flutter
Rev. Matthew A. Carey
Just got the flutter tape in the mail. I like it a lot and plan on
listening to it again and again.
Of course, I'm out of touch with all this Merzbow, Whitehouse etc. I
haven't EVER heard ANY of the "top of the line" shit. I can't find it
in the stores, don't want to bother ordering it. And frankly, I'm
proud of the fact that I remain uninfluenced by any of the well-known
noise pioneer types.
So, I don't know what the fuck is going on in the world of noise.
I've been more of a noise maker than fan up to this point. But I'm
trying to hear more stuff by other people. 'Cause I think it's
important to do that. Someone's got to listen, right? But I'm not
gonna fuck around with the noisicians who already have lots of fans.
Unless someone wants to send me bootlegs.
I just sent out 6 bucks for the Freedom Comp. When I have some more
spare money I'll buy some more stuff. Anyone got any suggestions?
Meanwhile, I think it would be wise to start crossposting to
alt.journalism.music from this group.
Yes, yay.
Today I'm writing up a little piece about the Sacto Devival. It's
already 2,000 words long, and I'm still in the introductory part.
MORE CAFFEINE.
Needing a life,
Matthew Carey
P.S. In case you missed my other post regarding the fact, I'm very
interested in doing remixes. Send me a tape, I'll fuck up your noise
and send it back.
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adam.
dammit, rev, you took my post...
i just got the flutter tape two days ago as well. like the rev, i don't
listen to much noise, but that's probably due to the fact that i just got
into it. but there are a lot of "free-form" noise artists here in college
station, tx: :)--fire alarms going off, etc. i sat this morning and
listened to the custodial staff doing grass cleanup, with a blower,
weedeater and two lawnmowers. made me wish i'd brought my mini-cassette
recorder, let me tell you...
at any rate, flutter. i like the tape. it's good and harsh, and that's
pretty much what i'm wanting to hear right now. i was expecting a bit
more structure, but that's the holdover from listening to non-noise
structured music, i guess. so far, if i had to choose a track as my
favorite, it'd be the one with the old, scratchy song mixed in with the
almost melodic feedback. you gotta love the intros, where they exist,
too...the only thing i think the tape needs is smoother transitions
between tracks--most of the tracks sound like they'd work better like
that. either that, or endings attached.
i'm going to play some of the tape on my industrial
radio show this friday, so i was wondering--is there a track listing for
the songs on the demo? it'd be nice to refer to a song as it's real name,
though now that i think of it, it'd be fun to make up names for them...
i's just a ramblin' man,
adam.
Rev. Matthew A. Carey
>
>Of course, I'm out of touch with all this Merzbow, Whitehouse etc. I
>haven't EVER heard ANY of the "top of the line" shit. I can't find it
>in the stores, don't want to bother ordering it. And frankly, I'm
>proud of the fact that I remain uninfluenced by any of the well-known
>noise pioneer types.
>
Wow. What an ass.
Little Bill
> On Tue, 21 Apr 1998 17:00:28 GMT, ca...@humboldt1.com (Rev. Matthew A.
> Carey) wrote:
>
> >
> >Of course, I'm out of touch with all this Merzbow, Whitehouse etc. I
> >haven't EVER heard ANY of the "top of the line" shit. I can't find it
> >in the stores, don't want to bother ordering it. And frankly, I'm
> >proud of the fact that I remain uninfluenced by any of the well-known
> >noise pioneer types.
> >
>
>
> Wow. What an ass.
>
So this thread is about wow and flutter? I'm confused.
--
When I imagine a tree, I am not spectating a resemblance;
I am resembling a spectator. - Ryle
Dadanoise
>Easy now. I can't blame him for caring less about all that hyped up stuff.
