Wednesday, October 12, 2005

Joseph Roemer's One Hundred Essential Noise Releases

Just to have it somewhere for people to link to, I've posted "One Hundred Noise Releases as recommended by Joseph Roemer." Thanks to Segerhuva for posting the list and Carlos of Angbase fame (and Pitchphase) for hosting a scan of the original 11x17 list that Joe sent to him.

Top Ten lists remind me of the late night comedy morons and seems stupid to me. After several attempts to group these titles in LP, 7", CD and Cassette categories I just said "Fuck It" and decided instead on: One Hundred Noise Releases as recommended by Joseph Roemer ... (In no particular order)

001. ENTRE VIFS-l'ordre par le bruit-CD-(artware)
002. MACRONYMPHA-pittsburgh-LP-(p.d.b.)
003. VIVENZA-metallurgie-CS-(freedom in a vacuum)
004. MONDE BRUITS-selected works-CD-(endorphine factory)
005. EMIL BEAULIEAU/MERZBOW-chicago-LP-(rrr)
006. THE NEW BLOCKADERS-symphonie x...-LP-(hypnagogue)
007. "WORLD RECORD"-comp-CD-(alchemy)
008. KAZUMOTO ENDO-evergreen-7"EP-(p.a.l.)
009. TAINT-indecent liberties-LP-(p.d.b.)
010. "NOISE WAR"-comp-CS-(mother savage)
011. K2-metal dysplasia-CD-(cheeses international)
012. LE SYNDICAT-cercle de soufre-LP-(bogart)
013. ERIC LUNDE-xchdx-LP-(w.n.s.)
014. SUDDEN INFANT-radio orgasm-LP-(shimpfluch)
015. "BRUITISTE"-comp-LP-(rrr)
016. THIRDORGAN-guardian angel-CS-(shimizu)
017. KILLER BUG-vaginal disco-CS-(mother savage)
018. "NOISE FOREST"-comp-CD-(les disques du soleil)
019. MACROONYMPHA-intensive care-CD-(self abuse)
020. INCAPACITANTS-fabrication-CD-(alchemy)
021. MLEHST-breathing in dead flies-LP-(bhp)
022. "EXPERIMENTAL MUSIC OF JAPAN"-comp-LP-(nhk/victor)
023. EXFOLIATION-legion-CS-(s.f.c.r.)
024. MSBR-destruktive locomotion-(pure)
025. ESPLENDOR GEOMETRICO-madrid/tolosa-CS-(...)
026. "NEW CATASTROPHIC FORCES"-comp-CS-(united syndicate)
027. TAINT-blitz action trauma-CS-(s.h.f.)
028. ENTRE VIFS-heavy duty-CS-(chthulhu)
029. MLEHST-a cold fuck-...-(bhp)
030. "JAPANESE AMERICAN NOISE TREATY"-comp-2xCD-(release)
031. "EVEN ANTI-ART IS ART"-comp-CS-(rrr)
032. SKIN CRIME-audio pathology-CD-(armed and loaded)
033. K2-de novo-CS-(kinky music)
034. ZONE NORD-marche noir-LP-(sacem)
035. SOLMANIA-metaphor chorus-CD-(alchemy)
036. MASONNA-shinsen na clitoris-CD-(vanilla)
037. HIJOKAIDAN-modern-CD-(alchemy)
038. "JOURNEY INTO PAIN"-comp-CS-(rrr)
039. "AMERICANOISE"-comp-CS-(mother savage)
040. "MUSIC SHOULD HURT"-comp-CD-(self abuse)
041. MERZBOW-noiseembryo-CD-(releasing eskimo)
042. HANGED MAN'S ORGASM-rifkin-7"EP-(mother savage)
043. KNURL-nervescrap-CD-(pure)
044. INCAPACITANTS/MACRONYMPHA-split-7"EP-(mother savage)
045. S.ISABELLA-point de caption-CD-(xerxes)
046. DANIEL MENCHE-legions in the walls-CD-(trente oiseaux)
047. OVMN-visions of autoerotic excess-CD-(armed and loaded)
048. 666VBN-blunt objects-CS-(mother savage)
049. LE SYNDICAT-...-3xLP BOX-(rrr)
050. ONE DARK EYE-chronicle of a death foretold-2xLP-(non mi piace)
051. TAINT-whoredom-CD-(p.d.b.)
052. MERZBOW-pulse demon-CD-(release)
053. INCAPACITANTS-as loud as possible-CD-(zabriskie point)
054. GRUNT/MACRONYMPHA-split-LP-(freak animal)
055. AUBE-quadrotation-4x7"EP-(self abuse)
056. KILLER BUG-cunt explosion-7"EP-(releasing eskimo)
057. SKIN CRIME-whorebutcher-CS-(mother savage)
058. HIJOKAIDAN-romance-CD-(alchemy)
059. MLEHST-dancing pricks-CS-(muzamuza)
060. MASONNA-madamoiselle anne sanglante...-CD-(alchemy)
061. MONDE BRUITS-man'o'war-CS-(vanilla)
062. "ARTIFICIAL NERVE 1 and 2"-comp-CS-(xerxes)
063. INCAPACITANTS-no progress-CD-alchemy
064. LE SYNDICAT-rectitude-CS-(la procedure)
065. GOVERNMENT ALPHA-maternity-CS-(mother savage)
066. MSBR/MERZBOW-split-7"EP-mother savage)
067. PAIN JERK-trashware-CD-(pure)
068. AMB/HYWARE/KAPOTTE MUZIEK-split-LP-(p.d.b.)
069. MACRONYMPHA-amplified humans-CS-(se)
070. TAINT-victimology-CS-(taint)
071. INCAPACITANTS-new movements-CD-(alchemy)
072. AUBE-wired trap-CD-(self abuse)
073. MSBR-collapseland-CD-(heelstone)
074. MACRONYMPHA-crack-CS-(b/b)
075. KILLER BUG-your wife is mine-7"EP-(self abuse)
076. ESPLENDOR GEOMETRICO-utrecht-LP-(e.g.p.)
077. MLEHST-ignorance against...-LP-(bhp)
078. MACRONYMPHA/GOVERNMENT ALPHA-split-CD-(mother savage/xerxes)
079. "DEDICATION 1 AND 2"-comp-LP/CD-(artware)
080. ILLUSION OF SAFETY-historical-CD-(staalplaat)
081. LUSTMORD-heresy-CD-(soleilmoon)
082. MLEHST-group milk-CS-(bhp)
083. "MAXIMUM NOISE"-comp-CS-(h.l.a.s.)
084. MSBR/GOVERNMENT ALPHA-split-CS-(xerxes)
085. THE NEW BLOCKADERS-...-2xCD BOX-(tesco)
086. "EXTREME AMERICA VOL.2"-comp-7"EP-(knot music)
087. CRAWL UNIT-zodiac-7"EP-(self abuse)
088. MACRONYMPHA-art shawcross-7"EP-(self abuse)
089. ATRAX MORGUE-james huberty-7"EP-(self abuse)
090. UNDERGROUND USA AND CANADA-comp-CS-(mother savage)
091. CONTROLLED BLEEDING-bladder bags-CD-(vanilla)
092. MO-TE-peaceful world-CS-(h.l.a.s.)
093. JOHN WATERMANN-calcutta-CD-(nd)
094. THIRDORGAN-jinzoningen-
095. "...VULTURES MISS NOTHING"-comp-2xLP-(harbinger)
096. RRREPORT 1 AND 2-comp-ZINE/CD-(rrr)
097. MLEHST-never understand her-LP-(bhp)
098. STIMBOX/MO-TE-split-CS-(uncut)
099. INCAPACITANTS-quietus-CD-(alchemy)
100. MACRONYMPHA-melting softly into time-LP-(rrr)

