discuss noise and related genres
post your noise/gear/live shows
talk about shows you've been to/are going to
what are you listening to now?
I've been listening to a lot of girl band, dope body and lightning bolt, those guys kick ass
I've posted one noise track but I'm workin on more https://soundcloud.com/asciidave/in-the-abyss
A friend of mine hooked me up with pic related and its been fun adding it to the chain of FX pedals
new noise/experimental/drone/whatever netlabel - accepting submissions:
will upload pretty much anything (as long as it's experimental in some fashion)
check out what we have now :
What are some suggestions you all may have for someone who would like to venture into noise? I enjoy drone and just about anything with dissonance, I just can't find any good starting points with noise.
thanks man. i use a rock band keyboard and a shaker box run through audiomulch to produce my samples. then i use ableton and an mpd32 to mix them together. and you really think that's an odd choice of font? now im insecure about the cover lol
the cover is one of the only things I like about your album. To me , your work seems a bit aimless. There is not a direction the songs move towards. For me this is a deal breaker in any noise album, but I know some people like the whole chaos noise thing, just not my cup of tea. Anyway, keep working at it bro, not everyone can like it.
>think that's an odd choice of font? now im insecure about the cover lol
The picture and idea are fine.
But this kind of lettering is good when it's done by hand, even better when the letters are somehow linked together — fonts are too obvious. Look at the two identical "A"s in "SATAN" for instance. The characters are supposed to look irregular, you shouldn't have two looking exactly the same.
fair enough man. i just started using the audiomulch > ableton workflow at the beginning of december and i wanted to release an album before i went back to school. i do think the next album i'll make it'll be more ~5 minute tracks and more variety of noise instead of pure harsh but we'll see.
I would more actively look at the designs of other well established artists. Not just noise, but that'll help you get the aesthetic and thus adapt for multiple concepts. Consider uniformity and how your design-mind responds to different cover designs. For instance, your cover is 786x700, maybe consider cropping the original photo to make a perfect square. Font choice is one of the hardest things to do. As far as what you've done, it's actually not that bad. Whatever font you've chosen stands out, but doesn't say cheesy or over the top like a lot of people's choices do. That being said, it doesn't "blend" as well as it could. I would put the text on a different layer and play around with color blending styles, maybe add a slight, but impactful filter on the whole thing to make it look less like a separate layer stuck onto the background and more integrated with it.
I'm sorry, I definitely didn't mean to make you insecure. I was big into the hardcore and metal scene in the early 2000's and that was a font EVERY local metal band used so for me it's become synonymous with edge lords lol. I agree with the other poster, it looks damn good drawn by hand, even by a novice that's practiced a few hours. It just feels more organic that way. When it comes to interesting fonts, I always point to La Dispute's Wildlife. I loved the way it was written on the cover, and while it was mostly illegible, you could still tell it spelled Wildlife. I love the background though, very similar to an acoustic album I made years ago
Any experiences with Audio-Technica ATH-M40x headphones? I've been looking for a decent set of headphones for both listening and producing my noise after having gone through so many sets with shitty bassy sound, and the Sweetwater reviews have been pretty positive about these. Looking for insight into how flat the range is, durability, comfortability, whatever else you find applicable. Thanks in advance.
Spend a little more and get the 50's. I got the 40's first and ended up upgrading within the years because I liked them that much more. It's not a huge difference but if you're already spending the money, spend the bit extra and make it last longer
Are there any big name noise groups/artists who also have children?
It seems that Merzbow, Masonna, Keiji Haino are all childfree/childless. Akita is married, I'm not sure about the other guys, but it's interesting to me.
Would Merzbow be different if Akita had children in his 20s, 30s, 40s? I want to know what internal thought processes was shared by these artists in regards to having children. It is a conscious decision not to have children and, in Japan, it is apparently a controversial subject in itself.
raise chickens not children
fuck, I imagined for split second merzbow as a father. It needs to happen, like, we could get Park Chan-wook style album.(please tell me that anybody here have watched "Oldboy" and "I'm a Cyborg, But That's OK")
in the beginning i listened to only harsh stuff like government alpha, arseterror, god pussy, tralphaz etc. if you really want to get into noise just download a bunch of random stuff especially compilations on bandcamp, you can find a huge variety and just branch off of artists you like that's what i do, but you will need to pay if you do the bandcamp thing especially for compilation albums it can get kind of expensive but it's worth it in my opinion
You guys listened to Lost Salt Blood Purges -
Only the Youngest Grave at all? It's a good record with a healthy dose of noise influence in it. I heard about it because Fantano tweeted about it, but check it out for yourselves.
It's not that bad desu. Like everyone has said, maybe draw the lettering by hand. It doesn't have to be super different, you could probably even trace some letters. Just as long as it looks more organic than a font.
I also like your noise. I remember you posting a lot of digital stuff around a while ago, you've really progressed a lot. That's a cool setup too. Digital is an underrated way to work as long as you get creative with it.
>recommendations beyond the basic stuff
Well i don't know what you mean by that, if you're referring to the predictable recs i'm afraid i can't help you
Brighter Death Now
The Grey Wolves (and side projects)
November Novelet (Haus Arafna, i suppose you know this already)
So far my favourites are Set On (ceramic) and Embers (fire). I also like the simpler water rhythms on Ricochetentrance and the clock on 01170546.
>i didn't even think of that, next time maybe i'll use random death metal fonts for each letter or something.