>Kinda takes
>the fun of discovery out of it.
personally i dig some merzbow, but i was making noise prior to it, and i hafta
say that i wasnt exactly overwhelmed when i first became aware of the harsh
noise scene (as opposed to when i got into punk, free jazz, or everytime i hear
innovative hip hop and walk around with my jaw dropped, trying to spread the
new gospel) . i was already familiar with the early industrial pioneers and
with select pop and avant garde types (zappa, glass, etc etc), and i guess i
had awready assumed that if *i* could think of it, it prob'ly awready existed.
not a dis of noise by any means, just a reflection. i had been making what
were basically noise tapes since 6th grade, initially attempting hiphop
skratching. i have yet to develop any dj skills whatsoever, i got derailed and
put my focus on the noise and soundcollage.
how'd you other folks approach noise initially?
biz...@udel.edu
dada...@aol.com (Dadanoise) wrote:
$ how'd you other folks approach noise initially?
Same exact way- just making noise for the hell of it, to let off
steam if one of my "real" songs wasn't working out... yeah, I
was plugging my synth into a distortion pedal and slamming the
low keys long before I ever knew that people willingly spent
money on that sort of thing...
I can still remember being a freshman in high school, riding
the bus and listening to the stuff I had made on my walkman
really really loud, and all the preppy kids sitting behind me
kept tapping me on the shoulder, asking me what the fuck
I was listening to...
Colin Pascal
Dadanoise (dada...@aol.com) writes:
> how'd you other folks approach noise initially?
I originally made tapes to listen to for when I go to bed. I find extreme
white noise blasts slowly shifting to be one of the most relaxing things
in the world so I'd record stuff like that to a tape on a walkman and
listen to it repeat all night long. I also made tapes of just wierd
sounds and stuff, but those aren't so good for sleeping.
Colin.
--
Pain and pleasure are the twins that slightly out of focus spins around us
till we finally realize that everything that gives us pleasure also gives
us pain to measure it by, and in order to survive. All our lives we love
illusion, neatly caught between confusion and the need to know we are alive.
Rev. Matthew A. Carey
On 22 Apr 1998 17:08:28 GMT, Brent Bruni Comiskey <nos...@neosoft.com>
wrote:
>>Wow. What an ass.
>
>Easy now. I can't blame him for caring less about all that hyped up stuff. Kinda takes
>the fun of discovery out of it.
But he *is* an ass. I should know, I spend 24 hours a fucking day
with the idiot.
Rev. Matthew A. Carey
>
>So this thread is about wow and flutter? I'm confused.
>
Thank you. Drive through.
Rev. Matthew A. Carey
On 23 Apr 1998 05:55:52 GMT, Brent Bruni Comiskey <nos...@neosoft.com>
wrote:
>
>Then the mid-80s Butthole Surfers kicked in...
Fuck I'm tempted to follow up to this thread. But I'll end up writing
150k of shit that'd seriously bore the shit out of you all.
Okay, what the hell...
There's two factors that have contributed to my mutation. I'd bet
most all of you have had the same experiences. Am I right or wrong?
1. I always enjoyed making music, but never had any real music
lessons. Nor did I ever have any real equipment or instruments. But
I liked playing and sort-of composing a lot, so I just improvised.
2. All the music I ever listened to had some weird aspect to it.
Like the Jesus and Mary Chain with them crazy guitars and yeah the
Butthole Surfers with their fucked up "we should have ended the song
two minutes ago... but no!"
But the coalescing moment was when I got Coletrane's OM. "Damn" I
thought "You mean it's OKAY TO DO THAT???"
But I've also had a lot of head injuries, too. So, that could also be
it.
Shoegaze99
ca...@humboldt1.com (Rev. Matthew A. Carey) writes:
>On 23 Apr 1998 05:55:52 GMT, Brent Bruni Comiskey <nos...@neosoft.com>
>wrote:
>>
>>Then the mid-80s Butthole Surfers kicked in...
>
>Fuck I'm tempted to follow up to this thread. But I'll end up writing
>150k of shit that'd seriously bore the shit out of you all.
>
>Okay, what the hell...
