Post by arvo on Nov 18, 2011 1:01:03 GMT
I've read someone say that they worked at a record store for several years (not Ron) and most people who bought noise/experimental stuff were with a group, just kind of hyping the new thing.
This applies to anyone who listens to PE, Noise, Drone, and other such "Non Music".
I don't care about conceptual remarks, philosophical background, artistic reactionism, and etc.
I'm asking why it is that people listen to it personally, inside their home or in transit. What function it serves, especially as it applies to the idea of being apart or separate from music.
What factors are you looking for? Is production quality an issue? If not, what is it that takes its place?
What makes a noise release something that gets repeat listens?
This could also include live performance, why a noise show is something you're interested in going to.
I've read Boyd Rice say something like "It helps me get in touch with my more reptilian part of my mind" and etc. Is that really it?
I also remember someone saying somewhere that they started by listening to Wolf Eyes, and after a while they got more of an ear for it, started putting contact mics on their turntables for long periods of time. I can appreciate that, but what makes a noise release one worth buying?
I know it's subjective but I want to get a variety of competent answers where ever possible.
If this has been discussed before, I could not find it in the search engine.
This is genuine curiosity, but I do intend to compile the results formally and publish them somewhere, giving proper credit to any contributions I use. That said, if any one sharing could also add their name and link this would be good.
I "discovered" making noise on accident, I didn't listen to it at all before I happened to end up making it. It was the result of total music failure, but I started refining what happened as a result, instead of trying to get back to music. I was kind of out of my head and at that time it seemed like what I was doing was perfectly dancable even though in hindsight it was totally out there. I'm saying this because I'm no newbie, but I really have only been listening to noise for 6 or 7 years, and very selectively at that. It's only a fraction of what I have in my collection. While I'm no expert on the history of it, my regular day involves listening to some locked grooves mixed with drones on my computer mixed with 5 radios and/or any combination etc. I have nothing to prove, but I'm a reclusive person and I'm no scenester by any stretch.
I expect a lot of smartass remarks and that's fine, but I'm trying to be totally respectful here. I'm just very curious why more seasoned people listen to it, especially people that have been at it for a very long time.
I am going to finish this article by the end of November. This will be in a major Chicago weekly paper. Please feel free to add to it! I will contact you privately for your name, location and project name/label/history if I decide to quote you.
This applies to anyone who listens to PE, Noise, Drone, and other such "Non Music".
I don't care about conceptual remarks, philosophical background, artistic reactionism, and etc.
I'm asking why it is that people listen to it personally, inside their home or in transit. What function it serves, especially as it applies to the idea of being apart or separate from music.
What factors are you looking for? Is production quality an issue? If not, what is it that takes its place?
What makes a noise release something that gets repeat listens?
This could also include live performance, why a noise show is something you're interested in going to.
I've read Boyd Rice say something like "It helps me get in touch with my more reptilian part of my mind" and etc. Is that really it?
I also remember someone saying somewhere that they started by listening to Wolf Eyes, and after a while they got more of an ear for it, started putting contact mics on their turntables for long periods of time. I can appreciate that, but what makes a noise release one worth buying?
I know it's subjective but I want to get a variety of competent answers where ever possible.
If this has been discussed before, I could not find it in the search engine.
This is genuine curiosity, but I do intend to compile the results formally and publish them somewhere, giving proper credit to any contributions I use. That said, if any one sharing could also add their name and link this would be good.
I "discovered" making noise on accident, I didn't listen to it at all before I happened to end up making it. It was the result of total music failure, but I started refining what happened as a result, instead of trying to get back to music. I was kind of out of my head and at that time it seemed like what I was doing was perfectly dancable even though in hindsight it was totally out there. I'm saying this because I'm no newbie, but I really have only been listening to noise for 6 or 7 years, and very selectively at that. It's only a fraction of what I have in my collection. While I'm no expert on the history of it, my regular day involves listening to some locked grooves mixed with drones on my computer mixed with 5 radios and/or any combination etc. I have nothing to prove, but I'm a reclusive person and I'm no scenester by any stretch.
I expect a lot of smartass remarks and that's fine, but I'm trying to be totally respectful here. I'm just very curious why more seasoned people listen to it, especially people that have been at it for a very long time.
I am going to finish this article by the end of November. This will be in a major Chicago weekly paper. Please feel free to add to it! I will contact you privately for your name, location and project name/label/history if I decide to quote you.