FS: EXPERIMENTAL/INDUSTRIAL remaining stock must go!
sh...@clpgh.org
Vinyl for sale:
All records in excellent to mint condition
Offers considered on multiple items (ie. more than 3)
Throbbing Gristle 'Heathen Earth' (Mute/Industrial UK) $17
Psychic TV 'Live in Tokyo (History 4)' (Temple UK) limited ed. 5000$17
Psychic TV 'Live in Paris (History 6)' (Temple UK) limited ed. 5000$17
Psychic TV 'Live in Heaven (History 7)' (Temple UK) limited ed. 3000$17
Psychic TV 'Live in Glasgow (History 13)' (Temple UK) limited ed. 5000$13
Psychic TV 'Live in Gottingen (History 14)'(Temple UK) limited ed. 5000$13
Psychic TV 'Live in Toronto (History 15)' (Temple UK) limited ed. 5000$13
All PTV vinyl is in immaculate condition unplayed since purchase
$80 for all PTV or $90 for PTV & TG
-------------------------------------------------------------------------------
Non (Boyd Rice) 'Physical Evidence'(live 77-82) (Mute UK) $13
Muslimgauze 'Uzi' (Parade Amoureuse ND) $13 PGR
'Cyclone par L'immobile habite' (Permis DeConstuire FR) $12
DDAA 'Ronsard' (KK BLGM)
$10 Portion Control 'Simulate Sensual' (InPhase UK) $13 Rudolph Grey
'Transfixed' (Ecstatic Peace) $5 Test Dept 'Unacceptable Face of Power'
(Ministry ofPow) $8 De Fabriek 'Labish Intermediares' (ADN Italy)
$10 Hafler Trio 'Intoutof' (KK Belgium) $13 Bene Gesserit
'Fashion Is A Dirty Word' (Dead MansCurve) $10
Buy any 5 of the above for $45 and I'll throw in your choice of either Test
Dept or Rudolph Grey
-------------------------------------------------------------------------------
Total volume one-magazine w/CD (Soleilmoon) $10
V/A w/ Front Line Assembly
Fini Tribe
Bourbonese Qualk
Jass
Flux
Coil
Ege Bam Yasi
Anti Group
Pornosect
Andrew Lagowski
Hole
John Avery
I'll throw in the Total CD for any order over $70
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James and Sean Quirk
any of you do them at any sane hour? I'm starting one in September, but I'll have
that much-coveted 2 a.m.-6:30 a.m. timeslot.
So let's start a new thread. What responses do you get when you do a noise show
on college radio? Does anyone care? Do people throw dead things at you when you
walk around your campus? Did you have to pull teeth or suck someone off to do a
noise show at your local institution of higher learning? If any of you _have_ done or
do a noise show at a reasonable hour, what is it like?
"I want to be the last one picked. I want to be sick." - Kiss it Goodbye
moshi moshi
> So let's start a new thread. What responses do you get when you do a noise show
> on college radio? Does anyone care? Do people throw dead things at you when you
> walk around your campus? Did you have to pull teeth or suck someone off to do a
> noise show at your local institution of higher learning? If any of you _have_ done or
> do a noise show at a reasonable hour, what is it like?
I had two so-called experimental shows... The first one was the dreaded
night show but we actually had quite a lot of listeners (supposedly
10000) and got calls from kids that were discovering the stuff ("wow man,
this is so -strange-!")...
I was music director at my university's station for a year and a half
though and during that time i had a two hours show at noon which i split
between one hour of new releases (i focused on the experimental) and one
hour of... well, experimental. it got pretty badly received to tell you
the truth. From the classical visit of the people working in offices where
they couldn't shut off from our hallway speakers to the very funny
security agent that walked in the booth, a really thoroughly hilarious
look of bewilderment on his face, asking me if we were broadcasting "this"
(i was playing tony conrad's early minimalism's 53 minutes piece at that
point). It turned out that he about fifteen people had gone to the
securiry booth frightened about the "fire alarm". He asked me to turn it
off. I usually reply to "this isn't music" by cranking up the volume but
that day, I just burst laughing and complied, switching to something more
benign off the Bar Noise compilation.
Sniff. One of my best radio moments :)
olivier
sfwd prod.
<jqu...@monmouth.com> wrote:
>I know several of you out there in the wide world do noise/ambient radio shows. Do
>any of you do them at any sane hour? I'm starting one in September, but I'll have
>that much-coveted 2 a.m.-6:30 a.m. timeslot.
>
>So let's start a new thread. What responses do you get when you do a noise show
>on college radio? Does anyone care? Do people throw dead things at you when you
>walk around your campus? Did you have to pull teeth or suck someone off to do a
>noise show at your local institution of higher learning? If any of you _have_ done or
>do a noise show at a reasonable hour, what is it like?
i did *one* noise / metal show.
no one listened... broadcasted over cable throughout the campus, the
only people who listened i think were friends, who quickly moved onto
something else... small school, not a very serious station.
no one ever threw dead things at me though...
Arthur B. Purvis
> I know several of you out there in the wide world do noise/ambient
> radio shows. Do any of you do them at any sane hour? I'm starting one
> in September, but I'll have that much-coveted 2 a.m.-6:30 a.m. timeslot.
I do drive time on a 30,000 watt station (there are serious perks to
getting involved with the administrative end of the station).
> So let's start a new thread. What responses do you get when you do a
> noise show on college radio? Does anyone care? Do people throw dead
> things at you when you walk around your campus? Did you have to pull
> teeth or suck someone off to do a noise show at your local institution
> of higher learning? If any of you _have_ done or do a noise show at a
> reasonable hour, what is it like?
well, first off no one on my campus actually listens to our college radio
station - only my neighbors/friends have any idea about what I listen to
(neighbors less willingly than friends). The listeners are people in the
area interested in underground music - their only options are WFMU (God of
college radio - I heard a Luc Ferrari/Pierre Schaeffer musique concrete 7"
from the 50s once. Noise hasn't come all that far in 50 years.) or us.