Nah, that would make it worse. Try doing it yourself by hand. Pic related, I'm not good with a pen at all but it's easy to make irregular letters with spikes like that.
>idk covers and names are hard to make in my opinion
You can keep it simple. That pic you used for instance would have been good without any text.
Only listened to that one yet https://leith-mac-takumi.bandcamp.com/releases but I liked it.
https://artascatharsis.bandcamp.com/album/only-the-youngest-grave also uses noise in a good way, though it's only part of the sound — most of it is drone, folk, tribal ambient. Great stuff if you're into that though.
i think i will try the writing by hand or tracing thing
thanks. yeah analog is heavier and harsher but i like the way i can bring in a barrage of perfectly EQ'd samples its fun
Has anyone listened to this?
Francisco López is a field recordings artist but this one is a noise collaboration with many noise, drone and other experimental artists. I like it very much.
> featuring: antón ignorant, daniel menche, ferrán fages, francisco lópez, joe colley, koji asano, masami akita, mego laptop orchestra, michael gendreau, oren ambarchi, russell haswell, zbigniew karkowski, alan courtis, bernhard günter, elliott sharp, jorgen teller, lasse marhaug, ralf wehowsky, stephen fenton, tetsuo furudate… and many more
>Beyond the basic stuff
I tend to listen to more 'revisionist PE' as opposed to more 'Heavy Electronics' so a different sound from the same etymology
>PHARMAKON (she's not very popular here but I adore the most recent two albums)
>PUCE MARY (another one I can't imagine is too popular here but I own most her stuff and was lucky enough to see her live)
Not the same sort of 'school' but
>DEATHPILE namely check out G.R.
This is all stuff that I like so I'm not trying to get you to subscribe to anything. My FFH tape is in the mail too so woo hoo!
what're y'all listening to? all this discussion of aube has me listening to aube - embers
work and house work have been interrupting my time to finish this.
It's really worth your time if you like mellow noise. Not too rhythmic but I don't think you'll be disappointed if that's what you're going in for. Skinning JLO & Slow Down Furry Dub are heavenly.
Patina Pooling by :zoviet*france: & Fossil Aerosol Mining Project.
Only loosely noise-related, but if you're into texture-based music, found sounds and experimental ambient, I recommend it. (And the packaging is weathered rusted metal — the first edition was on vinyl and weighed more than two kilograms, they're re-releasing it on CD now.)
CLEAN SHAVEN has pretty awesome sound design.
Just watched QUEEN OF THE EARTH and that had a sick modular synth score. Noisey concepts of alienation and grief too. Kind of like a modern day REPULSION except not totally lame.
I also like Abel Ferrara movies but not sure how noise those are. Namely, BAD LIEUTENANT and DRILLER KILLER has filmic textures reminiscent of noise.
Please feel free to talk shit back to me.
You could also watch some avant-garde shorts?
just got this mixer for live/recording
what mixer do you guys use???
Does anyone have any power monster they could share? I bought fantasy fracture and single white female so I'm looking for other stuff. thanks famalam
This is awesome, especially the first disc. One hell of a lineup on it. I'm curious to know who was in the Mego laptop orchestra though. Probably Pita, Fennesz, maybe Hecker, maybe O'Rourke, maybe Drumm...
I suppose the original "school" is represented by the Come Org and Broken Flag guys, Aquifer Sodality and Tesco org. You know, hard and harsh with really dark and universal themes.
In the other "revisionist school" we got most of the american pe, and european ones like Posh Isolation. I suppose they are different from their original Evropean kvlt predecessors in sound and aesthetic.
It's a buzz term, like 'minimal techno'. Makes sense to me though. To me 'revisionist PE' is more focused on internal anxiety, dread and fear as opposed to 'Imma gunna rape you' old school PE. I like both a lot just mainly listening to newer stuff these days. KOUFAR would actually fall into a similar category as GENOCIDE ORGAN, thematically.
The movies I listed will have a little more depth in the narrative and are experimental in their formal aesthetics. Whether or not they are 'better' totally depends on the mood. I'm into Post Apoc B movies as well.
I listened to the new Alessandro Cortini tape. Not what I was expecting from him but still a style of noise that I like.
>The movies I listed will have a little more depth in the narrative
More than 0 isn't a high bar but I get you.
>I listened to the new Alessandro Cortini tape. Not what I was expecting from him but still a style of noise that I like.
Oh, im hyped to listen to it now. I've liked the other stuff I've heard from him.
submissions are due today. should be out tomorrow or Monday. I'VE BEEN HYPE FOR THIS MANG. Also compilation guy if you're here check your spam because some tracks probably ended up in there.
Tried to throw together a quick little thing. It's simple, not too much going on but it's pretty fucking scary at points. I dunno, check it out? Thanks.
>inb4 yo check out this mixtape
Fossil Aerosol Mining Project & Zoviet France - Patina Pooling  (MP3 V0)
>industrial, dark ambient, drone, sound collage
I'm just guessing the tags cuz I haven't listened to it yet. Hope you enjoy though.
Been on a sort of a noise/experimental kick lately myself. Though I am not so knowledgeable on recent stuff outside Swans. What have been the freshest of your favorites from the past five or so years?