>
>There's two factors that have contributed to my mutation. I'd bet
>most all of you have had the same experiences. Am I right or wrong?
>
>1. I always enjoyed making music, but never had any real music
>lessons. Nor did I ever have any real equipment or instruments. But
>I liked playing and sort-of composing a lot, so I just improvised.
Without a doubt. I bought my guitar simply in order to have
something that made loud sounds. I loved that feeling I got when
I was standing in front of the amp, fully cranked up, and just
letting the feedback and chaos wail. It just hit me in the gut. My
friends hated me because I refused to tune, I didn't want to know
chords, nothing. I scorned anything related to doing things right,
and so now, even though I can actually play, I (like to think that I)
still remain unique. I work with shit equipment under
shit conditions, and I like it that way.
>2. All the music I ever listened to had some weird aspect to it.
>Like the Jesus and Mary Chain with them crazy guitars and yeah the
>Butthole Surfers with their fucked up "we should have ended the song two
minutes ago... but no!"
For the most part. I do have a gigantic soft spot in my heart for
pop music (I am a die hard Elephant 6 head), but for the most part
I have always leaned towards things that sounded like nothing
else. The Buttholes or early Flaming Lips never did it for me,
as I always liked the more melodic aspect of the noise. My
Bloody Valentines 'Loveless' still remains the album that has
inspired me the most to make music.
>But the coalescing moment was when I got Coletrane's OM. "Damn" I
>thought "You mean it's OKAY TO DO THAT???"
I had been doing fucked up shit for the longest time, not realizing
that there were other people who actually liked that stuff too. I
once composed a 45 minutes "classical" (sic) piece using nothing
but feedback, which I created simply because I wanted to hear
stuff like that. Then two years later I find out that some chap
calling himself Flying Saucer Attack had been doing the same thing.
Dick.
Now, of course, I spend more time listening to the great stuff out
there than actually playing it, which is actually pretty bad. I've
let far too many influences creep into my music.
>But I've also had a lot of head injuries, too. So, that could also be
>it.
Eat more turnips.
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Shoegaze99
Brent Bruni Comiskey <nos...@neosoft.com> writes:
>
>>Bloody Valentines 'Loveless' still remains the album that has
>>inspired me the most to make music.
>
It's a timeless, awe inspiring recording. Eight years later it is
still far ahead of it's time, and it will probably continue to be for
quite a few years to come. Many, many have tried to imitate
(including myself) but none have succeeded in a way that was
more than marginal.
adam.
> Dadanoise (dada...@aol.com) writes:
> > how'd you other folks approach noise initially?
i took the industrial route. ever since i started listened to the stuff,
i'd heard talk of this guy "merzbow". and it sounded intriguing--noise.
i just couldn't find any, so i supplemented with harsh industrial.
let's see if i can map my route out, listing the noisiest stuff in the
order i owned/listened to it--
nine inch nails--screaming slave
skinny puppy--VIVIsectVI (all of it), last rights (all of it, but mostly
the last track, download)
aphex twin--ventolin
download--furnace, microscopic, charlie's family (gristle dog corr--oh
yeah...)
autechre--chiastic slide (especially the secord track--it's just too damn
short!)
panasonic--kulma
and then, i listened to the dry lungs compilation. and as far as noise
was concerned, it changed my life. i finally heard my first merzbow
track, "vermin with carcass", and now i want more noise. i'm also
interested in checking out the power-noise stuff on ant-zen records, and
some dive. in short, i still like industrial, but i try to stick to the
harsh and/or intelligent stuff. and noise (by dint of the fact that it's
anti-music) is often both. at least, that's what a virgin noise listener
thinks. hell, i'll probably have a different opinion in two hours; it's
all just words.
i like noise, and i listened to industrial to get to it. end of story.
adam.
Andrew Hayleck
Albert Ayler - music is the healing force of the universe
Dadanoise wrote:
>
> to the people who been praisin coltrane in here-- FUCK YEAH!!!