I got the show because the program director at the time was just getting
into extremely wierd music, and I was willing to do a little shitwork.
And no one else had any interest in that kind of music.
Essentially what happens is this - I get 2 or 3 people who call every
week. 2 of them request Nurse with Wound (I'm happy to comply). Then I
get a couple of other random people - I tend to get the most calls when I
play badass distorted stuff like Panacea, the new DJ Spooky, Techno
Animal, etc. But occasionally I get calls by people really excited by,
well, noise, and I got a request for the Incapacitants once. Generally
totals 5-7 calls in 2 hours, so I figure several hundred people are
listening.
The secret, I think, is to put together a good show. Mix it up - no one
(okay maybe one person) is going to listen to Venerealogy in its entirety,
but Venerealogy mixed with Alec Empire 12"s - this is a different story.
If you go totally freeform, these are often the most interesting shows to
do. When I heard the aforementioned 7", it was followed by some Czech
rock band covering bad 60s tunes ("Don't Bogart that Joint" from Easy
Rider), then more noise, then the Beach Boys, etc. I don't do this, but
having listened to a whole lot of different college radio, I can tell you
this is often the most interesting and the way to get more people to
listen to noise.
I will also say that the 2-6 slot is often the best one for wierd shit -
people expect it. One of my friends always does the 3 am show because
when he was in high school, he found out about all this wierd shit by
listening to radio late at night, and he wants to return the favor.
---
the humble abbott arthur purvis set his hand hereto
Jay/Dead Sun Rising
>
Sweet jesus! Where to begin-
Here's something you might get a kick out of-
If you're on the staff of a college radio station you know there
are monthly staff meetings.Prior to a meeting last summer,I approached
our general manager and told him I had a presentation for the entire
staff.Now this particular meeting was the one where the upcoming new
airshift schedule was going to be announced-so of course everyone was
there with there hands out hoping they were going to get the airshift
they applied for(we have to do this 3 times a year-helps weed out those
who do nothing or fuck up too much).
So I knew this would be the best time to do what I intended.A little
explanation -at the time I was doing a morning show during the week
8-10 on Wednesday.Apparently a few of the staff members wern't too
happy w/ this and had approached the gen.manager and told him so.
It seems they couldn't deal w/ the fact that I was kicking out extreme
noise during a morning show.
Pretty fucking pathetic of them,huh.
One in particular,I actually overheard complaining to our g.m.
I didn't bother surprising him cuz it would have been pointless.
I figured it'd be cooler to shame him in in front of his peers w/out
directly confronting him.Cuz others knew he was doing this too.
Anyways.I brought the stations nice boom box in to the meeting
along w/ a Pain Jerk cassette cued up to ECG/EKG(from Cacophony...)
After a few standard station topics were kicked around the G.M.
introduced me and I set up the boom box behind the main table on a sill,
loaded up Pain Jerk and told everyone I had something for them to hear
and then kicked it out-loud
It was fuckin sweet-a few people gave me thumbs up.I let it roll for
at least 2 minutes turned it off then said -does anyone here think sounds
like this shouldn't be broadcast at any time by any station.
Gee-no one answered no!A few people were vehemently defensive-some I were
surprised were down w/ me.Scott G. was the best though-he remarked that
it was no different than a didgederoo solo-a well aimed dig at the main
clown behind all of this.
Definitely went off well-and a hell of a lot more productive than me
arguing w/ one person in an office.This way,I had everyone involved
and effectively shut up the whiners-and they ended up looking foolish.
And knew it in their hearts.
Any of you have similar problems-give this a shot.
-Jay <http://noiseweb.com/whus> -for a few more
Chris Sienko
>
> I know several of you out there in the wide world do noise/ambient radio shows. Do
> any of you do them at any sane hour? I'm starting one in September, but I'll have
> that much-coveted 2 a.m.-6:30 a.m. timeslot.
Congratulations!
> So let's start a new thread. What responses do you get when you do a noise show
> on college radio? Does anyone care? Do people throw dead things at you when you
> walk around your campus? Did you have to pull teeth or suck someone off to do a
> noise show at your local institution of higher learning? If any of you _have_ done or
> do a noise show at a reasonable hour, what is it like?
Myself and another fellow did an experimental/obscure show for 3 1/2
years, Mondays from 10 p.m. - 2 a.m. (which usually spilled into 4 and 5
a.m.) and one thing you'll learn is the art dept. is really gonna love
you. We never got very many calls (apart from the one about Karen Finley
I described in a past thread), but most of them were from the art
building saying, "hey, sounds good, play something screwy and dedicate
it to the art dept. cuz I've been up for 36 hours straight working on
this damn thing and I'm reeeeeeealy strung out..." Nightowls, don't you
know.
One thing's for certain...you don't get many calls that time of night,
but it's thoroughly quantity over quality. The spectrum for us ranged
from a total burnout who called himself Captain Kirk who would just
mumble at me for a half hour on the phone, to acquiring a stalker in the
form of a fat redneck woman with purple hair called Stacy, to professors
calling us up excited to hear Frank Zappa on the radio again ("at
last!"), to friends saying that the spoken word tracks from the _Radius_
compos were "great to have sex to" to some no-neck jock screaming "TURN
THIS FEMINIST BULLSHIT OFF!!!" during one of our many Karen Finley
airings. No doubt about it, you're going to have a lot of stories to
tell at the end of it.
-Chris
cmsi...@OBVIOUSSPAMSHUNYyahoo.com
"Live 'til 5, 5:30 in Newfoundland." - David Wisdom
James and Sean Quirk
> night show but we actually had quite a lot of listeners (supposedly
> 10000) and got calls from kids that were discovering the stuff ("wow man,
> this is so -strange-!")...
here's the story: I go to school in Rowan University, Glassboro, south Jersey. Last
year WGLS won some "Best college radio station" award. Ever since then, it's been
the station's goal to become a mainstream entity, like Philly's YSP. So I constantly
get shit for playing underground bands, unknown stuff, and music that's on the
"fringe" of metal. Remember now that I'm in south Jersey. People still love Tesla
down there, so I play something like Agarophobic Nosebleed and everyone freaks
out.