Went to Ramleh's rock set in LA last week. It was hardly rock, which was great since I didn't have the opportunity to see their Power Electronics set the night after. I grabbed their Live Valediction CD/DVD at the show and it was signed by Mundy which was pretty cool. I got a chance to talk to him before the show as well. Really nice guy.
I'm pissed I missed this. Is it too late to submit to the comp now?
Here's a noise project made exclusively with hardware synths and acoustic instrumentaion that might appeal to you.
Here's more recent shit from me
>The theme will be to make a song about the town you live in. You can make this be harsh noise, a noise wall, or just plain old noise, whatever floats your boat. Tracks should be 10 minutes long at most and you are limited to 1 track. Titles should be in a "(Town name) is a Town Where (Something about your town)" format, but if you can come up with something creative and cool, then that's fine as well!
>Email your track to email@example.com. If for any reason it won't let you email your track (file size limits?), just put your song in a zippyshare or mega download and email it. This will be the bandcamp it appears on: https://noisecomps.bandcamp.com/. I'll get the design set up before the comp comes out. Feel free to include your bandcamp in the email if you want, and I'll put it in the description on the final product.
>For times sake, I would say let's make the due date for tracks be January 23rd
I just started going through the whole power/rhythm noise chart.
going through this compilation. new forces has some decent releases
Get a DAW. Ones professionals use often come with virtual synths and effects interfaces that you can use in a semi-"traditional" manner. Learn synthesis, learn what effects do, modify the synth sound, modify recorded samples.
and to help you rebuild your collection here's my field recordings folder and HNW folder
oh god i know how awful that is, feel sorry for you. but even if a lazy ass like me managed to rebuild everything, i'm sure you can
wow thanks for those, i already had favorited the field recordings one
Nice collection, especially the Vomir & Yoshihiro, Зaтyхaниe, and enbilulugugual. Anything else as awesome as those I should grab?
well, other anon. In general, they aren't. But some of them are experimental for their own genres. Going with the easiest one here. Spiderland isn't really experimental in itself, but considering that it was made by bunch of HC fans, It is pretty forward thinking, don't you think?
comp dude here, chances are this might be released tonight (no descriptions on tracks though, supposedly the guy who did the last comp was interested in doing some so if he wants to do that, then he's free to do it)
i also got like 2 slightly late submissions but I accepted them anyways because why not, but I won't be accepting anymore now. luckily nothing ended up in my spam folder.
also for the album cover I might just use the textless version of it. the title is probably gonna be "Hometown."
I'll update if I plan on releasing it at a specific time tonight.
do you need anything more than pure data to make a good noise track? Im taking a course offered through my college on it, and I dont really want to pirate a DAW or learn other software.
Yes. If you want to make art, you need to have the patience and desire to actually put effort into it. If you really don't want to be bothered with using anything other than raw data, at least sequence multiple tracks, arrange and clip and paste, and assign a good conceptual idea to your project.
yeah a bunch of aimless and uninspired noise tracks made by people who discovered noise on /mu/ 4 months ago and can't tell the difference between a john wiese album and a netlabel bandcamp album made in audacity over 2 hours and spammed on noiseguide by a 15-year old, should be sweet
>Oh good, the classic assumption that all digital releases are uninspired and low effort.
i did not assume this at all, as could be understood by the context in which i mentioned john wiese, an artist primarily associated with computer software-based noise works
got no grudge whatsoever against "laptop noise" personally, but the average /mu/ noise guy is hardly editions mego material, is he?
I think it'd be better to judge the material by what it actually ends up sounding like, and not what you're assuming it will be. And who knows, even if most of the tracks are bad by your standards there might be one or two you actually like. I think it's just rude to dismiss all the artists on the compilation before even hearing it...
i was regularly checking out the material posted in these threads for quite some time
pretty much all of it sounded and felt like what i described above, material made by people who discovered noise on /mu/ very recently either in these threads or one of those stupid fucking chart threads, stripped of any substantial context or background information, and have since then not made any efforts to even discover any noise outside of what is posted here, much less actually try to come to any sort of in-depth understanding of what noise is and the qualities(or lack of qualities) by which a noise release succeeds or fails
i know what i'm in for with that compilation
at least the amount of naff self-promotion and farting in the wind in these threads is hopefully going to decrease once it's finally released
I am personally guilty of most of the shit this guy said, and I guarantee most of the others are too. That being said I'm still hype. Not because I expect the greatest release of 2016, but because we got a bunch of people together and made something. That's pretty neat regardless of how it turns out.
Then don't be fucking guilty of that. Why accept that? Why not put effort into it if you like doing it? Why are you ok with this? Why don't you care? This is what that poster was talking about.
Is there such a thing as light-hearted noise? I've been getting into noise lately through noise rock and while I enjoy it a lot, the entire scene has such a dark, brooding quality to the aesthetics, performances, and sound that it becomes a little exhausting to me.
I never said I didn't put effort into it. I spent like 3 weeks straight on my song. I just suck ass and use audacity.
I'm actually hoping for criticism when the album comes out so I can get better.
kazumoto endo - while you were out is commonly cited as being the best example of that. I find a lot of hanatarash and the gerogerigegege to be really playful and silly, in a good way. I dunno much else though cause I tend twards gloomy shit in all of my interests
I personally find it nice when people get inspired to make noise (or any music) of their own. I think for those who do it sincerely as a form of self-expression you can't diss them for doing what they're doing, as amateurish as they may be. Everyone starts somewhere. I'm hoping this compilation is mostly people who are sincere about their work, and from what I'VE seen in these threads, I think that's what it'll have a lot of. I know /noise/ is awfully jaded when it comes to bandcamp noise and stuff but I think this compilation is full of artists who are sincere, and less just fucking around. For me, noise is all about the feeling behind it, and if we can compile a bunch of tracks by passionate people then I want to hear it.
