to wholesale title for distributors when artists is retailing it for less than that... kind of annoying. Also if artists is so well connected, that he manages to sell album to "everybody" and label is struggling to break even may be issue to some.

I think that is related to talk about what label should be doing. Or could be doing. In WCN Koufar interview he mentioned now that he has had some level of success, suddenly labels try to leech on him. Guys you never heard of, wants to put out stuff. I do get that type of offers, and I often think... why? If I could do any day new tape, move up to few hundred copies over the years.. why I would do edition of 50 somewhere. All the people who in this day and age still interested in something, could be merely told "oh, its gone, better luck next time...". pff... no thanks.

I think it would be somewhat fresh attitude to see labels, who would think what I can do, what others can not, or do not do. Anyone can put out 50 or 100 tapes of band who someone else already made known "in the scene". Its far more challenging to wade kneed deep in mud finding new up & coming interesting artists. Or get the releases to places where artist or other labels don't. Reach new audiences, build something new. Not just walk on already established paths and create items for loyal group of buyers, but somehow push things to new ways.  When in episode they talk about digital distribution, and I think that's one element that of course anyone can have their own bandcamp, but if for reason or another, label has several thousand followers, it sure makes difference do you upload noise to your own bandcamp with zero followers. So even digital releases may benefit on being on label, IF label is good. If label has exact same people following what find your stuff anyway, its pointless of course.


What is best Lust Vessel question was quite good in illustrating that, labels popularity and appreciation was not only doing things good (sound and visuals), but also that it was new acts and unique to label? Whole early period is pretty much flawless. But in later part is great, but  suddenly Are & Miljö, Knækkede Stemmer, kakerlak, Grim, The Rita and so on... all great bands for sure, and nice presentations.. But it displayed no more the unique Lust Vessel.  Signing projects that are known from elsewhere and already kind of "established", and in a way could have been anyone else picking up the good active names of that moment. First 5 years just unique LV stuff and then... couple batches of kind of random international acts who were recording for a lot of different labels at the time. Of course, known artists need to get invitations too. It seems there is sometimes moments when some formerly "established" artists regresses into self published cdr's, simply because nobody asks them?

Nevertheless, to me it feels, that the old trusted artists are quite safe bet, but when there is new label, that has new artists, none of the old farts have energy or interests to wade through, that can create new interest. Just walking into scene, cherry picking good acts and often feels lacking vision and personality.




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Zeno Marx

Isn't that about a label being a vanity project?  People wanting to be involved on a deeper level with their heroes?  "Wouldn't it be cool to do an Incapacitants release?"  That sort of thing.  If not that, they're thinking it is a savvy business maneuver to start off a label.  I don't think you can blame someone for either reason, but, as you said, it lacks utility in a larger sense.
"the overindulgent machines were their children"
I only buy vinyl, d00ds.

FreakAnimalFinland

Yes, probably. And also when I started out, I did both. Put out currently active projects of friends, but also reached out to guys that I admired. I did notice, that if I did Grunt/Love Hole split 7" type of thing, distros would ask 0-3. If I did Grunt/Aube, labels would ask even up to 50-100. Back then. It may have had little effect, but nevertheless, I always preferred to promote new and unknown and those that kind of became "roster" of label...  Even if it would be vanity project, I think it would be good in case when someone would be like "what I could do, that SOLMANIA would be appreciated in ways it.. should". And then do it. And not like offer split CDR with your own noise...

I think more businessmen in noise would not be necessarily bad thing. It would be great, if there was someone doing for noise, what Grey Area did for industrial! As much as there are great reissue happening, or new releases, I don't think there is that type of effort to push it beyond the "scene"?



E-mail: fanimal +a+ cfprod,com
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Eigen Bast

I greatly enjoyed today's episode with Jeph Jerman. Great discussion of methods, "field recording" (as in, recording in the field), noise history, and future plans.

FreakAnimalFinland

I am at the moment just starting it, but listened at night and fell asleep so quick, no recollectings other than them talking about how Hands To is correctly pronounces.

Episode before is good one too. Return to the Ground Fault, with focus on French electro-acoustic/field recordings works he did. Too bad to hear Eric is now retired from noise biz. He does sell inventory at discogs and so on, but no more new stuff to be expected...
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
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FreakAnimalFinland

#171
There is a lot of interesting stuff at Jeph Jerman episode.
I wonder for example is the noise guys being surprisingly often drummers... real or just something that drummer sees? Like thinking Finland, and Bizarre Uproar started as drummer of hc/punk band that transformed into Aunt Mary. I was basically drummer, much more than any other instrument. Playing drums in multiple bands. Current bands, Mogao, Corral Shut, Touch Starved, Nuori Veri, etc etc.. all drummers. But then again.. thinking non-drummer noise.. there is vastly more?

Talk about different levels of listening, and focusing is very much valid points. I did stop writing reviews years ago, for sake of being able to focus on experience of listening, rather than figuring out how to articulate it. Later did discover that writing something, as opposed to detailed analysis may be better. Returned back doing reviews as it felt like it did help to understand and remember how something is. Then at occasions, returning to think that "intellectualize", analyze etc.. it does damage a bit the pure experience - if such thing even exists. Also, do you need to think the sound itself, or where the sound takes you. Not thinking of the piece itself, but is plays there, you acknowledge it, but are thinking or doing also other things...  
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FreakAnimalFinland

#172
New episode with DAVE PHILLIPS is real good!

I have nothing against harsh noise makers in noise t-shirts and caps, talking of pedals - for example, but, there is quite big difference of flow of interview and the type of motivations and drives found from interviews such as this. Of course, it may be more about of type of person, than type of art/sound. He just expresses himself pretty fast and articulate. That ain't very easy for most. Man has been around, and perhaps interviewed fairly regularly?