WGLS is a formatted station. A friend of mine, Ilya, and Charles Zimmerman, the
jazz director, did a show in the "alternative" slot called The Cantina. They
approached it the classical sense of the word: they decided to give people an
alternative to everything else that's on radio. So in their two hour show, they would
play anything from the Dead Kennedys to Bar Kokhba to James Brown to Yes. It
was great - totally what radio should be. You could listen to that show and, by the
end of two hours, have about 10 new bands that you wanted to know more about.
Unfortunately, since they didn't stick to playing only stuff like the new Blur over and
over, they got bitched out about it constantly. Eventually they both quit the show in
disgust from the lack of support.
Running a freeform noise/experimental/whatever show is definitely going to be weird,
but I feel that no one else in that area is doing anything like that. Considering that
Relapse/Release is located a couple of hours away in Millersvillle, PA, there must be
all kinds of freaks running around who dig stuff like Merzbow. My understanding of
college radio is that it should be something that people turn to when they want to
hear what they can't hear anywhere else...
First show happens in about two weeks. I'll keep you all posted. If anyone on here
lives in the south Jersey/Philly/north Delaware area, try tuning in to 89.7 WGLS FM
on Tuesday nights from 11 to 2 a.m. I do my metal show then, and I'll be talking
about my other show on there.
Bless Ed
format for the show. Instead of mixing it up, move progressively from
one extreme to another. That is, start with your "generic commercial
pop" and two hours later finish with the hardass noise. It's a great way
to suck newbies in, and also serves to keep long-time listeners happy.
As a one-time radio DJ, I'll confess: I'd always prefer mixing it up.
But for the listeners, always for the listeners, keep it consistent.
gerald stevens
that noise was the perfect road-rage inducer for the afternoon commute.
Plenty of phone calls asking if the station was on fire. As far as 'mixing
it up', I agree with Bless Ed. - it is far more interesting and challenging
to make a seamless transition from something quiet to something abrasive and
harsh. Also, if you want to make noise tollerable to a listener, put some
minimal beat-heavy techno underneath the wall of noise. People eat that
shit up.
People at the station all seemed to really dig my show. But WUSB was
community run - no playlists, I was followed by "talking politics with Dr.
Steve Jonas" - and the polka show was our biggest money maker during those
hellishly long radio-a-thons. Since taking a post-doc at CSU, I haven't
been able to do a show - CSU's radio station is student-run and I am no
longer (thankfully) a student. KCSU fucking blows - they're more commercial
sounding than the local 'mallternative' stations. I wouldn't even bother
doing a show there unless they granted me complete freedom. Their idea of
freedom for DJ's is being able to chose _2_ tracks / hour that aren't in the
play-hourly bin!
Best phone call I got was when I started out in the 2-4AM slot. An
insomniac who had been calling me once a week for months asked me whether or
not he should pull a rotting tooth out of his head. He either had to pay a
fortune to get it done and not be able to afford the upcomming x-mas, or get
out the pliers himself. If I had been a _true_ noisehead, I would have
asked him to yank it on the air. Or, I would have followed him to the
dentist and recorded the dentist drill / screams for source material. I
guess I'm just not a true (earplug shunning) noisehead.
-gerald
Arthur B. Purvis
This is what I tend to do - move slowly from one extreme to another. Just
that I keep everything within the realm of "dark" music (Ok, i feel like a
moron) - no pop (nothing wrong with pop; in fact i've been listening to
his name is alive every day for days now).
Erik Hoffman
>
> I know several of you out there in the wide world do noise/ambient radio shows. Do
> any of you do them at any sane hour? I'm starting one in September, but I'll have
> that much-coveted 2 a.m.-6:30 a.m. timeslot.
>
> on college radio? Does anyone care? Do people throw dead things at you when you
> walk around your campus? Did you have to pull teeth or suck someone off to do a
> noise show at your local institution of higher learning? If any of you _have_ done or
> do a noise show at a reasonable hour, what is it like?
>
I've had the 8-10 PM Thursday slot on KSPC 88.7 Claremont for the past 4 months. Very few phone
calls. Some good requests for things like Evil Moisture, Speculum Fight, NWW, Kazumoto Endo,
etc. Every week a guy would call asking to hear Anton LaVey and always told me he wanted to hear
something "eviler".
e
moshi moshi
> One of the more successful trends adopted here is to set a standard
> format for the show. Instead of mixing it up, move progressively from
> one extreme to another. That is, start with your "generic commercial
> pop" and two hours later finish with the hardass noise. It's a great way
> to suck newbies in, and also serves to keep long-time listeners happy.
> As a one-time radio DJ, I'll confess: I'd always prefer mixing it up.
> But for the listeners, always for the listeners, keep it consistent.
That is, play some Ministry, some Nine Inch Nails, some noisy track by
Beck and then you can kick the shit. Experimental techno is quite popular
too, as long as it's not too minimalist. ne?
olivier
James and Sean Quirk
I know I know this name from somewhere. Where are you located?
> etc. Every week a guy would call asking to hear Anton LaVey and always told me >he wanted to hear
> something "eviler".
Anton LaVey's albums are totally silly. They make me crack up. I'm sure I'll be
flamed to death for this one, but I think one of the most "evil" songs is "The End" by
the Doors. That and "Go Spread Your Wings" by Godflesh. And all of Final's "2."
"Easy for you. You only see what you want." - j.k. flesh
James and Sean Quirk
> old SWAT album was pretty funky though.
A toaster? It must have been.... AN _EVIL_ TOASTER!!!!! Some of his writings were
interesting. "The Devil's Notebook" has its moments.
This reminds me: has anyone heard anything by Archon Satani? How is this group's
shite?
> Stop apologizing for liking non-noise music.
"I.... I keep a Motley Crue CD hidden behind the toilet!!!" - Bloom County
> I'm pretty sure most people here listen to
> more than just noise.