I'd like to propose an idea to /noise/. How do we feel about issuing a quarterly compilation series? Every three months we'll have a new compilation with a new theme. Submissions must include the track itself and maybe like a 250-500 word written accompaniment. The writing will serve to weed out any insincere submissions as well as to generally enhance and enrich the compilation as a whole, especially if the writing is included with the download. Each compilation can have a new organizer, so it doesn't all fall on one person, or whatever works. I just think that these threads inspire a lot of people and it would be great if the threads can also serve as an outlet for these inspired people to promote their music. It may be sort of a lot to try to put out 4 a year but it's just an idea. Thoughts?
I couldn't possibly agree with anything more than I agree with this right now. Also just for how this can work logistically: on bandcamp you can put the writing portions in the lyrics tab and people can just click that and see what they have to say right next to where they play the track.
While were at it, here's all the details.
The file size for the bandcamp download (in mp3, I don't even want to know what it would be for flac) is 452 MB's. There 39 artists/39 tracks, and the total length is 4 hours, 4 minutes and 35 seconds. Gonna have fun marathoning this tonight lol
>There 39 artists/39 tracks, and the total length is 4 hours, 4 minutes and 35 seconds.
>the Soundcloud/Bandcamp Audacity amateur hour posters who just used to be irritating but ignorable are now the /noise/ majority while the few posters who have some proper knowledge and involvement are posting less and less as time goes by
I guess that explains why these threads have taken such a nosedive in the last few months.
> stripped of any substantial context or background information, and have since then not made any efforts to even discover any noise outside of what is posted here, much less actually try to come to any sort of in-depth understanding of what noise is and the qualities(or lack of qualities) by which a noise release succeeds or fails
Holy fuck you sound like an unbearable faggot.
Don't be so quick to attack him without considering his point. Just like with any art, you have to have knowledge and experience of the aesthetic of the medium, and with aesthetic in general. Just throwing a track up with a shitty "i don't know" track title and ms paint and no conceptual direction is shit. Don't deny it.
It's a matter of fact that the only time when these threads are enjoyable is when the discussion is led by people who actually know their shit when it comes to artists and labels, people who actually give enough of a shit about noise to explore and study it on their own, to go to shows, to buy records, to truly involve themselves in it.
There's nothing odd about that, people with a sincere passion for something will naturally have more things of merit to say about it than dabblers and hobbyists.
Those people don't show up or start posting less and you end up with this: Bandcamp peddling, spam of the same 4 albums everyone knows by heart and people who think I Am A Lake Of Burning Orchids is more important than fucking Merzbow.
I think you can have intent, direction, and conceptual basis without necessarily having listened to noise for 5+ years and using a $2500 analog setup. The elitism I'm detecting is sounding a lot more like "you guys don't have the years of experience to be allowed to express yourself in a public format" because I think most of the people working on this compilation went into this with some intent, direction, and conceptual basis
not him but that's why I kinda like this idea
especially this part
>Submissions must include the track itself and maybe like a 250-500 word written accompaniment
getting people to explicitly articulate their ideas behind their aesthetics would be really helpful to many /noise/ musicians
>It's a matter of fact that the only time when these threads are enjoyable is when
Man, opening with an impossible-to-qualify statement makes me really not care about the rest of your post
Seems really good so far to me. I love that it's not just classic heard it 1000 times. But like there are a lot of interesting outside elements. I'm actually pleasantly surprised so far.
Those aren't arguments. Noise takes on a variety of sub-genres. Every track I've heard so far has elements of noise in it. It's not a harsh noise wall album. Complaining about clipping in noise is pretty funny. Go EQ it yourself if you're so offended. Not every noise artist, and certainly not every well known noise artist, produces flawlessly.
because the posters talking about experience are talking about artistic direction, which is a concept completely divorced from experience. If they were actually arguing for what they claimed to be arguing about then that might help
Artistic direction is most certainly not divorced from experience. That's like saying "as long as you claim it's genuine, your stick figure drawing is a valid portrait of my cousin". These things affect each other in a variety of ways.
Los Angeles was a super good opener. Portland I dont remember right now. Tyler Texas was really killer and hypnotic. Puebla is doing that really thick harsh noise sound really well. I have liked every song so far
the fact that you don't think there is anything wrong with clipping and say "just EQ it yourself" really lets me know what kind of mindset you people are in. you think that just because it's noise it doesn't need to be taken seriously which is really just retarded and says that you've never heard a well produced noise album and thought wow i should start making stuff like this.
>you think that just because it's noise it doesn't need to be taken seriously
That's not what I said or implied at all. That really lets me know what kind of mindset you are it. There are well produced and not so well produced noise albums across a variety of artists. If it sounds good, it's good. Prefer crisp production? Congrats, I don't give a shit.
Nice hyperbole. Anyway, experience can affect direction and vice versa, but neither explicitly requires the other and neither is defined by the other. You don't need years of experience to be allowed to express what's in your head and you don't need years of experience for other people to be able to appreciate what you've made.