Labels: ,

Sunday, October 09, 2005

Noise Bibliography

I decided to start a noise bibliography. As I was adding links to the sidebar I realized that that could get pretty long. Rather than doing that, I'll be updating this list (which I will link to the side bar) instead. This list is by no means exhaustive, and many of the articles are academic.

Enjoy.

Labels: ,

Wednesday, October 05, 2005

RHY Yau

Okay, I admit it: Yau is underrated.

Had a look back through the old tapes. Seems I had totally ignored the entire string of Auscultare output. I obligingly eat my words.

So, by way of apology, I offer these brief comments on some of Yau`s mid/late 90`s cassette output:

Stimbox+Yau - :stim:yau:/:yau:box: C60 (HLAS)
"Part 1 in a two-part collaboration".Released around the time of the Mo*te masterpiece, "Life in a Peaceful New World" (HLAS), this beautifully dense foray into the harsh harmonic resonances of amplified spring, string, voice and buzz, offers everything you ever wanted in a harsh, industrial-strength drone, and does for the field everything Mo*te did for ultraharsh ambient-flavored noise. A Stimbox world ascending, Yau hanging on the edges. Slowly developing, enveloping crystal shards sleet across the perimeter of a roiling central inferno. Truly gargantuan depths moon and moan within glittering, skittering crooks and crannies. Feedback slides from clean sheen back into dreamy dust-choked caverns, submerged reverberations scraping metallic screeching luster delving diving deeper deeper still the whirlpool pull sucks the noisebrain into thunderous angelic hell, somehow growing larger larger, blotting out everything, more, the name, not, nothing, drone...

