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Author Topic: POWER ELECTRONICS TODAY.  (Read 3735 times)
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« on: August 16, 2022, 12:30:35 AM »

Fiends, freaks and fuck ups. Greetings.

Specifically re: Power electronics.

Out of curiosity 2022... Per your vision...

If any... What are the prime elements, ideology of / in pe today?

 

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« Reply #1 on: August 31, 2022, 07:15:12 AM »

Fiends, freaks and fuck ups. Greetings.

Specifically re: Power electronics.

Out of curiosity 2022... Per your vision...

If any... What are the prime elements, ideology of / in pe today?

Question seems quite vague? My feeling is that this depends vastly, do you look power electronics from inside or outside?
2022 ain't that different from looking inside. I don't think we could name drastic changes to lets say 2020. Or 2017. Or 2015?

Perspective from outside appears that power electronics is more frowned upon than it was perhaps 5-10 years ago? It seems more of external element, than change within power electronics?


It may be curious to look what changed, and what not, by reading the very original material related to style. I was yesterday reading Come Org book. I already had the old KATA compilation, but this Come Org book (that came with the 10xLP box on VOD) made me read again KATA newsletters. It is funny to see how big was the animosity of William Bennet towards industrial music. It exceeds drastically any contemporary remarks of "keep industrial out of harsh noise" and "no beat shit" -type of things. He'll be merciless to all industrial if possibility is given. It is not only criticism, but simply mockery. Same goes for any new artists that is not related to Come org. Starting all the way from now cult names, Ramleh and projects of Matthew Bower and so on, all reviews in KATA will simply shit on new generation of makers for not doing it right. There is also quality which is quite funny to see: I do not remember ever seeing anyone else than WB, loathe artist who is preoccupied with Ronald Reagan politics in their noise. It is very much situation how now any noise preoccupied with Trump seems to be so banal. Perhaps more situation couple years ago and now no longer to current hot topic to revolve in.



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« Reply #2 on: September 01, 2022, 11:02:28 AM »

Fiends, freaks and fuck ups. Greetings.

Specifically re: Power electronics.

Out of curiosity 2022... Per your vision...

If any... What are the prime elements, ideology of / in pe today?

Question seems quite vague?

I think the question was pretty clear. What do people today - now - from their subjective viewpoint regard as the fundament or substance in pe.

To me, without a 'core' or 'substance' or 'ideology', there is only 'perfume'.

Was curious to hear how people view the question in 2022. There is no right or wrong answer here. Just one's own position.

Thanks for the input Mikko.
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« Reply #3 on: September 01, 2022, 06:58:23 PM »

Well, I mean, question would be are talking about PE someone makes (say: my viewpoint of power electronics I make now) or PE as a genre (say: my viewpoint of power electronics other people are making at this moment).

First one, is easy, but I suspect question is the second? Therefore my reply above.
I don't think there is so much of new power electronics in 2022, what would somehow question validity of PE was in 2021, 2020, 2019 and so on. So I can only conclude that core is the same. Even big part of relevant makers are the same now as was within last few years.

By saying the core is the same, it doesn't mean all bands would be dealing same themes in same ways.  So in what ways it would be the same then? My subjective view is that it was most often people dealing with something that provokes strong emotions and thoughts, done in methods or via process that is personally rewarding and giving possibility to expand how you are generally supposed to think or feel about it. In process of making, researching and most likely living it, there can be real life altering results.

I think ideology is not accurate word in context of power electronics. If ideology is word for fixed set of ideals. Power electronics would be certainly in direct opposition of that, in favor of shattering what was formerly indoctrinated, and ready to evaluate it all again, from yet another perspective.

If we look very broad and quick view, there appears to be slight division. One side of PE tends to revolve in vilest substance one can imagine and the other side takes it to somewhat civilized psychological observations. Both approaches have their benefits. I feel that power electronics is very much like interactive performance art. Listener who is unwilling to take part of what art is, simply will not get it. They may enjoy the music, which is fine, but all the rest what was motivating and rewarding for maker or participants can remain unnoticed. It is vastly easier to notice theme, but way harder to notice the substance.




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« Reply #4 on: September 08, 2022, 01:31:32 PM »

Have been looking at the set-up for this topic a while and pondered a bit. I mean, it was always kind of varied, wasn't it? I guess the "core value" would be to shock and transgress in various ways, whereas the set-up for the topic is maybe fishing more for a political "project" connected to PE?

I always saw the flirt with political extremes as mainly a way to showcase other truths/nuances/uncomfortable systemic violence across the political, economic social etc. spectrum and thereby the hypocricsy of all political ideology, left to right. Yet that may be too sophisticated for many of the more brutish approaches, which I think can have just as much "nerve" and be just as valid as the more complex investigations, by the way. 

Again, PE was never just one thing, and some may actually believe the political agendas or misogyny or whatever theiy deal with. That too can be complex and not exactly what it looks like on the surface. Is Con-Dom misogynist? I'd probably say no, but he does have lyrics that say otherwise. I, for my part, enjoy the ambiguity and don't require an explanation from artists. I also enjoy the fact that there is not just one programme that you are either on board with or not.
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« Reply #5 on: September 19, 2022, 03:52:35 PM »

Fiends, freaks and fuck ups. Greetings.

Specifically re: Power electronics.

Out of curiosity 2022... Per your vision...

If any... What are the prime elements, ideology of / in pe today?

Question seems quite vague? My feeling is that this depends vastly, do you look power electronics from inside or outside?
2022 ain't that different from looking inside. I don't think we could name drastic changes to lets say 2020. Or 2017. Or 2015?