As much as you all want to spruce up and rationalize your mantra of "I'm better because I've been here longer," that truly is the basis of what you're saying, and nothing more.
I mean I agree that in general people should be more careful and critical with the music that they are making. But wtf is wrong with clipping? It's noise and why is that specific way to change the sound off limits to you?
So you prefer the threads consisting of circular, regurgitated no-value posts on Vomir/Kazumoto Endo/Venereology/Thousands Of Dead Gods/"how do I like noise?"/Bandcamp links to DAW shit cobbled together in 20 minutes to the ones where people go in-depth on what they get out of an artist, how they perceive an album, which labels they're into, which shows they have recently attended and what they've seen, what they last bought?
Alright, I guess.
use google and see why clipping is bad do you seriously not know shit about music and you want to tell people you're an artist?
>Complaining about clipping in noise is pretty funny.
I am not the asking for muh weird here. Go fuck yourself I made that title because of shitters like you who only cares for shallow muh obscure or muh weird gimmick.
Are you retarded? It has acoustic Mizutani so it's different instead of watered down, and also has the best version of 77 live because I like my music to be more interesting and nuanced. the first and last discs are crap though I usually don't put them in my music player nor my iPhone.
>But wtf is wrong with clipping? It's noise and why is that specific way to change the sound off limits to you?
nothing, but there's a difference between someone deliberately working with clipping and overcompressed sound(people don't give prurient enough credit for this shit, he used those methods to really remarkable ends on a few releases) in aim of a specific deliberate artistic purpose and some /mu/ dolt not bothering to properly mix and master his shit because "it's noise, who cares?"
I really couldn't care less what you people are buying or who you're going to see. I do want to hear what you all are listening to and enjoying, and what you're making. I'm not rally interested in how you spend your money
I like the image and sound, but utterly agree with the font critique. what about pic related in white accross the bottom?
XathaX - Austin condpocalypsegohomeleaveusalone
I don't think it's a coincidence the big stream of words reminds me of Merzbow's Green wheels. It had a cool sound that flowed really well directly into Pagoda Mast's Plainfield. Slight drop in quality around this time of the disk but still much better than expected.
Agreed, sometimes keeping it simple is best.
>250-500 words essay
I think that's a bad idea. I would never read that kind of things, for me the music should speak for itself. And if you're looking for a way to select "good" submissions for a comp, how about -just- not accepting tracks that doesn't sound to your liking ?
Pitch-affecting pedals. Pitch shifter, harmonists, organ, etc. Of course the traditional distortion/fuzz and delay are good, but they can get limited.
Also, I'm eight track into the comp. It's not awful or exceptional, but the one gripe I have is that everyone seems to just stick to a single sound/atmosphere for the whole track and have it run for the whole duration, sometimes for like 7-9mn. Changing sounds during a track is okay, guys.
didn't really enjoy the 8th track either. I'm on the 10th track and it's kinda like the same as well :-/, luckily it's shorter and there's a bit more interesting sounds. I'm guessing track 10 was one of the people who recorded field recording of their town. If so, that's still pretty cool
A lot more relevant than a lot of people realize, especially in the context of some of the early Japanese noise artists and the big 2000s wave of North American noise.
Cluster were actually headliners of one of the final iterations of No Fun Fest, which was THE noise festival of the 2000s.
I'll attempt to set something like this up when May comes around. I'll likely not use bandcamp, but just put a mega link up, and you guys can spread it around everywhere else you please. Written word requirement will be specific and brief. It should be enjoyable for the artists as it's basically an insight into what they're doing with they're work. There will be a limit on the number of tracks but not on the length of the tracks. I might ask each artist to submit a piece of artwork to reflect the track and be placed in as "liner notes" as well, dependent on the concept, which I will be thinking about. Reviews for each track are also a possibility. Quality standards will be enforced both for artwork and tracks. If I end up not being able to do this, I'll let you know. Don't expect anything to start until mid May.
Well in noise the music often does not speak for itself, and the multimedia components are a large aspect. Also it's not an essay I'm suggesting they write, just an accompanying piece of writing. That quarter's organizer would have the option of choosing the theme and the variety of writing. The writing could be a narrative, a poem, or anything. Alternatively they could maybe include some visual accompaniment of some kind. I like the idea of having something like this and not just leaving it up to the organizer's personal tastes because I think the purpose of this endeavor should be getting exposure for new noise artists on this board, and I think it would be sort of a bummer to work really hard on a track and not have it be accepted because the organizer wasn't a fan. I think these compilations should celebrate any and all artists who are trying to make a sincere artistic statement. One could argue "oh, so it's not a sincere artistic statement without some written or visual accompaniment?" and to that I'll say no, that's not the case, but in the realm of online anonymity one can't really gauge someone's sincerity without some kind of (potentially arbitrary) metric, and I think the accompaniment will be the easiest and best metric of this sort
I think it's good to add writing. But I agree their justification was weird. Noise does speak for itself for me it's not about some "feeling" or aesthetic product or writing attached to it. It's just music. Merzbow doesn't even attach track names to his music often and his stuff is fantastic, because he doesn't need to supplement it with something else.