It certainly is pretty much all talk about noise/experimental/field recording and directly related themes in his expression, even if very rarely they dive into specific technical aspects. It is funny that Dave concludes he usually uses his gear until it breaks. Anything handy will be fine, and often he doesn't really remember what model, what brand he is using.
In interview, as well as in his sound, it is quite clear how the idea and vision is the core, while tools are way to reach that.

Early years go real fast in this. It would be probably pretty easy to return to his work, even just focusing on something as simple as radio programs they did.. Now it casually is mentioned in one sentence that Schimfluch guys did radio show too. Man, that 10xCD box, it's nearly all pure gold. It would seem like topic I'd be happy to hear exclusive episode!

https://www.noisextra.com/2022/02/16/in-conversation-with-dave-phillips-schimpfluch-gruppe-fear-of-god-ohne/
E-mail: fanimal +a+ cfprod,com
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-NRRRRK-

Listened to the Dave Phillips episode last night as I could not sleep because of the severe storm that is raging over here.

Excellent episode. Besides Fear Of God I am not familiar with any of his projects or recordings, but the interview was captivating nevertheless. Authentic, inspiring and very emotional at times.

Zeno Marx

Jeph Jerman is one of the best episodes in a while.  Haven't heard the name Bernie Krause in a long time.  Lots of important names mentioned.  Love how he talks about sounds and things in general, but it isn't surprising.  An episode worth listening to a few times to absorb it all.

Dave Phillips is a good one too.  Class act.
"the overindulgent machines were their children"
I only buy vinyl, d00ds.

absurdexposition

Finally got to the Jerman episode, that was great. I was able to see that short documentary on him that he referenced a couple years ago (I seem to remember coming across it around the same time that Incapacitants one came out). It's a shame that it was taken down because it was really special.
Primitive Isolation Tactics
Scream & Writhe distro and Absurd Exposition label
Montreal, QC
https://www.screamandwrithe.com

FreakAnimalFinland

Latest episode is really good for those who are interested in the old tape scene. Al Margolis talks full of enthusiasm, early 80's, mid 80's, running tape label, some mail art, doing things in 90's, CD era, current days, difficulty of running tape labels these days in same way like it was, and so on.
Not all nostalgia, not at all. I think many of this experience could be advice, suggestion of other ways to do things.

I think it would be brilliant, if there would be more of tape labels like there used to be. That would have catalogue in-stock, seemingly forever. Even in the way G.R.O.S.S. did it. A lot of things were first chrome tape, 50 copies, and then more copies. Of course all kind of limited, but I can't really get how nobody does it in way, that you'd pro-manufacture 50, 100, 200 or something, and have pile of covers and master for making remaining orders little by little, when/if they come. At least my own experience is, that GREAT noise tape sells always. It keeps selling little by little, year after year, even when you thought everybody must have got it by now. I think this would be sort of downshifting the scene - from hectic consumption, to something else. Many people have complained, that by the time, word travels that something is good, it is sold out. Sure we are not running out of good items to buy, but for artist or label, one would assume it would be great that when there is growing attention for item, then label is ready to do a bit more work that might not all seem just fun.

Like Margolis in episode describes, that amount of orders was so big at some point, that he had to ask Monday to be day-off from work. Less salary from day job, but Monday would be all about cutting tape covers, gluing labels, dubbing tapes,.. hah. I have feeling that it may have not been always FUN, but rewarding to see that one made a difference, even in global noise network and things happened, spread, cumulated, connections were established and so on.

https://www.noisextra.com/2022/03/02/in-conversation-with-al-margolis-if-bwana-and-sound-of-pig-music/
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Zeno Marx

Is the SoP book available anywhere?  Even scanned online?
"the overindulgent machines were their children"
I only buy vinyl, d00ds.

FreakAnimalFinland

https://www.noisextra.com/2022/03/09/in-conversation-with-john-balistreri-slogun/

This was great! I've could have listened another hour and half, although of course they did cover entire career and a lot of things about Slogun.
Episode starts all kind of negative. Being retired, done with it, and describing how everything happened kind of.. not really even wanting to do, but just ending up doing, haha...  Or scene having changed, and it is no longer ours. And so on. However, it doesn't require much, when John is more enthusiastic and positive about how basically all things turned up. Lots of anecdotes, stories, details from early days,  pre-slogun , working in store with Mark Solotroff, bits of early days of graffiti, how his extensive touring/festival gigs and such started. Also true crime, self loathing, the loneliness of serial killers, and so on and on. Bits of baseball cards. Anecdotes include special packaging, Taint, Solotroff, Strict, Deathpile, etc etc.

His view of sort of golden era, when these mentioned things were happening, intimacy and personal contacts, physical unique releases, scene small enough, but still sort of big enough. Both locally, but also internationally. Then at some point, new people, new motivations, new backgrounds, and John concluding after specific incident that "it's over. Scene is not ours, its theirs..."

I can see if someone would feel that way, but I personally don't. I feel that for example, I am where I am, and if someone would not like, they walk away, not me. This is probably easiest way to get back to basics, if one prefers close circuit of slightly like-minded people. In some ways, not so many things have changed, if you just happen to live and experience noise like it always happened.

Slogun lyric book, would be definitely good thing to happen.
E-mail: fanimal +a+ cfprod,com
MAGAZINE: http://www.special-interests.net
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NerveGas

Have not made much of a point to keep up with Noisextra as of late, but have to say the Slogan interview is one of the best I can remember. There isn't really a minute that goes by that isn't thoroughly interesting. So much information covered, I could easily listen again.
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