Perspective from outside appears that power electronics is more frowned upon than it was perhaps 5-10 years ago? It seems more of external element, than change within power electronics?


It may be curious to look what changed, and what not, by reading the very original material related to style. I was yesterday reading Come Org book. I already had the old KATA compilation, but this Come Org book (that came with the 10xLP box on VOD) made me read again KATA newsletters. It is funny to see how big was the animosity of William Bennet towards industrial music. It exceeds drastically any contemporary remarks of "keep industrial out of harsh noise" and "no beat shit" -type of things. He'll be merciless to all industrial if possibility is given. It is not only criticism, but simply mockery. Same goes for any new artists that is not related to Come org. Starting all the way from now cult names, Ramleh and projects of Matthew Bower and so on, all reviews in KATA will simply shit on new generation of makers for not doing it right. There is also quality which is quite funny to see: I do not remember ever seeing anyone else than WB, loathe artist who is preoccupied with Ronald Reagan politics in their noise. It is very much situation how now any noise preoccupied with Trump seems to be so banal. Perhaps more situation couple years ago and now no longer to current hot topic to revolve in.





Wish I had this book
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« Reply #6 on: September 26, 2022, 10:11:03 PM »

Make PE Funny Again
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« Reply #7 on: September 27, 2022, 02:39:43 PM »

I don't know what people mean by using the dichotomy of "power electronics" / "harsh noise"; everything is just plain noise.
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« Reply #8 on: October 02, 2022, 03:02:33 AM »

PE yesterday today forever
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« Reply #9 on: October 02, 2022, 06:43:08 AM »

Something I’ve noticed within the last couple years is sound quality. You have one camp of guys recording hi-def, razor sharp sounds and then you have another camp of guys returning to more early primitive sounds. Both have their place. But maybe it’s always been this way? Just something I’ve been more conscious of lately when listening to newer releases. Of course there’s a very large group of artists who fall somewhere in the middle of that spectrum.
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« Reply #10 on: October 02, 2022, 03:25:21 PM »

Reconnecting (partially) to what I´ve written in the WCN Podcast's Topic, I think nowadays there is a way higher tendency of making extreme music (not only noise-related genres) more "polite" and in a way more acceptable, "thanks" also to the social media (especially Instagram).
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« Reply #11 on: October 03, 2022, 01:27:06 PM »

Reconnecting (partially) to what I´ve written in the WCN Podcast's Topic, I think nowadays there is a way higher tendency of making extreme music (not only noise-related genres) more "polite" and in a way more acceptable, "thanks" also to the social media (especially Instagram).

Totally agree.
And it's a pity.
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« Reply #12 on: October 04, 2022, 01:55:56 PM »

It is curious thing. I am generally opposed to cleaning up noise releases, but there is one case with Special Interests magazine. Front cover of issue 10, originally includes fairly large swastika. When artist submitted the art, he told that no problem if swastika is "airbrushed" away from it. At first I was thinking that of course not! But after some weeks, on second thought I mentioned to artists that idea of removing swastika from front cover might be better. Just for sake of distribution. As purpose of magazine is to spread as widely as it could, and be distributed by multiple labels of various sides of noise culture, having large visible swastika on the front cover can be illegal in some countries and if not illegal, then counterproductive for purpose of "wide circulation".
It barely qualifies as censorship, as the maker of art brought it up. But it is nevertheless modification of something, in order to fill the purpose that was... pragmatic.
I can live with that decision, but with album covers, that are the actual art, if there are questionable things, or potentially illegal things (in some countries), or stuff that gets it banned from social media posts, market places and such, .. then there is. I do wonder how much these is is conscious and unconscious decisions made about this? It could be little embarrassing for labels to admit they rejected cover art due knowing it would make selling album technically more difficult. Or that some song titles and such are modified just to be able to sell it publicly. See even Genocide Organ having done it. Unfortunate, but in some countries you got cops busting your door even for underground records.
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« Reply #13 on: October 04, 2022, 05:26:14 PM »

It is curious thing. I am generally opposed to cleaning up noise releases, but there is one case with Special Interests magazine. Front cover of issue 10, originally includes fairly large swastika. When artist submitted the art, he told that no problem if swastika is "airbrushed" away from it. At first I was thinking that of course not! But after some weeks, on second thought I mentioned to artists that idea of removing swastika from front cover might be better. Just for sake of distribution. As purpose of magazine is to spread as widely as it could, and be distributed by multiple labels of various sides of noise culture, having large visible swastika on the front cover can be illegal in some countries and if not illegal, then counterproductive for purpose of "wide circulation".
It barely qualifies as censorship, as the maker of art brought it up. But it is nevertheless modification of something, in order to fill the purpose that was... pragmatic.
I can live with that decision, but with album covers, that are the actual art, if there are questionable things, or potentially illegal things (in some countries), or stuff that gets it banned from social media posts, market places and such, .. then there is. I do wonder how much these is is conscious and unconscious decisions made about this? It could be little embarrassing for labels to admit they rejected cover art due knowing it would make selling album technically more difficult. Or that some song titles and such are modified just to be able to sell it publicly. See even Genocide Organ having done it. Unfortunate, but in some countries you got cops busting your door even for underground records.

I was rejected by labels because of a title of a track (nigger and also whore).
No complaints, it's totally understandable. I pressed the CD by myself.
But 10/15 years ago would it have been the he same?
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« Reply #14 on: October 05, 2022, 09:46:31 PM »

Yeah, that´s exactly what I mean, and part of the responsibility belongs to the embarrassing public of nowadays "extreme" scenes.
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