Sometimes I wonder. Here's a question: who listens to noise in their car on here?
>Hell, I hardly even listen to noise unless I'm making it. The End
> is a great song, really good tension.
Hell yeah. To see how Coppola interpreted it visually just blows my mind as well.
Has anyone seen that movie "Hideaway" that supposedly has a club scene of
Godflesh playing "Nihil?"
Robb Cunningham
> > I'm pretty sure most people here listen to
> > more than just noise.
> Sometimes I wonder. Here's a question: who listens to noise in their car on here?
This sucks unless you have a bomb-ass system. Most of the good stuff
in noise/experimental music (at least for me) are the subtleties,
which are completely lost when you've got all that outside noise,
engine noise, wind noise, muffling everything up, plus you've got a
shitty system. I knew a guy once who used to blast noise in his
car. The system he was using was worth about as much as my whole car.
Blasting noise in the car gets interesting looks from pedestrians when
you're stopped at a light.
moshi moshi
> Blasting noise in the car gets interesting looks from pedestrians when
> you're stopped at a light.
so does classical music.
o
Robb Cunningham
Brad Bizzolt
>
>
>
>> Blasting noise in the car gets interesting looks from pedestrians when
>> you're stopped at a light.
>
>so does classical music.
Around here, so does anything except DMX or whatever.
-----------------------------------------------
bizzolt(at)hotmail*com
The Fantastics - boring, generic noise
http://rsl.net/bizz
-----------------------------------------------
Stig Mathausen
>
> >but I think one of the most "evil" songs is "The End" by the Doors.
>
> The End, heard on their Double Live discs. Who here has or hasn't heard this album?
You're talking about the semi-official one, with the B&W cover of the female band member
with computer-added back fins/bubbles? Can't comment further, since I haven't heard it in
years and didn't pack it with me for my latest move (it's in storage in southern AB).
__________
- Advertisment -
tension hook online: http://www.angelfire.com/ca/tropica
The slowly-evolving homesite of Alberta's finest Ottawa-based noise project
Robb Cunningham
>
> Robb Cunningham (h...@yo.whats.up) wrote:
> : James and Sean Quirk wrote:
>
> : > > I'm pretty sure most people here listen to
> : > > more than just noise.
> : > Sometimes I wonder. Here's a question: who listens to noise in their car on here?
>
> : This sucks unless you have a bomb-ass system. Most of the good stuff
> : in noise/experimental music (at least for me) are the subtleties,
> : which are completely lost when you've got all that outside noise,
> : engine noise, wind noise, muffling everything up, plus you've got a
> : shitty system. I knew a guy once who used to blast noise in his
> : car. The system he was using was worth about as much as my whole car.
> a fairly high quality setup in a piece of scrap on wheels like a rusted
> out 70s Toyota. Why spend money on a good system when you're driving
> something that looks like its about to fall apart?
people who like music tend to spend their money/time refining their
enjoyment of it (ie new CDs, systems, etc.). Is that difficult to
understand?
TIMOTHY GUEGUEN
: James and Sean Quirk wrote:
: > > I'm pretty sure most people here listen to
: > > more than just noise.
: > Sometimes I wonder. Here's a question: who listens to noise in their car on here?
: This sucks unless you have a bomb-ass system. Most of the good stuff
: in noise/experimental music (at least for me) are the subtleties,
: which are completely lost when you've got all that outside noise,
: engine noise, wind noise, muffling everything up, plus you've got a
: shitty system. I knew a guy once who used to blast noise in his
: car. The system he was using was worth about as much as my whole car.
The people I always find amusing are the ones who have what appears to be
a fairly high quality setup in a piece of scrap on wheels like a rusted
out 70s Toyota. Why spend money on a good system when you're driving
something that looks like its about to fall apart?
tim gueguen 101867
Arthur B. Purvis
> The people I always find amusing are the ones who have what appears to be
> a fairly high quality setup in a piece of scrap on wheels like a rusted
> out 70s Toyota. Why spend money on a good system when you're driving
> something that looks like its about to fall apart?
Why spend money on a decent looking car if it doesn't have a good stereo?
Chris Sienko
>
> >but I think one of the most "evil" songs is "The End" by the Doors.
>
> I forgot to say, you haven't heard evil until you've heard the Butthole Surfers version of
> scumcore jams of Double Live are pure psycho hell on a horse. If the Boredoms were from
> Texas, they'd be Double Live. Not to mention, I think one of the Boredoms are on the
> album cover. Who here has or hasn't heard this album?
Along with Zappa's _Uncle Meat_ and the Residents' _Commercial Album_,
_Double Live_ accounts for 75% of my general brain-warpage back in high
school. Gotta dig Gibby's Morrison "hallway" redo: "I walked in the room
where my sister was, and I put my finger into her vagina and my thumb
into her asshole proper, and I walked on down the hall..." The general
mood of the tapes is like the party scene in _One Flew Over the Cuckoo's
Nest_, particularly the scene in which two of the patients are pouring
wine into the tall ogre-ly guy's IV drip. THAT scene sums up _Double
Live_ as well as anything I could try and fabricate.
Chris
cmsi...@WEDIGSPAMyahoo.com
TIMOTHY GUEGUEN
: TIMOTHY GUEGUEN wrote:
: >
: > : James and Sean Quirk wrote:
: >
: > : > > I'm pretty sure most people here listen to
: > : > > more than just noise.
: > : > Sometimes I wonder. Here's a question: who listens to noise in their car on here?
: >
: > : This sucks unless you have a bomb-ass system. Most of the good stuff
: > : in noise/experimental music (at least for me) are the subtleties,
: > : which are completely lost when you've got all that outside noise,
: > : engine noise, wind noise, muffling everything up, plus you've got a
: > : shitty system. I knew a guy once who used to blast noise in his
: > : car. The system he was using was worth about as much as my whole car.