NoiseGrade: A
Harshness: 6.4
Density: 8.6
Rawness: 7.3
Craftsmanship: 7.4
Spasticity: 6.4
Harmonicaness: 9.8


:RHY:Yau:Stimbox: - Tactile C60 (Auscultare)
"Collaboration Part II"Following the release of Part 1 on HLAS, this Yau/Stimbox collaboration sees much more Yau in the structural unfolding and articulation. If liner notes ring true, Stimbox supplies only "sound source" this time around, making it less the pure collaboration featured in Part 1, and more the Yau-pulated Stimbox reworking. Yau jumps in lozenge first, hacking and weezing at an ill-tempered bludgeon which gradually works its way into a solid spluttering, grumbling mess. If Stimbox enters the picture at all, then, it is in a much reduced capacity, gasping and sputtering against Yau`s unforgiving tonsils and tongue-work. Hogtied, branded, dragged kicking and screaming through razor`d sphincter-flesh and whirlwind ass-swipe, frenetic chainsaw wheezing splices into stop-action fidelity and badly burnt tape-head... winking out and off before the raging besquashed Stimpy behemouth is allowed but a floppy few playful plugs against a calmly controlled acoustic ding-a-ling and savage oral choking.

NoiseGrade: A
Harshness: 6.2
Density: 7.1
Rawness: 7.2
Craftsmanship: 8.8
Spasticity: 9.3
Harmonicaness: 3.1


:D.Wright:/:RHY:Yau: - Void Fraction C60 (Auscultare)
Mr Wright does a nice whispery slithered slather amongst encroaching, gasping, gas-chamber smokestra, but this string of reviews is focusing on the Yau man and therefore, those few lazy comments are all he gets. Sorry. Yau, for his part, goes a little quieter on the ass. Way quieter, in any event, than on either of his collabs with Mr Stimbox. Gurgles glint and lurch through crooked creaks and distant amplified hum. Comes at you in slow, polychronic spins and squeaks. Sphincter relinquished in favor of oversexed tonsil massage, masculine grunt, orangutan hawk, feline purr. Spittle drizzles and drains out the furball cuntmouthed ejaculant. Nostrils puckered and unplugged panting ambient backwash, reversed, orgasmic shudder. Lost in space for imprecise moments, Mork cracking in and out of psychedelic flatulence, going ape-shit, chucking it all in for the inevitable bloodclot rage.

NoiseGrade: B+
Harshness: 4.2
Density: 6.9
Rawness: 7.6
Craftsmanship: 8.8
Spasticity: 7.8
Harmonicaness: 3.9


Government Alpha / RHY Yau - split C60 (Auscultare)
Alpha is as Alpha does: brilliant, constantly evolving cycles and surges, ripping new bungholes with radically brutal arse-shredding abandon. Frenetic pushes, frenzied pulls, feel the paint peel, the ears bleed, the bowels give out. And that`s all I`m going to tell you, because, as we got into earlier, our focus for the moment is upon Mr Yau. Due apologies. On with the Yau: a tad louder than material submitted on the before-mentioned split with Mr D. Wright. Did I say a tad louder? UNFUCKINGBELIEVABLY LOUD. Powerful nail-gun axe-grind punching hard and fast against what sounds like the world`s least successful wine-tasting. Caught in the ongoing battle of spitting and swallowing, a bad-tempered wallowing pig-snort snuffling invades the scene, saying hello to his little friend: recurrent ejaculatory interruptus on a truly earhole-piercing scale. Breakneck shrieking fits, percussive crumbling decibels beyond a red-zone bloodbath thick with rusted tinpot cornhole scathe. The voice gives out, gives in to wickedly fierce hyperpastic gasolineman lightning-seethe, raging roars overpowering all senses amid the accelerated rush and random spasm. Best sex I never had.