>except its about cool sounds not art school
many noise artists are either inspired by "art school" interests in their work or actually come from art school backgrounds
it's rarely ever about only about "cool sounds", a lot of artists have a bigger interest in the processes behind the sounds than the sounds themselves
I think it would be cool to maybe set it as 15 or 20 tracks on the release. That way it keeps the length somewhat digestible. However I don't think it should be a matter of picking the first 15 or 20 that come in. I think that creates a feeling of needing to rush. I guess in terms of narrowing down a top 15 or 20 then the organizer's discretion would be the best tool, but I think that in the interest of getting exposure for everyone, maybe include a list of the names of all those who submitted. Like narrow down your top 20 but then include a document that's like "thank you all for submitting" and just list the artist names of everyone who submitted. That way the poor souls who didn't make the cut didn't waste their efforts completely, and still get recognition for it. Maybe that's too "nice" but I don't want this to be a stressful or hurtful experience for anyone
I was thinking that future compilations could have tape releases, for sure. That'd be so sick
>he doesn't need to supplement it with something else
Even if he doesn't "need to", the album titles, artworks, and his general legacy work to supplement any musical release of his. If only on a subconscious level, a lot more goes into your enjoyment of his stuff than just what you're hearing. I mean I get your point and everything, but I think it depends on the artist whether or not they feel the need to include additional supplementation, and some artist use more than others.
I think many opponents of the writing idea are viewing this writing as some form of "justification" for the music but that's not exactly its purpose. It's there to enhance the music and give some indication as to what went into it
Well, to be honest I wanted to make one copy for personal use and nothing more.(and it wont be fast cause my deck had broken down). So, sure. Vote on ten trax and I'll release them.
I agree with the writing thing being a cool idea, also just filtering out pointless 5 minute compositions. I just didn't like the idea of noise not standing for itself because it definitely only stands by itself to me. I don't even know what the album covers are for most of the noise that I listen to
It's sort of a pain in the ass but I think for future compilations I'd prefer that the metadata for the tracks actually have the artist name as the artist name instead of as part of the track name. For this compilation I've gone in changed it for each track on my computer. So every artist is getting a scrobble, woo
You know what. I completely forgot about doing that. I'm gonna go through and edit it on the page so that the metadata is actually correct. It's something I should've done in the first place and I'm sorry for the inconvenience. Thanks for pointing this out.
/noise/ really sucks ass now, geeze
underage goons and their bandcamp circlejerks, goddamn
how come /bleep/ and /metal/ don't suffer from kids who've got no clue about techno or i dunno, black metal, spamming their shit all over and overtaking the threads while /noise/ has such a big problem with kids who've got no clue about noise doing this?
>how come /bleep/ and /metal/ don't suffer from kids who've got no clue about techno or i dunno, black metal, spamming their shit all over and overtaking the threads
They already suffer from kids.
I have never seen any of the 39 people on that album post, and there is no way there are more than 50 people in these threads. So looks like they really did think anyone could make noise oh well. That's what happens when you learn everything online and don't learn anything from your best friend or someone you met at a show
>/noise/ has such a big problem with kids who've got no clue about noise doing this?
because noise is easier to record than both those genres. hell, to make shitty digital noise, you can literally just import shit into audacity and export it.
bandcamp noise is just the second phase of the untalented trend-hopping teen who has gotten sick of making vaporwave
(i'm not disparaging noise, though. it's probably my favorite genre of music.)
>68 unique IPs in this thread alone
Also, ever think people don't want to advertise on the board or spam their links and actually have been making noise for a while? Fucking idiot.
So were they going to shows and meeting people who helped them irl instead? Being high and mighty about not socializing doesn't make sense especially for something like music which is the most social art I can think of
I'm enjoying the compilation personally so I'm not offended by the amount of bandcamping that's going on in these threads.
Noise is perhaps easier to make and requires less musical talent (maybe? I dunno) than most other genres, so I guess more people are bound to try to take a stab at it. But using a bit of discretion you can, believe it or not, actually manage to not listen to things you don't like!
I don't get why everyone cries so much about people promoting their own stuff. Ctrl + F "bandcamp.com" yields 10 results, 4 of which are just the compilation's url. So out of every 270 posts you see 6 people "self-promoting". And you bitch and moan about that? Jesus
And only three of those results are actually self promotion. It pisses me off that people who actually put effort into their work and just happen to host it on bandcamp are automatically and infinitely scorned.
i mean you've got a thread here, almost hitting the bump limit, and ideally it would mostly consist of talk about proper noise, proper discussion and whatnot, but instead it's all either people shilling their shit or people objecting to people shilling their shit with a bunch of other people just giving nonedescript dumb "i like this", "damn it's just a wall", "best one yet!" comments that mean nothing and say nothing about that compilation or whatever, an entire thread with no value
fuck that, dude
fuck it hard
delete your bandcamp
go get yourself a bunch of gear, a bunch of noise, a bunch of noise lit
digest that shit, work on it
come back in a few years, then we'll talk
Nobody is whining about their work being criticized. Nobody is calling out any specific artist for doing bad noise. People are whining about a fucking audio hosting website and applying false qualities to non-bandcamp noise to manufacture a comparison to ALL bandcamp noise.