: > a fairly high quality setup in a piece of scrap on wheels like a rusted
: > out 70s Toyota. Why spend money on a good system when you're driving
: > something that looks like its about to fall apart?
: people who like music tend to spend their money/time refining their
: enjoyment of it (ie new CDs, systems, etc.). Is that difficult to
: understand?
But there's no point in putting a system you've spent good money on into
a piece of crap that puts it at risk of damage or easy theft.
tim gueguen 101867
dr. industrial.
as some people here have seen and commented upon, i do an industrial/noise
show in college station, tx. i've been at it for two semesters now, but
we've only recently went to AM. we've been on cable radio, and no one on
campus bothers to listen...hopefully, that'll change...
as far as programming, i pretty much play whatever the fuck i'm in the
mood for that night. i've only gotten one call, though, and that was from
the dj after me, wondering what song we were playing so that he could
get it. oh well, that's what you get in a town with no
discernable industrial "scene".
things may change this semester, though. having been there
long enough and knowing people in high places there, i'm hoping to get a
juicy slot that i can assault the waves with.
and with a bunch of new shit to play and slightly different attitude
toward the show than i've had, i'm hoping to turn some heads, or at least
try to get some reaction.
for all of my fans (and i KNOW you're out there), you'll see playlists
soon, so don't be afraid. we just haven't started programming yet...
dr. industrial.
------------------------------------------------------------------------------
"that's DR. industrial. i didn't go to industrial medical school for four
years to be called mr. industrial, thank you."
lodge any complaints straight up your ass. thank you, drive through...
Gregory S. Hagen
>> Sometimes I wonder. Here's a question: who listens to noise in their car on here?
>This sucks unless you have a bomb-ass system. Most of the good stuff
>in noise/experimental music (at least for me) are the subtleties,
>which are completely lost when you've got all that outside noise,
>engine noise, wind noise, muffling everything up, plus you've got a
>shitty system. I knew a guy once who used to blast noise in his
>car. The system he was using was worth about as much as my whole car.
i would have to disagree with this.
Although much ambient/noise stuff
is wonderful in total isolation wearing
headphones in the dark etc., some
of the noise goes quite well with the
cacophony that could be added to it
from the outside world.
I don't have that great of a stereo in
my car but sometimes listening to
noise in the car (loud enough mind you) is
great when you hear the noise on top
of all the extra "noise" coming from outside.
The same thing can apply to having the tv on
at the same time when listening to some things.
If you have the TV volume at a slightly quiet
level the voices coming through can sometimes
add a good effect.
Granted I don't feel this way about all ambient/noise
stuff(some things need to be listened to in total
isolation), but if the music you're listening to
already has a lot of shit going on in it, sometimes
it's cool to have even more shit from the outside
coming in too.
Just last night i was listening to a recording
of one of my radio shows (which already has
a lot of background voices and sounds etc.) with the
tv turned on with the volume set just so i could
hear the voices but couldn't decipher what
they were saying and it was great. In fact, when
i realized that the cool sound was coming from
the tv and not my recording i was a little bummed,
but i know that what i heard on the tv wouldn't have
been cool just on its own.
Of course in both cases, (tv and car) it all
depends on what's on the tv and what's outside
your car.
hope you all enjoyed my little rant.
Greg
Log...@ix.netcom.com
I like watching my TV while driving my car. Speaking of that, can anyone
reccommend a good Borbetomagus disc for me? I just got back from the
store with a copy of the "first record" on CD (the one with Concordat
1-5, etc.) and I'm a little dissapointed. I like it OK, but it's quieter
than I thought it would be, with lots of guitar feedback and little
electronic noises with horn blips here and there. Too quiet. Not that I
don't like that, it's just that I already have a million discs like
that. I saw them live a few years ago and it was non-stop, fast-paced
sax/guitar/other horn frenzy without letting up for one second. The
whole show was like that from beginning to end. It was incredible. Does
anyone know which of their discs has that super-fast high-speed sound?
Kind of a Harry Pussy sound but with horns? Is the one with T. Moore
like that? The guy at the record store assured me that this one sounded
like that but he was wrong (thanks a lot Other Music!). Maybe I need to
listen to it more but I don't know.
Also got the RRR 500 lock groove record, it's totally great! I love how
it's almost like 500 seperate "ambient" CDs.
Later!
Mark
Log...@ix.netcom.com
>
> On 4 Sep 1998 01:18:09 GMT, Brent Bruni Comiskey <a...@aaa.aaa> wrote:
>
> >>Also got the RRR 500 lock groove record, it's totally great! I love how
> >>it's almost like 500 seperate "ambient" CDs.
> >
> >it 500 different circular locked grooves? Is it 500 grooves, each entering
> >from the outside? No comprende....
>
> It's 500 locked grooves, ie the grooves don't run together-- there's some sort of
> little "wall" where they didn't cut into the wax that causes the needle to jump back
> to the previous groove, making an infinite loop (until you pick up the needle and
> replace it). I'm sure someone with a little more mastering know-how can explain
> precisely how it works, but that's the idea.
>
> I've got a copy coming soon, but I'm wondering how much of a hassle this will be if I
> decide "Hmm, I want to listen to the Masonna track right now... let's count off-- 1,
> 2, 3, 4, 5....".
yea, it's nutty
Robb Cunningham
>
> >It's 500 locked grooves, ie the grooves don't run together-- there's some sort of
> >little "wall" where they didn't cut into the wax that causes the needle to jump back
> >to the previous groove, making an infinite loop (until you pick up the needle and
> >replace it). I'm sure someone with a little more mastering know-how can explain
> >precisely how it works, but that's the idea.
>
>
> >I've got a copy coming soon, but I'm wondering how much of a hassle this will be if I
> >decide "Hmm, I want to listen to the Masonna track right now... let's count off-- 1,
> >2, 3, 4, 5....".
>
> impossible to count past 5 or 10 grooves from either edge? How long are the tracks? I
> suppose the outermost track is about twice as long as the innermost track?