NoiseGrade: A
Harshness: 8.9
Density: 7.9
Rawness: 8.5
Craftsmanship: 9.3
Spasticity: 8.5
Harmonicaness: 2.1


RHY Yau - Monochrome Series III: White Issue: Live Document C90 (Auscultare)
Starts into it with a no bullshit no holds barred blistering blast. Vocal cords spun tight and barely discernable in the slathering spasmodic spread. Then a dip into more subtle regions. Experimental probing deep inside unseen quarters containing propellor driven false teeth chattering aimlessly under a waterlogged lumberhouse. Wooden wheels spin out through splunking dunking drip and drag. Fluttering insect wings batter ineffectually against a very slowly sucking drainpipe, rubber wax drip, curdled blood-pool, congealed fat. Gets bored, and then, just as you`ve upped that volume up all the way up to max... ARGH! FUCK! ME! Should have seen this one coming. The congealed poop lurches to leering life and hits the frantic fanboy with brain-boring bleats and buzzing electronic crinkles opening onto brief whitewashed blisterscorch phrasing and nameless slip and crackle. Side Two engages the frazzled nerves more immediately with tap-dancing buzz-bearing needle grind and bubblebutt screech-snort. Rickety ultraharsh weedle seethes steams and stammers out a crass litany of rapidly chiseled rustshred slapdash squeegy-scrunch. All stops come out in due course as upper-edged sonic extreme is topped by new sonic extreme, escalating straight off the charts, flying completely off tape, in fact, before settling back into burbled bunghole flagellation and limping buttsnuffle. A final slew of squeal-resistant crumbling crunches accentuate a reverberant cursive snort.

NoiseGrade: B+
Harshness: 7.5
Density: 6.4
Rawness: 6.8
Craftsmanship: 9.0
Spasticity: 7.7
Harmonicaness: 6.1


RHY Yau - Anti-Linear - Terminal One C60 (EMRL)
Quite the experimental divergence for Mr Yau, if that`s possible. Plenty of scope amid gleefully exploited room for maneuverability. As a bonafide Noiseperv [insert pickle up butt](tm), I can only grudgingly review something this short of legitimate harsh noise. What saves it from ejectbuttonitis is the overall diversity and ingenuity Yau crams into the package. Starts out nice and easy on the ol` earholes. Silent passages interspersed with brief, brittle, intermittent experiments in low fidelity, on par with some early Francois Douris. Tape-manipulated "spoken word" bits babblogically spewed a la Eric Lunde (to keep dropping names like the pretentious fuck I am), fighting for coherence inside sewage drains and burbling boulder heave-ho. Brilliant poetic moments bring a tear to the eye: "Temporal auditory analysis of acoustic events in various frequency channels is influenced by the ability to detect amplitude modulations which for normal hearing involves low-pass filtering, with a cut-off frequency around one hundred hertz and a rejection slope of about ten decibels per decade." Tin can circular scrape and slither amid non-stop bevy of belch interuptus. Ye olde harsh ante steadily ups inside rumbling, cling-clang speckled gristle. Erratic exchange of sci-fi scratchy hissy-fit, cut-up crinkled paper mache nostril action. Side two features another live bit from the "Amplified Capacitance" series prevalent in the Monochrome Series III reviewed above. Significantly louder, in other words, a densely compacted assault on all seismic fronts, throwing spring-loaded strobe flashes at undulating pools of liquid xenon, radio dials spinning in confused circles as chainsawed anvils randomly catapult into freebase emergency ward bongshow with wildly percussive abandon. If things simmer down, its only because most of the percussive elements have been dumped down the bilgepipe, affording a not-so-neatly hammered out look at decayed tinhorn riptide.

NoiseGrade: B
Harshness: 2.1
Density: 2.3
Rawness: 7.1
Craftsmanship: 8.5
Spasticity: 8.2
Harmonicaness: 2.2


