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Author Topic: WHITE CENTIPEDE NOISE PODCAST  (Read 78655 times)
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« Reply #210 on: April 11, 2022, 05:56:41 PM »

Posted this elsewhere, but taking a week or two off airing the podcast due to some health issues. Will be back in full force ASAP. In the mean time, there will be some new content on the Patreon this week.

https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
https://www.patreon.com/whitecentipedenoise
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« Reply #211 on: April 12, 2022, 02:54:04 PM »

it’s seemingly very clear Roemer isn’t entirely what people think he is.

Not quite sure which people you are referring to.
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« Reply #212 on: April 18, 2022, 06:03:30 PM »

it’s seemingly very clear Roemer isn’t entirely what people think he is.

Not quite sure which people you are referring to.

The younger generation (maybe including university educated, like Roman) is triggered really easily. Ambiguity in art is no longer tolerated, they want very clear boundaries; and ideologies expressed/explained in very clear and identifiable ways. At least in that part of the American Midwest. This doesn’t seem to be such a problem in European scene or Japan/Asia.

I was thinking about this over the last years, if you listen to a lot of the Harsh Truth Podcast or meet those folks (mostly from midwest) they are all “crew” kid straight edge hardcore kids and kids who listened to shitty Christian hardcore, scenes that were very much steeped in uniformity and clear social/ideological boundaries with a touch of performative “violence” or a weak posturing. The influence of which is present in the sound and approach, the same conformity to identify is conveyed in the noise which is mostly just weak walls and an attempt to express a clear political ethos.

Gone are the days where you’d have Con-Dom material being used to collaborate with both a project like Control Resistance and Militia. Kids today are taking sides and afraid to cross them, they wanna know who’s serious about what, and if they don’t know they don’t touch it. Same with all the folks afraid of listening to Current 93 or Death In June.

Inversely, I think when Roman is talking about Special-Interest and his perceived criticism of Power Electronics etc, I think he’s less talking about Taint, Macronypmha, Grunt etc and probably more about this rise of reactionary noise and PE projects that are attempting to come off as super ideologically right. Most of which I think get ignored, the New Releases section is full of dorks putting up Bandcamp links to their “degenerate/nasty/harsh” projects. No one ever even responds. Maybe it’s an access thing, in the sense there is more involvement, but there seems to be a clear lack of individuality that’s more present than even 10 years ago.
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« Reply #213 on: April 18, 2022, 06:16:16 PM »

Out now: AFTERBLAST Episode 1 with Erik Nystrand of CAPERS

Erik Nystrand of CAPERS, a previous guest on WCN Podcast, joins me again to expand on some the ideas he touched upon in his interview: particularly, his thoughts on noise being "isolated" from other art forms, and the general poverty of language when it comes to writing about or discussing noise.

AFTERBLAST is a new series of follow-up conversations with previous guests of the podcast. We'll expand on certain topics and explore new ones. Less a formal interview with the artist, and more lively discussions about topics close to their hearts, noise related and otherwise.

This series is part of a new project called WCN TV that will air every other week, Mondays 18:00 CET. This will consist of various unique series, such as AFTERBLAST, Noise On The Run, with more in the works.

WCN TV is available exclusively to Patreon supporters, so sign up to support and get access!
https://www.patreon.com/whitecentipedenoise

WCN Podcast, featuring in-depth artist interviews, will air every alternate week at the same time as always.
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« Reply #214 on: April 18, 2022, 07:30:17 PM »

It was a good talk, I think! Hope I wasn't talking too much out of my ass. I did forget to say that there's alot of good writing out there, on forums and other places. I've really enjoyed the longer articles lately published on the Special Interests website, for example. More of that, please!
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« Reply #215 on: April 19, 2022, 06:26:00 AM »

It was a good talk, I think! Hope I wasn't talking too much out of my ass. I did forget to say that there's alot of good writing out there, on forums and other places. I've really enjoyed the longer articles lately published on the Special Interests website, for example. More of that, please!

Good talk indeed. Especially the Worth talk and descriptions of evocative noise. Have always thought Worth’s sound could be likened to being trapped in some bizarre malfunctioning mechanical maze, so the video game interpretation made perfect sense. Listened to Blinder LP yesterday, so it was fresh in my mind. The video game terms are not what I would have necessarily arrived at, but that’s why I enjoy hearing other’s thoughts on this type of thing that move a little further past the “crunch” or “ripping” style of descriptions. I think there is a place for simple descriptions of brutal noise, and I don’t need everything to viewed on an analytical level. But if noise is evocative to the listener, I am happy to hear what deeper thoughts it inspires.
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« Reply #216 on: April 25, 2022, 06:15:59 PM »