>
> After a while, they should release a CD (or 2) with all the locked tracks
I'm not sure if it's possible to manufacture a CD with scratches
> playing for 20
> or 30 seconds (or times/revolutions), like samples. Something to that affect, for
> whatever reason.
how do you get a CD to repeat something after 20 seconds?
Brad Bizzolt
>>Also got the RRR 500 lock groove record, it's totally great! I love how
>>it's almost like 500 seperate "ambient" CDs.
>
>I don't get it. What's on the record (not the bands, how is it done)? Is
>it 500 different circular locked grooves? Is it 500 grooves, each entering
>from the outside? No comprende....
It's 500 locked grooves, ie the grooves don't run together-- there's some sort of
little "wall" where they didn't cut into the wax that causes the needle to jump back
to the previous groove, making an infinite loop (until you pick up the needle and
replace it). I'm sure someone with a little more mastering know-how can explain
precisely how it works, but that's the idea.
I've got a copy coming soon, but I'm wondering how much of a hassle this will be if I
decide "Hmm, I want to listen to the Masonna track right now... let's count off-- 1,
2, 3, 4, 5....".
Arthur B. Purvis
> I like watching my TV while driving my car. Speaking of that, can anyone
> reccommend a good Borbetomagus disc for me? I just got back from the
Sauter, Dietrich, Moore - "A foot in the Head"
(or something like that, I could have the title wrong).
Sauter and Dietrich with Thurston moore. Much preferable (to me anyways)
than any other Borbetomagus or Lhasa Cement Plant records, although Snuff
Jazz is actually surprisingly decent as I recall - I think it's more of
what you're looking for. The SDM is noisy and mad abrasive, but it's not
usually very jazzy and not always high speed.
The Hand
wrote:
>Brent Bruni Comiskey wrote:
>>
>> So you essestially never really know who you are listening to, since it must be
>> impossible to count past 5 or 10 grooves from either edge? How long are the tracks? I
>> suppose the outermost track is about twice as long as the innermost track?
>>
>> After a while, they should release a CD (or 2) with all the locked tracks
>
>I'm not sure if it's possible to manufacture a CD with scratches
>
Thy'd just have to be digital loops instead of physical ones, should
be possible
>> playing for 20
>> or 30 seconds (or times/revolutions), like samples. Something to that affect, for
>> whatever reason.
>
>how do you get a CD to repeat something after 20 seconds?
Doh, you record it again after 20 secs of silence, but I don't think
that's what he was talking about, he was talking about having the loop
play for like 20 seconds, however many repetitions that is, and to
make a CD track out of that.
The Hand The Hand The Hand The Hand The Hand The Hand The Hand The
Hand The Hand The Hand The Hand The Hand The Hand The Hand The Hand
The Hand The Hand The Hand The Hand The Hand The Hand The Hand The
Hand The Hand
Cut and paste?
Ed Blake
: Robb Cunningham <h...@yo.whats.up> writes:
: >> Sometimes I wonder. Here's a question: who listens to noise in their car on here?
I used to really dig listening to Tower of Silence and other early Organum
while stuck in traffic.
Ed Blake
Robb Cunningham (h...@yo.whats.up) wrote:
: how do you get a CD to repeat something after 20 seconds?
First you take a sample of something that's less than 20 seconds long.
Loop it. Record 20 seconds of it. Burn it on a CD.
Simple.
Dove Family
> > suppose the outermost track is about twice as long as the innermost track?
actually no, because although the outermost is longer than the innermost, the entire record
is spinning at one speed so that the outside actually spins faster than the inside.
Dove Family
XBRXTNLEX
>here?
whenever i buy vinyl the first and last time i play it, i record it. since i
only have a tape player in my car, i keep the tapes in my car. also when i buy
noise tapes, i listen to them in my car. i am completely disgusted with radio
playlists (except for most college shows) and could not handle not having a
tape or cd player in my car. also i find noise (for me personaly) to be a great
background for everyday life. when i am driving in my car is a great time to
throw on some noise, and just let my mid trail, i get great thinking done
listening to noise, because i am not listening to and singing along with lyrics
or humming guitar riffs. yes i love headphones and solitude with noise to pick
up those subtle little sounds that make it different every time you listen
again, but i also enjoy it in my car. thanks for reading this far. -BRX
Robb Cunningham
>
> On Thu, 03 Sep 1998 22:59:56 -0700, Robb Cunningham <h...@yo.whats.up>
> wrote:
>
> >Brent Bruni Comiskey wrote:
> >>
> >> So you essestially never really know who you are listening to, since it must be
> >> suppose the outermost track is about twice as long as the innermost track?
> >>
> >
> >I'm not sure if it's possible to manufacture a CD with scratches
> >
> Thy'd just have to be digital loops instead of physical ones, should
> be possible
I'd be curious to know
>
> >> playing for 20
> >> or 30 seconds (or times/revolutions), like samples. Something to that affect, for
> >> whatever reason.
> >
> >how do you get a CD to repeat something after 20 seconds?
>
> Doh, you record it again after 20 secs of silence,
he's talking about lock tracks. I've never heard a CD skip a sound
more than about .5 sec
Robb Cunningham
>
> Robb Cunningham (h...@yo.whats.up) wrote:
>
>
> First you take a sample of something that's less than 20 seconds long.
> Loop it. Record 20 seconds of it. Burn it on a CD.
>
> Simple.
I was referring to repeating something AFTER 20 seconds
meaning, a lock track on a CD that repeats every 20 seconds. That's
what brent C was talking about.
Arrr!
Im pretty sure that Aardvark mastering in Boulder,CO did it.
Who did the pressing?
>
Brad Bizzolt
>I'm not sure if it's possible to manufacture a CD with scratches
Someone in alt.music.sonic-youth explained this to me a while back-- apparently, with
the way CDs are read, it's impossible to make a digital equivalent of a locked
groove. Wish I could find that message again to give you the full scoop on why.
>> playing for 20
>> or 30 seconds (or times/revolutions), like samples. Something to that affect, for
>> whatever reason.