Contagious Orgasm / RHY Yau - Collaborations 1997 2xC60 (Auscultare)
No it`s not harshnoise. Now, FUCK OFF! It would be intriguing to hear what Mr Yau could bring to the excessively layered rhythmic droning of Contagious Orgasm. The answer is: something that sounds rather a lot like Yau Proper. Can`t complain. Shit`s more than digestible when delivered fresh from Lozenge Boy`s frenetic anus. Ahem. The Collaborations divide neatly into two sides worth of Contagious Orgasm solo (or so the liner notes suggest), and two sides worth of "Contagious Orgasm vs RHY Yau", split up between White Tape and Black Tape. White Tape starts us off with a Contagious Orgasm directed study of chanting religious fanaticism traced through cantankerous squealing and random crystal-meth glitches, sinking slowly into a spacious, atmospheric styled oblivion, giving rise to tribal beats and glowing gas-jet assblow. Now to the Yau. Utterly mangled remnants of choked off Orgasm clamber into infinitely deep bomb shelter sheet metal bumbiscuit, heartfelt hack and spurt chirping and chipping away at distant porcelain meatgrinder. Grind action precipitates much of the remainder, traces of regurgitated flesh filtered through twisted haze of spoked pinwheels. Black Tape finds Yau opening the set, and Yau putting a much more the coherent mark on the end product, leaving very little appeal for the more Orgasmically inclined. Those who didn`t heed my earlier invitation to fornicate elsewhere may well be rewarded: the shit`s plenty harsh and not at all easy on the earhole. Deepthroat mic gurlge slurps, slobbers and drops a load of flatulant flutter twizzling spunky drizzle and spittle-soaked bungbath. Raging yeast roars to lickity split simmering vapo-rub, reaming the ringed rubberized kneeburn blister, grating catcalls, growling gobsnot, digging in sludge encrusted grit. Contagious Orgasm applies the finishing touches: long drawn-out shimmering dirge, lightly sheened oscillating buzz, weezing slow and steady over a darkly rich suggestion of infinite depth and warm smoke-clouded echo-chamber hinting masses of mutated metalwork twisting and twining in unhurried ease, peppered with a few good dings which signal the inevitable exit. As all semblance of metallic resonance starts to unravel, a small urinating dog begins to grow in size and substance gushing dimmed-down waterfalls of submerged essence over corrugated rust and deeply buried bone. Woof woof.


NoiseGrade: C
Harshness: 3.2
Density: 8.3
Rawness: 0.6
Craftsmanship: 8.7
Spasticity: 0.2
Harmonicaness: 7.9

Labels:

Tuesday, October 04, 2005

The Science of Noise part 2

This is an idea I`ve toyed with for more than a few years now: to measure noise based on a few fixed criteria. Namley, harshness, density, rawness, craftsmanship, spasticity, harmonicaness. (details below)

It`s something I meant to post to alt.noise a while back. I didn`t because I was chickenshit. I decided that the rather arbitrary notion of "fixed criteria" would collapse under the cumbersome tide of outraged criticism, and be consigned forever to rot in the bowels of a bottomless flamepit. So I copped out with an open survey-style question: "Describe noise in five to eight words".

For results of the bogus survey, go here:

the science of noise, part 1

The survey results, however, in more recent hindsight, support what I`ve always felt: that most of us listen to noise for the same reasons, and are usually listening for the same damn thing.
Noise is, before anything else, a word. A word implies a limit. If we can have a limit, we can have a fixed analytical system.

The following are the categories I think would serve noise best:

Harshess. The overall sound pressure and intensity. The degree to which the sound consistently assaults the ear. The literal, physical effect on the listener`s ability to hear, both in the immediate and the forseeable future. Hearing aids, anyone? Incapacitants score high in this area, MSBR not so high.

Density. The overall depth and complexity. The degree to which the abysmal depths of noise are both hinted at and permeated. The sense of being sucked into a bottomless chasm of unimaginable diversity and motion. Skin Crime scores it big, early Masonna barely registers.

Rawness. The logical extension of a savagely twisted no-fi obsession, and the grim, brutal, barebones honesty that goes with it. Mutilated meatgrinder grit. Mangled tapehead fidelity. Burned out saturated flatulence. Knurl and early Prurient take this particular taco.

Craftsmanship. The demonstrated technique and skill, time and effort, preparing and/or performing. The extent to which the seemingly effortless flow and fluidity fools the puny brain into perceiving a "musical" context. Compositional factors may also weigh in: editing, layering, mixing, composing. Kazumoto Endo and Sickness get top marks.

Spasticity. The vertiginous sense of displacement and disorientation. The extent to which the warped noisebrain is fucked with, and rendered senseless, dazed, drunken pulp. Fresh and spontaneous whiplash nervesnap. Synaptic gaps ad stupidum. Can`t put your finger on it? Can`t get your bearings? Ready to give up and call it "noise"? All right then. Gomikawa Fumio at ya.

Harmonicaness. The world of drone. The mostly uncontrollable interplay of undertones and overtones which gently, but firmly, convey the drowsy attention span deep into the slumbering heart of Never Never Land. CCCC and early Stimbox are definite frontrunners.

There`s a fair bit of overlap, but I`m hardly suggesting this to be an exact science. Call it another tool in the eternal quest to locate the shit you wanna hear.

