|
Post by swampsuehiro on May 2, 2009 18:35:30 GMT
What is your opinion of the noise tape/CDr/lathe labels that put out ultra-limited releases and noise bands/artists that release five or more albums a year, often under several different pseudonyms?
|
|
|
Post by Susan Lawly on May 2, 2009 19:49:28 GMT
I'm not familiar enough with that scene that would justify a balanced opinion, why do you ask? WB. What is your opinion of the noise tape/CDr/lathe labels that put out ultra-limited releases and noise bands/artists that release five or more albums a year, often under several different pseudonyms?
|
|
|
Post by swampsuehiro on May 2, 2009 23:16:34 GMT
Many of these artists claim Whitehouse as an influence but the way they release music seems to be very different in many ways from what Whitehouse does. I was interested in what you thought of elaborate packaging and an emphasis on the object (the tape, CD, vinyl) itself as a work of art just as much as the actual music contained therein. Correct me if I'm wrong but to me it seems that you've focused much more on the music than the packaging (though obviously the Trevor Brown covers are gorgeous) and Whitehouse material has not been deliberately obscure and limited in most cases.
|
|
|
Post by Susan Lawly on May 3, 2009 1:13:26 GMT
yes, I put personal importance on focusing on every aspect of a release - the whole limited/numbered edition issue has always struck me as a bit of a dodgy marketing scam (either to create a false sense of rarity, or to validate releases that hardly sell anyway, or even perhaps as you suggest, to deflect attention away from the music itself) - but still, I can only speak for myself, it's not really for me to generalise on how others choose to go about doing what they do... WB. Many of these artists claim Whitehouse as an influence but the way they release music seems to be very different in many ways from what Whitehouse does. I was interested in what you thought of elaborate packaging and an emphasis on the object (the tape, CD, vinyl) itself as a work of art just as much as the actual music contained therein. Correct me if I'm wrong but to me it seems that you've focused much more on the music than the packaging (though obviously the Trevor Brown covers are gorgeous) and Whitehouse material has not been deliberately obscure and limited in most cases.
|
|
|
Post by Lord Cornwallis on Aug 9, 2009 4:09:45 GMT
What is your opinion of the noise tape/CDr/lathe labels that put out ultra-limited releases and noise bands/artists that release five or more albums a year, often under several different pseudonyms? Patch mixer to mixer to guitar pedal to mic to amp back to mixer use some shitty phrase sampler and you can do it your self and be one of those fucking losers that are trying to sound hard. "Ultra limited releases" loling at that for sure. The US sucks for noise outfits.
|
|
|
Post by gradkowski on Aug 30, 2009 12:16:35 GMT
What is your opinion of the noise tape/CDr/lathe labels that put out ultra-limited releases and noise bands/artists that release five or more albums a year, often under several different pseudonyms? Patch mixer to mixer to guitar pedal to mic to amp back to mixer use some shitty phrase sampler and you can do it your self and be one of those fucking losers that are trying to sound hard. "Ultra limited releases" loling at that for sure. The US sucks for noise outfits. I disagree there's loads of great stuff out there in the US.
|
|
|
Post by swampsuehiro on Nov 9, 2009 8:20:17 GMT
Patch mixer to mixer to guitar pedal to mic to amp back to mixer use some shitty phrase sampler and you can do it your self and be one of those fucking losers that are trying to sound hard. "Ultra limited releases" loling at that for sure. The US sucks for noise outfits. I disagree there's loads of great stuff out there in the US. Yeah Macronympha, Emil Beaulieau, The Haters, etc. etc. all terrible artists who contributed nothing to noise. The whole argument for this country vs. that country turning out superior noise is unbearably stupid and futile. More importantly, there are such large numbers of people in practically every country now putting out ed. 20 tapes, CDrs etc. that it can hardly be said to be an American phenomenon. Case in point: Kenji Siratori (amongst thousands of others of course). Also, the argument that anyone could do it is the typical argument used by people who don't understand any kind of extreme or avant-garde art. Funny to see it used here of all places.
|
|
|
Post by Joe Chip on Nov 9, 2009 15:17:25 GMT
I've received so many of these type of 'limited' releases via trades - they invariably get played once and then gather dust - but I will enjoy listening to them for that one time more than I would listening to the radio or TV.
Often the people themselves and their bizarre concepts are more interesting than their actual work - I'd certainly include the three US artists named by swampsuehiro above in this category.
The DIY underground wih its psychodramas, bad art and endless rehashes goes on forever; there is nothing to stop it. And just maybe, if an image is xeroxed often enough an archetype can become suddenly apparent.
|
|
|
Post by orso82 on Feb 24, 2010 13:28:12 GMT
I think it's difficult to keep track of the american noise outfits as they are countless - but from the ones I have heard (mainly from those originating in the 80's) they sound to me too derivative and predictable. Most of them are plagued with the rock/punk/metal aesthetic either relating to the package or content included in their releases.
I think there is a 'conceptual' vacuum on the way these acts approach their art which makes them sound all the same if you compare them to european acts like Whitehouse, The New Blockaders, Vivenza, Das Synthetische Mischgewebe, Vagina Dentata Organ, Sudden Infant..etc - which actually sound a lot different to eachother.
|
|
|
Post by gradkowski on Mar 12, 2010 17:04:17 GMT
I disagree there's loads of great stuff out there in the US. Yeah Macronympha, Emil Beaulieau, The Haters, etc. etc. all terrible artists who contributed nothing to noise. The whole argument for this country vs. that country turning out superior noise is unbearably stupid and futile. More importantly, there are such large numbers of people in practically every country now putting out ed. 20 tapes, CDrs etc. that it can hardly be said to be an American phenomenon. Case in point: Kenji Siratori (amongst thousands of others of course). Also, the argument that anyone could do it is the typical argument used by people who don't understand any kind of extreme or avant-garde art. Funny to see it used here of all places. I don't tend to really go for the any country being more superior to others line. I like a variety of different noise from different countries. Doing a bit of research I can see a lot of people considered pioneers such as Whitehouse came from a wide variety of music, and checking those influeces turned me on to a lot of great stuff (Yoko). But I like the Haters and Emil Beaulieau for what they do, I cannot really agree there that they are terrible. Anyone can do it; yeah sure there are certain formula that can be easily done, to do something that stands out on it's own takes more balls to do... The LTD edition thing is a difficult one, is that a circumstance of how music is obtained now, I think that is also a reaction to how difficult it must be to sell a lot of one record what with people downloading for free and all. I hasten to add I still buy. Perhaps someone should invent a portable record player in retaliation to the IPOD.
|
|