Out now! Episode 22 with Romain Perrot of VOMIR!

https://youtu.be/21mfUwydZz4
https://youtu.be/21mfUwydZz4
https://youtu.be/21mfUwydZz4
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« Reply #217 on: April 25, 2022, 08:09:38 PM »

Really good one. Among best episodes so far. I like the french way of talking about arsch noise!
I doubt I have been really hateful against Vomir, but perhaps sometimes at least realist about how many of his releases I need to own. He describes quite well the old situation, where it didn’t really matter if releases were fairly similar, as nobody was likely to get a lot of very limited and badly distributed releases. It is perhaps more contemporary ”problem” that similarity of releases is even necessary to discuss. Well, not necessary, but it can be question in someone head when thinking that there is access to way way larger amount of material that you could ever have time to listen to. As opposed to old times, when you had access to fairly limited amount of items.

I can also relate to his enthusiasm on Japanese noise-for-sake-of-noise approach. In my own case, 93-94 was kind of ”political” if one wants to look at them that way. Then 95-96 with influence of Japanese noise, most work was abstract, bizarre, oddities… until from 1997 it was just situation that it seemed obvious that trying to avoid themes and topics, artwork and expressions that was not good. When certain things were always matter of interest outside the noise, it felt odd they would be excluded from expression.
I feel that there is quite good situation in noise and PE, that while Vomir mentions there is nothing he is saying in the noise, I think even noise that does say something, can be ignored or used any way listener wishes. Most what could appear dark or vile, can be experienced just energetic and uplifting. What ever words are being said, barely reduces listener to passive receiver of indoctrination, but they may feel wide variety of things. Just like the thoughts that emerge from pure abstract noise.

Recommended episode!
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« Reply #218 on: April 27, 2022, 12:53:46 AM »

it’s seemingly very clear Roemer isn’t entirely what people think he is.

Not quite sure which people you are referring to.

The younger generation (maybe including university educated, like Roman) is triggered really easily. Ambiguity in art is no longer tolerated, they want very clear boundaries; and ideologies expressed/explained in very clear and identifiable ways. At least in that part of the American Midwest. This doesn’t seem to be such a problem in European scene or Japan/Asia.

I was thinking about this over the last years, if you listen to a lot of the Harsh Truth Podcast or meet those folks (mostly from midwest) they are all “crew” kid straight edge hardcore kids and kids who listened to shitty Christian hardcore, scenes that were very much steeped in uniformity and clear social/ideological boundaries with a touch of performative “violence” or a weak posturing. The influence of which is present in the sound and approach, the same conformity to identify is conveyed in the noise which is mostly just weak walls and an attempt to express a clear political ethos.

Gone are the days where you’d have Con-Dom material being used to collaborate with both a project like Control Resistance and Militia. Kids today are taking sides and afraid to cross them, they wanna know who’s serious about what, and if they don’t know they don’t touch it. Same with all the folks afraid of listening to Current 93 or Death In June.

Inversely, I think when Roman is talking about Special-Interest and his perceived criticism of Power Electronics etc, I think he’s less talking about Taint, Macronypmha, Grunt etc and probably more about this rise of reactionary noise and PE projects that are attempting to come off as super ideologically right. Most of which I think get ignored, the New Releases section is full of dorks putting up Bandcamp links to their “degenerate/nasty/harsh” projects. No one ever even responds. Maybe it’s an access thing, in the sense there is more involvement, but there seems to be a clear lack of individuality that’s more present than even 10 years ago.

This seems to echo what Vivenza was saying in one of his interviews that a large part of industrial/noise/japanoise seems to be rooted into pop/rock/punk/metal etc culture. He called the artefacts "weak" and artists relying on cheap antics instead of taking further "noise" as conceptualised by Luigi Russolo.


As a matter of fact the genre and related genres have done their cycle by late the 90's. Nothing new under the sun. Even the HNW, you can find traces of it in old Incapacitants records from the 80's such as "Repo".
All we who are involved in the scene by making effort to create and release new music under "Noise" or "Industrial" are in preservation mode. Just keeping the tradition going on. The evolution is minuscule.
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« Reply #219 on: April 27, 2022, 09:30:49 AM »

Romain says new age ambience suggests that the listener must think of happiness, beauty and love. I think for a lot of people harsh noise wall can put the listener into more of a negative headspace. Even though he is not telling you to think that.
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« Reply #220 on: April 27, 2022, 02:33:08 PM »

Romain says new age ambience suggests that the listener must think of happiness, beauty and love. I think for a lot of people harsh noise wall can put the listener into more of a negative headspace. Even though he is not telling you to think that.