Here are examples of superior noise product subjected to these criteria:

Incapacitants - No Progress (Alchemy)
Harshness 10
Density 7.5
Rawness 7
Craftsmanship 5.5
Spasticity 3
Harmonicaness 8

Masonna - shinsen na clitoris (Vanilla)
Harshness 9
Density 2
Rawness 7.5
Craftsmanship 6
Spasticity 9.5
Harmonicaness 3

Gasolineman - born in the high octane fuel (out)
Harshness 9
Density 4.5
Rawness 5
Craftsmanship 7.5
Spasticity 10
Harmonicaness 1

Metrocide / Analog Weapon (23 Productions)
Harshness Metrocide 9 / Analog Weapon 8
Density Metrocide 7 / Analog Weapon 6.5
Rawness Metrocide 5.5 / Analog Weapon 7.5
Crafstmanship Metrocide 8 / Analog Weapon 6
Spasticity Metrocide 6.5 / Analog Weapon 7.5
Harmonicaness Metrocide 7.5 / Analog Weapon 2.5

The Rita / Kevin Rivard - Shin Health (self released)
Harshness 7.5
Density 4.5
Rawness 10
Craftsmanship 6
Spasticity 8
Harmonicaness 4

Mathausen Orchestra - Bloodyminded (?)
Harshness 6.5
Density 5
Rawness 8.5
Craftsmanship 4.5
Spasticity 3
Harmonicaness 7.5

Yellow Cab - s/t (GROSS)
Harshness 9.5
Density 7
Rawness 6
Craftsmanship 6.5
Spasticity 8
Harmonicaness 6.5

Killer Bug - Steaming Gash (b/b)
Harshness 10
Density 7
Rawness 2.5
Craftsmanship 8.5
Spasticity 8.5
Harmonicaness 8.5

Note: I initially meant for this system to be used as a supplement to legitimate reviews, and NOT to replace reviews proper. In my vision: "The busy noiseperv glances at the scores... vaguely interested or curious (though more probably merely offended), the perv reads the spew to follow..."

Therefore, I do not recommend that anyone, save yours truly, actually consider trying to apply the critical system I`ve outlined. Harshness, Density, Rawness, Craftsmanship, Spasticity, Harmonicaness. These are the categories that serve my noise vision best. They are unlikely to fit other individual noise visions quite so snugly. If you think that people are not taking your reviews seriously enough, then feel free to develop your own arbitrary set of relevant criteria. It could very well save the reader his or her precious time. And that`s all that matters, really.

All flames welcome.

Labels: ,

Monday, October 03, 2005

International Noise Wiki

Come help us build up the International Noise Wiki database. If nothing else, you can add an entry for your own noise project. Special thanks to Ichorous Jared (aka BagelNoise) for setting up this wikispace site but it is going to take a collaborative effort to get it up to par.

What's this "wiki" stuff, you ask? Well, according to the Wikimedia Foundation, Wikis are:
dedicated to encouraging the growth, development and distribution of free, multilingual content, and to providing the full content of these wiki-based projects to the public free of charge.

What makes wikispaces different is that:
We make wikis accessible to everyone, not just technical users. We provide a clean interface, a visual page editor, and a focus on community collaboration.

So even if you're not tech savy, please feel free to add any noise-related content to the site--it can always be edited later by someone else. Right now the space could just use content period, so even if just one noisehead, or fan of noise were to add one entry, that would be a help in getting the ball rolling.

So I'm asking each and every noise/PE artist to at least update an entry (or create an entry) for their own projects. Don't worry so much about the format as I'm sure once content gets added there will be communal decisions made as to what the overall format of the entries (and site itself) will be.

Help support the noise scene in a different way today--add an entry at the International Noise Wiki space so that others can begin finding information about all their favorite noise artists, releases and labels.

Labels:

It`s All Noise ()

it`s all noise. noise music then: the literal, even logical extension of the quintessential absurdist metaphor, not strictly necessary, save perhaps as a conscious recognition, a formal acknowledgement of this intolerable, excremental state of affairs. this abomination. life.

every action, gesture, idea, down to the minutest atomic agitation, amplifies the cosmic filth, the cosmic absurdity. it`s all so much stuff. accumulation. debris. sewage flows. septic heaven.

what`s the point? it`s hardly worth contemplating. the only communicable ideas are the most trite, most simplistic, most excrable. "trite". this in itself a definition of "communicable idea". reduce your world. get it down. on paper. on record. manageable, digestible chunks. soundbytes. relish the pornographic moment. satiate. the needs of the body. this is only the most "natural" response. what else are we supposed to do? pretend. keep the pretence alive. yes! life is worth living! shout it. scream it. noise it. wilfull, idealistic gestures. communicable diseases. overflowing with LOVE. disease. life.