Like isn't it possible I want to experiment with a DAW and a free hosting website before I go spending money on analog equipment and making cassettes? Why do people equate spending money with having passion? Why is it so offensive that I aspire to express myself? If you don't like it don't listen to it, but it's childish to get all bent out of shape about the mere existence of these projects
Here you go senpai
As I said, literally three instances of "shilling" in this thread. Wayy more instances of people complaining about it. What's hard to understand about the math here? Bandcamp hate is ruining the thread more than bandcamp advocacy by a large margin
alright, so what did you aim to express in your work? what's the aim of it, the purpose? why did you use the sounds you used and what are they meant to communicate? how did you create the sounds? how and why did you manipulate them into what they are? what's the relation between the sound and the concept of your creation? in what way do you associate the sound you created with the thematic occupation of your work? why did you choose the particular sounds you chose, what relationship do you have with them? which feelings do they inspire in you that have compelled you to use them in such an arrangement? why are they in that arrangement? are you influenced by something? what? what's your background? did it play a part in what you made?
sounds like aimless fucking about to me, the sort of which bandcamp and soundcloud are overflowing with
it leaves no impression whatsoever, sounding like an approximation of noise made by someone who's got no real connection to it and no understanding of noise's potential for conceptual and emotional depth and refinement, not even any understanding of the most immediately recognizable and blatant element of visceral and/or cathartic experiences noise can provide
what is the purpose of this recording? what is it meant to convey and communicate? why have you decided to use these specific sonic elements and sounds? how long did it take you to make this?
it's just there
the only thing that can be said about it is that it exists
do you even listen to noise?
>not that guy, but that's what you sound like
>not that guy, but that's what you sound like
i was just reading through an old archived thread with that post in it so yeah, big surprise there
and what exactly is wrong with any of those questions? have you ever read any actual interviews with a noise artist? someone like sam mckinlay or merzbow or prurient or whoever? these are all valid questions and they're pretty fucking surface level and sloppily asked considering how much actual obsessive thought most prominent noise artists put into their work, thought that goes way beyond those question and into territory too elaborate for me to even get into
do you really think they all just turn on their gear and twist knobs with no rhyme or reason until something gets made? dumbas
>i just want to express myself
>alright, what are you tryna express?
>fuck you fag, stop taking things so seriously
ahhh, you're killing me
Not him. I create my work to evoke an atmosphere, through visuals, titles, and sound that come together in a logical manner. I use the sounds in my projects to fit with this. If I'm on my more droney project, I specifically want it to sound inorganic and unsettling, emphasizing lows with subtle highs in incoming samples or synth. If I'm on my all-out harsh noise project, my goal will be to create an overwhelming, adrenaline filled, and energetic atmosphere. I am influenced by sounds, specifically subtleties in sound and reverberation. I am also influenced by blunt and impactful text, and by dark colors with lots of values. I am also influenced by the feelings invoked in single words, sentences, or ideas, and then work to develop that into an evocative project across all elements. Sound and concept for my work are related through emotive quality in subtle effects, sample manipulation, or emphasis/combination of lows, highs, and mids that all in my mind make me think of the concept at hand. In this, it is also easy to articulate different sounds and concepts for different projects. I work consistently on my projects until they are perfect, and have for a couple of years now. Guess where I'll probably host my releases when I finally finish them? Stop assuming.
In all seriousness, it's hypocritical to get mad at my generalization when what I'm arguing against are the generalizations you're making
You're clearly asking a large volume of questions here to attempt to discredit what I'm saying, but you don't ask these questions of all noise musicians you like. I have no clue how Akita or Fernow would answer any of your questions, but I'm still a fan of their stuff. Don't use such faulty logic here. No one has to prove anything to you and no one needs or even expects you to listen to what they make. As someone who I'm guessing considers themselves a "weathered veteran" of the noise scene, I don't get why you're so opposed to people trying to do what your favorite artists do. The more I listen to noise, the more new stuff I want to hear. Why be so militant in trying to shut people's creative enterprises down? Do you think the quality and reputation of noise in general is reduced by the existence of these bandcamp projects? If that's the case then you're not only conspicuously bad at putting together an argument, but shallow and retarded as well. Nice.
I don't need to know their answers to enjoy their music. I don't need to know the intricacies of someone's psyche to understand their music. And if answering people's questions was enough for those guys to feel they're fully expressing themselves then they would have no need to make music. That's why they make music and don't just write books or something. All your questions were legit, and it's important to have some sort of innate understanding of the concepts touched upon in those questions while making music. However, these questions are nearly totally irrelevant to one's enjoyment of someone else's art. Or, if you do need to pick an artist's brain to be able to see anything in their work, then know that that is something not everyone feels they need to do
>I specifically want it to sound inorganic and unsettling, emphasizing lows with subtle highs in incoming samples or synth.
what is it about inorganic-feeling sounds that reverberates with you? why does it reverberate with you?
>If I'm on my all-out harsh noise project, my goal will be to create an overwhelming, adrenaline filled, and energetic atmosphere.
>. I am influenced by sounds, specifically subtleties in sound and reverberation.
what are some sounds and frequencies which you find to have a particularly strong effect? what sort of effect do they have and why do they have such an effect no you?
> I am also influenced by blunt and impactful text, and by dark colors with lots of values. I am also influenced by the feelings invoked in single words, sentences, or ideas, and then work to develop that into an evocative project across all elements.
what is it about these things that you find compelling enough to take influence from? is it just a choice of fitting aesthetic or a deeper more thought-out connection and message? if so, what message is that and what sort of connection do you have with these things?
>Sound and concept for my work are related through emotive quality in subtle effects, sample manipulation, or emphasis/combination of lows, highs, and mids that all in my mind make me think of the concept at hand. In this, it is also easy to articulate different sounds and concepts for different projects.
how does a certain sound relate to a certain concept in your mind? can you provide an example? is it an abstract relationship or a more obvious one? is it just about personal feelings and sensations or an attempt at straightforward "storytelling"?