A listener imparts their own experience and emotional baggage on what they listen to. In doing so a listener may come to associate certain sounds/albums with certain emotional states/moods; ever not been able to listen to albums after a breakup? They probably weren’t the noise records though haha.  Sound in itself is not really emotional, it’s just a neutral plane that we attach experience to.

It seems likely some of HN or HNW listeners, especially those discovering the genre, probably tend to put on those releases at times where they are trying to achieve some type of catharsis or ruminate in zone for any number of reasons. But those types probably do the same with punk and metal records. I personally just remember having my mind blown, I’d stare at the tape or CD and not understand what was happening and I kept going back over and over until it revealed itself. I’m sure I basked in stuff that bummed me out to, but I was bummed out. Noise at finest just blew and blows my mind over and over.

I don’t think most people are recording in these negative headspace either, even if the negativity is the impetus or inspiration for the recording. Doing anything in depression or anger is difficult and it will probably not yield the best results. I think some people may use play as a way to interrupt and override a mental experience, like a guitarist, and in that sense I’m sure it works and creates a catharsis.

I’d say for most fanatics of noise the experience of listening and creating is largely ecstatic, when kindred people meet and get together at these shows they geek out massively talking about tapes, releases and live experiences they’ve had or equipment they used or have seen. This is what I assume Romain is talking about, and why things like this forum, Oskars’ efforts at recording these interviews and live shows/festivals are so important.
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« Reply #221 on: April 27, 2022, 07:16:16 PM »

I think Vomirs comment on new age ambient type of thing, was most of all valid criticism against lack of artistic merit of those type of works?
A lot of that type of ambient muzak is really like muzak. Functional sound, created to be played in background in certain moments. As example, you can pick up from youtube all sorts of ”10 hours or relaxing ambient” -clips. There is no album name. There is no artist name. It is just functional sounds, as dull as choosing ”10 hours of coffee house jazz”, delivering you chunk of 10 hours, some sort of semi-synthetic going-nowhere background musak.
I think criticism was towards that element, not that someone would find something utterly joyful or positive. I don’t personally find noise usually dark or negative at all. Right now listening Merzbow ”Storage” and it is most definitely full of energy and joy!
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« Reply #222 on: April 27, 2022, 08:42:46 PM »

Only halfway through episode so forgive me if I am misinterpreting anything.

However, in response to the above comment... noise can be dark, negative, etc. I am absolutely fine with that. But I find more often than not, it is due to thematic attachment or imagery. Harsh noise itself can most often be a blank slate or perhaps the opposite; a well of endless interpretation. I see no reason to think that wall noise would be predisposed to putting people into a negative headspace unless they were already trying to dwell on negative thoughts. With that said, I am sure you are right in a sense, and it can have that effect on people. It just not an effect I necessarily relate to or would think is particularly common. Harsh brutal sound does not equal negative emotion to me. If it does for some, that is fine of course. As many have stated, the harshest noise is often quite joyous. Lasse Marhaug comes to mind or to use a newer act as an example, The New Boyfriends. Even Marhaug releases I have that have images of strange pornography or "edgy" references hardly seem dark. Of course, the man's catalog is massive and I have only heard a fraction of his releases, but enough to say I have some familiarity.

Listened to The Haters - Future Cheers reissue LP just this morning actually and found it to also have a similar feeling. And the accompanying quote from the release seems appropriate.

"I destroy out of joy, not despair. I don't destroy out of anger. I destroy out of curiosity.... My noise acts as a kind of audio account or authentic evidence of this ceaseless, perpetual bittersweet happiness we call entropy."
« Last Edit: April 27, 2022, 10:44:45 PM by NerveGas » Logged
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« Reply #223 on: April 30, 2022, 12:35:39 AM »

"My name is Vomir, it means to puke.  There is a bag over my head.  I take myself with irony, and I don't care."

Perfect!

Great interview.

I absolutely love his "Le Cloaque Apres La Romance" Trou Aux Rats album from last year (AtWarWithFalseNoise) - a double CD album of evolving drone synth, melancholia and stoned death reverb. I love that he can put out stuff like this alongside Vomir.
« Last Edit: April 30, 2022, 12:42:04 AM by Soloman Tump » Logged
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« Reply #224 on: May 02, 2022, 06:18:52 PM »

OUT NOW: AFTERBLAST #2
Sam of PHAGE TAPES and Taylor of SCREAM & WRITHE / ABSURD EXPOSITOON join me to talk more in depth about the ins and outs of running a label and mailorder. Lots of gems and trade secrets brought out into the open.

Preview here: https://www.youtube.com/watch?v=LDsolJFkT-o

Access WCN TV: https://www.patreon.com/whitecentipedenoise
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