Saturday, October 01, 2005

RIP Koji Tano (1961-2005)

*edited (10-03-2005, 01:43 pm): thanks to Chris Goudreau (aka SICKNESS) for reminding me that there are alot more noise artists than just those on the west coast that knew Koji Tano. Don't ask me why I only referenced the Japan and West Coast artists as I'll only claim senility.



I had posted this at my other blog a while back, but think that it's appropriate that I repost it here. A brief eulogy to Koji Tano.

Koji Tano of MSBR

I had been out of the experimental/noise music scene for nearly a year (I needed the break) but was saddened to get this letter a few weeks back:

Dear everyone

i'm terribly sorry to inform you this sad news though,
Koji Tano (MSBR) passed away on July 31, at age 44,
because of carcinoma of the colon and rectum.

the funeral ceremony took place at a temple in Tokyo today (August 2).

i'm really speechless with sudden shock and sorrow.

Sincerely yours

Kazuyuki Kishino (KK.NULL)


I didn't know Koji Tano personally, but all of my friends in Japan and a number of the west coast noise artists [*worldwide] did. As anyone into noise knows, he was the "frontman" for the noise group, MSBR, and owner of one of the outstanding experimental music record stores and the MSBR Records label. His was the first store/label to sell copies of my noise releases in Japan.

What many didn't know is that Koji Tano was also an underground manga creator. A couple of his stories appeared in issues of Mason Jones' magazine of Japanese independant bands and culture, Ongaku Otaku. I wouldn't bother trying to order any of those directly from Mason right now as he's in Japan touring, though you might check Aquarius Records to see if they have any in stock.

Some of Koji's manga may also be found in the Wormhole mangazine published by Time Stereo (run by Detroit based noise/performance art troupe, and frequent collaborator with MSBR, Princess Dragon Mom). The art from the mangazine also made a tour of some Michigan based art-galleries.

If I can find my copies I might scan some of his work and do a sort of retrospective review of Koji's manga.

I found a short and uninformative review of the "The Fool Who Fell to Hell" from the second Ongaku Otaku issues:

The best thing in this issue, though, is the stunning manga story by Koji Tano of MSBR. "The Fool Who Fell to Hell" starts out as a reasonably typical paranoid-fantasy story (a sweaty homeless guy watches kids playing in the park and flashes back to hellish school days) before the bottom falls out (literally -- he falls in a hole down to hell) and the whole thing becomes surreal, grotesque, and not a little bit scary. The pix of the minotaur demon squashing damned souls with a huge cement block and then stuffing them all in his mouth is completely amazing. Hopefully there will be more to come in this vein from Tano, for this is unspeakably cool....

from:
monotremata.com review archives


If any of you are interested in hearing some of his noise, then please go to this link where I've been posting selective links related to Koji and his work.

Joseph Roemer's Noise Manifesto

I figured that since this has gotten posted, emailed, cut-n-pasted everywhere else, then why not here at the Harshnoise Blog? I present to you, Joe Roemer's (aka Macronympha) Noise Manifesto.


So many people have asked me lately , "Why noise?" What do I like about it and why do I choose to perform/record it? Obviously, some snobbish elitist will comment, "You all are talented musicians ... So why not do pieces more accessible, more traditional and more 'musical'." I piss on all of your heads and ask you, "Why not just jump out the goddamn window right now? You're going to die anyway." Fools. Here is one person's reason for being a noisehead. It is nothing more than my own vision and perhaps has little to do with how other noise artists define their purposes. We are indeed a varied and multi-dimensional group of people.

Joe's Manifesto of Noise. Not all of Macronympha. First, I'll admit it up front, Yes...making noise is a f&*king blast! To be able to crush a whole array of traditional guitar-player power chords on the demolition scale of merely using electronics is certainly a pleasant exercise in using sheer force to set a rhythm and an abrasive and crunching lead pattern.

Using noises, electronics, regular instruments and found metal to sculpt our sound is an endless challenge to explore and utilize. Until the advent of all this digital circuitry - one was somewhat limited (and very easily bored) just being able to experiment within so called "band" or "musical" formats. As players we all play all instruments - so I for one like the improvisation aspect of creating noise. We can do gorgeous piano, searing guitar grunge, industrial dance beat, etc. - all of the poplar crap, but it bores the living sh*t out of me - just like playing jazz or classical chords on my acoustic guitar. If you're good - why rehearse?