>, but you don't ask these questions of all noise musicians you like
i cannot ask them these questions as i do not know them but they are definitely questions(as well as many others, especially with a concept-obsessed nutcase like fernow who can talk about that shit for hours) which i would ask them if i had the chance, questions which i take into account in the noise that i listen to and when i try to understand how that noise makes me feel and why it makes me feel the way it does, questions which attract me to these artists and noise in the first place
>No one has to prove anything to you and no one needs or even expects you to listen to what they make. As someone who I'm guessing considers themselves a "weathered veteran" of the noise scene, I don't get why you're so opposed to people trying to do what your favorite artists do.
i asked these questions out of a sincere interest as the guy(is it you?) said that he was out to express himself
i wanted to know what it was that he/you were attempting to express
i definitely do not count myself as veteran of noise or whatever silly shit, but what a lot of people in these threads do not seem to understand is that there IS a difference between a guy with plenty of prior experience working on an album for 6 years and a guy with very little prior experience working on an album for 6 hours, and that it IS a difference that's audible
it's the ignorance that bugs me, i think that when it comes to these sorts of more niche genres, getting into them through 4chan or message boards or whatever with no proper connection with any concrete real-life community or no beforehand knowledge of it, just a fucking youtube link and a jpg album cover, i think it creates and fosters a lot of misconceptions and ignorance especially considering how many people on /mu/ do not look for music or knowledge anywhere other than /mu/
>The more I listen to noise, the more new stuff I want to hear. Why be so militant in trying to shut people's creative enterprises down? Do you think the quality and reputation of noise in general is reduced by the existence of these bandcamp projects? If that's the case then you're not only conspicuously bad at putting together an argument, but shallow and retarded as well. Nice.
i'm not trying to be militant or shut anyone down, i'm trying to engage in the noise here on the same level on which i engage in noise by established, "legitimized" artists
i am curious about the thought that goes into these
>you do not get any of these answers from many albums you listen to from big name noise artists
...which does not mean that they are not answers for which i am not looking for, whether through analyzing the works or seeking out interviews with the artists or just thinking about what it is that i just heard and what i got out of it
These assumptions are being made because they think that in order for noise music to have merit as an art form, one must demand noise that was difficult and time-consuming to make. However by this logic you're really valuing effort more than art and if that's your priority then good for you, but I'm going to listen to what sounds good to me regardless of what went into it. There may be a some kind of correlation between how long it took for an album to be made and how much someone enjoys it, but it's foolish to try to attribute too much of a deeper meaning to that.
>for noise music to have merit as an art form, one must demand noise that was difficult and time-consuming to make
that's not true at all though, some of my favorite prurient releases are those small short done-in-one tapes he put out which were clearly made impulsively and quickly in response to a certain idea of burst of inspiration that he had
but it's that idea, that burst of inspiration that has to mean or communicate something
but that's the problem again, that a quick, impulsive work by an artist like that, who i imagine has not had a day pass since the late 90s without spending some time working on his craft and who has really sunk into it deeply and with devootion, is going to have a much better chance at being something worthwhile than a quick impulsive work made by someone who downloaded 5 noise albums from a sharethread and a pirated version of audacity and went at it
>what is it about inorganic-feeling sounds that reverberates with you?
Bleakness, imperfection, sounds darker than organic
Evokes a dark atmosphere that I'm attracted to
>what are some sounds and frequencies which you find to have a particularly strong effect?
Lows with subtle inconsistent mids/highs
>what sort of effect and why
Hypnotic and meditative, reverberation and warm rumbly sounds contribute. Why? Probably something innate in the human psyche.
>what is it about these things etc.
While "poetic" text serves to be super metaphorical, blunt text take specifics and isolates them, which is different and immediately noticeable. With this I find it especially applicable with the equally blunt and assaulting topics often explored by noise and industrial artists. In particular, refer to Fernow's work, for instance Vatican Shadow and its use of news headlines. It's aesthetic mostly. It has to sound "right" in my head. I have no way of articulating criteria for this, it's just something that comes to you.
>how does a certain sound relate etc.
Via associations made through experiences of entertainment media and their uses of sounds, along with natural feelings that one might get from certain sounds. Again, probably innate psychological stuff. One example, see RSE's track "They Shoot Men..." where the low ambient rumblings and subtle rises in frequencies accompany reverbed Loon sounds coming in intermittently. It's a combination of both abstract (these sounds do this to me and I just feel it, but cannot articulate "why") and obvious (sudden highs bursting in alongside low drones is "unsettling"). It is always personal feeling. I don't create something that doesn't make me feel. I don't make things to appeal to the feelings other people expect or want to hear in relation to the concept. At the same time, I do not deliberately make sounds that contrast from the concepts. All the sounds I make genuinely sound like the concepts I assign them to.
has made it clear that he's arguing against ignorance on the internet, and is using noise made on bandcamp as a scapegoat for this. I personally wish him luck in ending ignorance worldwide. He's also a big advocate for listening to music as an intellectual exercise, whereas I'm more a fan of the sounds and visual aesthetics. We just have a different approach to music listening, is all. I think we can agree that we like our noise to be sincere, one way or another. We just have different ways of measuring and evaluating sincerity