>
>how do you get a CD to repeat something after 20 seconds?
No-- I think he meant to take the sample, manually record a loop of it for 20 or 30
seconds, and put that on the CD. Then do the same for the next tracks...
JAH
Brent Bruni Comiskey wrote:
> >>I suppose the outermost track is about twice as long as the innermost track?
> >actually no, because although the outermost is longer than the innermost, the entire record
> >is spinning at one speed so that the outside actually spins faster than the inside.
>
> I don't get it. If you make a straight line out of the outermost track and innermost track,
> the outermost track will be longer in length. I don't get the speed thing. First of all,
> how long are the tracks, in 1 complete revolution?
All grooves will last the same time, the needle just move *further* on the outer grooves.
In theory, the outer grooves of a record are actually better quality than the inner ones (same
time/sound infomation but more length of grooves to put the sound on).
there are changes in response of records closer to middle they get. A vinyl masterer will be
able to tell more, I've lost my sound enginnnering book with the details.
Bless Ed
> anyone know which of their discs has that super-fast high-speed sound?
> Kind of a Harry Pussy sound but with horns? Is the one with T. Moore
> like that?
Not even close. Don't bother.
Your best bets are the newer works, especially _Live In Japan_ (Alchemy)
and _Experience the Magic_ (Agaric). The _Live at Inroads_ (PSF) reissue
is also very good, even though it dates from '82. _Snuff Jazz_ (Agaric)
can be found here and there and should be snapped up without a moment's
hesitation, as should the industrial-noise classic "Fish That Sparkling
Bubble" (Agaric) with Sweden's Voice Crack.
Bless Ed
Correction: _Live in Tokyo_
(though by all means be sure to pick up The Nihilist Spasm Band's _Live
in Japan_ when you spot it.)
Brad Bizzolt
>If you have a 2 second track on a CD, just put the CD player on repeat, and the track will
>never stop.
I've seen a few mastering places that said the minimum length of a track they can do
is 4 seconds. But I get your point; just felt like imparting useless information.
Robb Cunningham
>
> >>I'm not sure if it's possible to manufacture a CD with scratches
> >Someone in alt.music.sonic-youth explained this to me a while back-- apparently, with
> >the way CDs are read, it's impossible to make a digital equivalent of a locked
> >groove. Wish I could find that message again to give you the full scoop on why.
>
> never stop.
most CD players take about 1-2 seconds to start a track over, which
would kind of ruin the intended effect of a loop
Robb Cunningham
> >he's talking about lock tracks. I've never heard a CD skip a sound
> >more than about .5 sec
>
> I'm talking about a "virtual" locked track. When played on vinyl, a locked groove will
> sound like a looped sample. When played on CD, its not really locked, just played over
> and over a few times.
gotcha. I still think it would be funner to have real lock tracks
on a CD - that is, get the digital data to go in a circle or something.
it would be better than vinyl because you could actually tell what
band you were listening to by looking at the number
Robb Cunningham
>
> >>I suppose the outermost track is about twice as long as the innermost track?
> >actually no, because although the outermost is longer than the innermost, the entire record
> >is spinning at one speed so that the outside actually spins faster than the inside.
>
> I don't get it. If you make a straight line out of the outermost track and innermost track,
> the outermost track will be longer in length. I don't get the speed thing. First of all,
> how long are the tracks, in 1 complete revolution?
records spin around either 33 or 45 times per minute. no matter
if you look at the innermost groove or the outermost groove of the
record, it will be going around at 33 or 45 rpm.
Erik Hoffman
I don't know if he was joking when he said it's "simple" or he
completely missed the point. I have long thought of a way to make a
digital lock loop. I have heard that it IS possible but have not found
anyone that can actualy do it.
If someone finds out.....please let me know.
e
XBRXTNLEX
>>if you look at the innermost groove or the outermost groove of the
>>record, it will be going around at 33 or 45 rpm.
>
>can be longer than that.
so take the alloted time of a cd (74 min aprox) and tha amount of tracks to be
put on it (100 for the 7" and 500 for the new 12") and divide it up so that
each track has equal time on the cd, and make it loop enough times to fill that
time on each track. that way each track gets the same amount of time. problem:
most cd players only read the first 99 tracks of any given cd. i don't know.
whatever. i suppose we could go on for hours. but think of this. do sound
effect cds that boast 100 soud effects actually have 100? my cd player and all
the cd players i have seen only read the first 99 therefore i can only assume
that most consumer cd players (if not all) only read up to 99 tracks! -Brx
Log...@ix.netcom.com
>
> > I
> > > suppose the outermost track is about twice as long as the innermost track?
>
> actually no, because although the outermost is longer than the innermost, the entire record
> is spinning at one speed so that the outside actually spins faster than the inside.
ooooooohhhhh... physics (said in the voice of the qick-witted queen-y
guy with the newspaper hat from "Airplane").
Log...@ix.netcom.com
> All grooves will last the same time, the needle just move *further* on the outer grooves.
>
> In theory, the outer grooves of a record are actually better quality than the inner ones (same
> time/sound infomation but more length of grooves to put the sound on).
Oh god this is so true! I have this one Elvis Costello album and the
first 3 songs are awesome, and then by the end of the first side his
lyric writing gets kind of lazy...
Jason Lescalleet
Bless Ed wrote:
> Your best bets are the newer works, especially _Live In Tokyo_ (Alchemy)
i just got home from seeing Borbetomagus in Springfield.
holy shit, seeing is truly believing.
none of their records compare to what i just witnessed.
i hope those of you in the new england area can attend the shows in
Worcester and Boston.
bring ear protection, it was the loudest show i've ever been to in my life.
jason
Bless Ed
> i just got home from seeing Borbetomagus in Springfield.
> holy shit, seeing is truly believing.
Without question. The "total experience" is essential. ;-)
Skincrime
Aardvark did the actuall mastering/cutting of the grooves, the record itself
was pressed at Erika.
Gary Robert Kelly
>> i just got home from seeing Borbetomagus in Springfield.