Performing noise is a constant roller-coaster ride of thrills. So much you can do. My techniques change regularly and once new pieces of sound or tech hardware are mastered - I can file them in my noise repertoire and bring them out or f*ck with them at any time in any way. Makes for a comprehensive tool-kit of so-called "instruments" at my disposal. I see them as sound generators. Noise is fulfilling on two levels. It is confrontational and emotional. If your crowd hates you, you can hate them back and make their guts churn and their ears bleed. Noise lets you perform how you feel exactly at the time. No having to repeat your songs the same night after night - no venting your anger inwardly or merely by thumping on a drum kit or chopping down on your guitar or bass a lot harder with your hands. Noise is power. It is an artist's dream when it comes to composing/creating an alien environment. Noise is its own dimension and when you are immersed in it you must (and do) go wherever it takes you. As an audience you are our prisoner or our collaborative partner.

I perform much how I feel that day. I have my noise arsenal fully loaded but one day I might use mostly effects and amps - another day drums and vocals - or that same week play keyboards. Sometimes I'll fly around like a maniac and do twenty different things or half a dozen all at once. Trying to harness the raw voltage, wattage, and power juicing over the stage is intoxicating with just enough elements of unpredictable surprises.

Imagine, full power up...5-6 amps all up to (10) ten - looping, crashing, feeding back creating layer upon layer of texture. I control the dynamics, the range of pitch; the rhythm and speed of the attack. It's like trying to harness electricity in a jar or trying to put a lasso around a lightning bolt. Noise is the mood setting king of all soundstages. Just look at how much great noise grabs you by the throat and beats your senses around when you're up close to the speakers at a movie theater. It disorients and it is not the kind of stuff an audience can expect to hear or sing along to. I love noise because it is obscure and hard to listen to.

Studio work is the more creative side of noise and it is within this environment that actual composed pieces are most often realized. I can exert far greater control over my piercing electronics and use all of the multi-track dubbing tricks at my disposal to distort even further the sound sources and the basic rhythm foundations. Not all noise pieces however need recognizable structures within textures. Sometimes no rhythm exists or simply a static wash of white noise is constant. The out of control stuff usually turns out to be incredible when recorded properly and I like the fact that much of the noise I make is more aggressive in the Japanese or English terrorist style; than in the academic or more minimalist styles of the collage artists, the concretists, or the sound poets. Power electronics are the minimum standards I need to personally get excited about creating an artistic explosion of sound. I guess to some extent I am a cultural terrorist and I like to cause discomfort. So many things piss me off about greed, politics and government. The fat and stupid mediocrity of Middle America. I could easily become a violent gun-toting mad man vigilante . . . and start a mass murder rampage targeted at corporate CEO's whose factories dump toxic waste in rural neighborhoods and against red-neck fundamentalist conservatives who preach jesus, pedophile children and who support republicans. I could choke the bankers who foreclose on small businesses in rough economic times and who likewise toss families out in the street to get their homes.

Instead, however, I make brutal noise. To me it is beautiful. It is soul-filling, peace-giving, and my muse. I can bludgeon you to death with it - or create haunting, eerie pieces of skin-crawling mayhem. It is the soundtrack to my life.

I can bang my metal senseless and take out frustrations and anxieties. I am noise . . . and noise is me. It is chaos but it is also comfort. It is all purpose, and then again it is random and continuous. It is everything all at once . . . and it is really nothing at all. To be the master of the overviolence is all the respite an artist can hope to achieve. While listening to Macronympha at loud volumes I guarantee you won't fall asleep or be bored or ambivalent. Come into my world - but don't stay too long. I could care less if anyone out there actually likes our stuff. We do this for our own selves, and I personally like distance between myself and much outside socializing. If I wasn't a noisician and if I didn't get high regularly, I'd be far too morbid and relentless - and wouldn't be someone anyone would enjoy being around for too long.

Someday I'd like to ultimately merge some of this soundscape-vision into a dual reality by composing noise backgrounds for film projects. If anyone out there has a feature or anything longer than ten (10) minutes to score or do a soundtrack for, please e-mail this account. Not just CMU students either. I want other driven and deranged people to send me ideas for what they want done with noise as music for their movies, plays, or performance/installation pieces.

Much of what is truly excellent in the realm of recorded noise today are in fact collaboration projects with many contributors. Still though most noiseheads are solo individuals who see their own vacant sound canvas with unique and exclusive eyes that ultimately make some kind of a mental picture. When I listen to Merzbow, I close my eyes and see images intended, and images never imagined. The appreciation (or hatred) of noise is purely an individual relationship, based on one's own taste.

Joseph Roemer of Macronympha

Labels: , , ,