>> holy shit, seeing is truly believing.
>
>Without question. The "total experience" is essential. ;-)
This fella at Vinyl Exchange (Oldham St., Manchester) told me once about
a friend who listened to seven Borb albums in one evening without a
break. Christ...I get exhausted playing just one side of "Snuff Jazz".
Anyone else tried any similar feats of endurance?
--
Gaz (_*_) blac...@hotmail.com
http://www.geocities.com/WestHollywood/Village/1408
RICE KRISPIES FAMILY SIZE WITH TAMPON INSERTER SPECIAL OFFER
Brad Bizzolt
>How many actually *different* bands are on it, not just different names?
Even on the RRR-100 7", there were about 30 names I've never heard of and have never
seen anything else by, and I just assumed they were all Ron's (or Ron's friends)
creations just slapped on to fill space between the Merzbows, Jim O'Rourkes, etc.
Log...@ix.netcom.com
>
> >I've seen a few mastering places that said the minimum length of a track they can do
> >is 4 seconds. But I get your point; just felt like imparting useless information.
>
> use every second of the 74 minutes, with no gaps between tracks.
Actually a true benefit of CDs in this case (the RRR 500 lock-groove
record) is the track listing. I find it pointless to try and look up
which artist I have plopped the needle down on. I have tried in vain to
"count" forward or backwards to the grooves by Lee Ranaldo, Neil
Hamburger, etc. Some of the pieces are easily identifiable but most
aren't. On a CD you could simply look up the number or program it. But I
think confusion is one of the neat things about it I guess. I laughed
out loud when I saw that all the trackes were numbered 1-500 inside the
gatefold sleve, like you're gonna count "345, 346, 347, ah... groove
number 348 - Deerhoof! I love them!"
Maybe Superman or Lee Majors could do it with micro-vision. The format
of this is kind of mind-expanding in the same way Ranaldo's From Here To
Infinity is when I tried to tape it on cassette for a friend. I'm also
stil convinced there must be a way to record a CD to repeat a track or
time period or whatever forever without a gap. There's got to be. I
mean, what are the actual physics of the process that prevent it from
happening? Anybody?
Mark
Robb Cunningham
>
> >so take the alloted time of a cd (74 min aprox) and tha amount of tracks to be
> >put on it (100 for the 7" and 500 for the new 12") and divide it up so that
> >each track has equal time on the cd, and make it loop enough times to fill that
> >time on each track. that way each track gets the same amount of time.
>
dividing time on a CD is division (not calc) ,which you seemed to do
pretty well when we were talking about that 5-second song compilation
Robb Cunningham
>
> >most CD players take about 1-2 seconds to start a track over, which
> >would kind of ruin the intended effect of a loop
>
if you can name me the brand that jumps around the CD with programmed
tracks (say , 4 to 23 to 7 etc.) with absolutely ZERO time lapse
between the end of one track and the start of the next, I will keep
it in mind for my next purchase
Oskari Mertalo
> Infinity is when I tried to tape it on cassette for a friend. I'm also
> stil convinced there must be a way to record a CD to repeat a track or
> time period or whatever forever without a gap. There's got to be. I
There is. Denon's CD players that are for DJs can loop any part of the track
as long as you like.
Osku
Robb Cunningham
aaeeeii. gotta get me one of those.
still misses the point though; locked tracks in vinyl loop forever no
matter what record player you play it on. In the case of Denon's CD
players it would be the player making the recording loop, which is
the opposite of the intended effect (the recording causing the player
to loop)
s-t...@nospam-1488.nwu.edu
> This fella at Vinyl Exchange (Oldham St., Manchester) told me once about
> a friend who listened to seven Borb albums in one evening without a
> break. Christ...I get exhausted playing just one side of "Snuff Jazz".
> Anyone else tried any similar feats of endurance?
this year (on WNUR 89.3 FM in Chicago), and I used to listen
to "Seven Reasons for Tears" every night to fall asleep...
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the Copeland/Leech sewerpipe entity
*digs* that particular ng........NOT......>
In article <35EAA1...@etc.etc>,
e...@etc.etc. was placed on academic probation for writing:
> Brent Bruni Comiskey wrote:
> >
> > >but I think one of the most "evil" songs is "The End" by the Doors.
> >
> > I forgot to say, you haven't heard evil until you've heard the Butthole Surfers version of
> > The End, heard on their Double Live discs. Forget whitenoisewankheads, the trippy
> > scumcore jams of Double Live are pure psycho hell on a horse. If the Boredoms were from
> > Texas, they'd be Double Live. Not to mention, I think one of the Boredoms are on the
> > album cover. Who here has or hasn't heard this album?
>
> Along with Zappa's _Uncle Meat_ and the Residents' _Commercial Album_,
> _Double Live_ accounts for 75% of my general brain-warpage back in high
> school.
Except, fellow stupid bastard, that my secret agents tell me that you DIDN'T
DO ANY DRUGS until you got to college. As such, you could not have suffered
any legitimate, bona fide "brain warpage," as you would so boastfully claim.
(No, brain warpage is when you guzzle down 2 1/2 hits of LSD and 2 more hits
of mescaline simultaneously.....)
Anyhow...not warpage, merely......mild neurological reorganization. Yeah.
That's the ticket. Meet my wife......Morgan Fairchild.....
> Gotta dig Gibby's Morrison "hallway" redo: "I walked in the room
> where my sister was, and I put my finger into her vagina and my thumb
> into her asshole proper, and I walked on down the hall..."
Isn't that now part of the KI pledging process?
> The general
> mood of the tapes is like the party scene in _One Flew Over the Cuckoo's
> Nest_, particularly the scene in which two of the patients are pouring
> wine into the tall ogre-ly guy's IV drip. THAT scene sums up _Double
> Live_ as well as anything I could try and fabricate.
I wonder when (if) they'll ever bother to show _Fear and Loathing_ at any
upcoming Social Intercourse gatherings....
Archie Leach
not generally known as the Copeland-Leech sewerpipe entity
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