>
> it was that motherfucker henry rollins who said it, but damn if it isnt the
> case:
>
> "JOHN COLTRANE HAS INVENTED A KIND OF MUSIC THAT WILL SAVE THE WORLD!!!"
>
> interstellar space is ecstatic, insane! first time i heard it i went nuts
> pogoing around in my room!
Cobb -the cub- Rubbinson
the first "noise" release I bought was Nurse with wound " chance meeting on a
dissecting table with a sewing machine and umbrella " . Before that I had been
listening to older experimental music on the lighter side like zoviet france.
but When I heard the center track on the nww cd I was strangely attracted to the
harshness of it all. Then I got Pulse demon by merzbow , and realized that
people actually release similiar material to what I've been doing by myself for
years. thats all
Dadanoise
Stig Mathausen
Brent Bruni Comiskey wrote:
>
> >>>Bloody Valentines 'Loveless' still remains the album that has
> >>>inspired me the most to make music.
> >>
> >>That is one great recording.
> >
> >It's a timeless, awe inspiring recording. Eight years later it is
> >still far ahead of it's time, and it will probably continue to be for
> >quite a few years to come. Many, many have tried to imitate
> >(including myself) but none have succeeded in a way that was
> >more than marginal.
>
> Gogh's Starry Night painting, if you've ever really looked at that
> painting.
>
Glad I'm not the only one here totally into the MBV sound - I know I still
await the followup, if only Shields would stop putting most of the record
company $ in his arm...(so rumour has it).
On now: Ride - "Smile"
On before: Masonna - "Frequency LSD"
biz...@udel.edu
Stig Mathausen <trop...@istar.ca> wrote:
$ Brent Bruni Comiskey wrote:
$ >
$ > >>>Bloody Valentines 'Loveless' still remains the album that has
$ > >>>inspired me the most to make music.
$ > >>
$ > >>That is one great recording.
$ > >
$ > >It's a timeless, awe inspiring recording. Eight years later it is
$ > >still far ahead of it's time, and it will probably continue to be for
$ > >quite a few years to come. Many, many have tried to imitate
$ > >(including myself) but none have succeeded in a way that was
$ > >more than marginal.
$ >
$ > I don't think I can add anything to that. The piece is as timeless as Van
$ > Gogh's Starry Night painting, if you've ever really looked at that
$ > painting.
$ >
$
$ Glad I'm not the only one here totally into the MBV sound - I know I still
$ await the followup, if only Shields would stop putting most of the record
$ company $ in his arm...(so rumour has it).
I don't think that man needs anything else in his system... he's beyond
hope as it is. I also find it hard to believe any label is still giving him money
after completely trashing at least two records that would've been the
followup to Loveless...
SPElias
In article <199804231855...@ladder01.news.aol.com>,
shoeg...@aol.com (Shoegaze99) writes:
>I had been doing fucked up shit for the longest time, not realizing
>that there were other people who actually liked that stuff too. I
>once composed a 45 minutes "classical" (sic) piece using nothing
>but feedback, which I created simply because I wanted to hear
>stuff like that. Then two years later I find out that some chap
>calling himself Flying Saucer Attack had been doing the same thing.
>
>Dick.
It might be interesting to expouse upon the idea of the development and
proliferation of ideas...i.e .: I thought my band mates and I were being
somewhat totally original in our use of dub and tape replay techniques back in
1980, only to find the M.O/B. and, perhaps G.O.4 doing similar stuff. There
were "movements" created from the ideas involved with dada and surrealism that
we were all aware of and devolved out of...At >that< point ('80) no one knew of
"noise" as we know of it today--
By now "noise" has become entirely too acceptable and normalized,
commercialized.
We need to (d)evolve once again.
It happens, you don't even have to try.
beaned
g/
o
David Watson
Probably the first noise stuff I heard was Non on CBC Stereo's (now CBC
Radio 2) Brave New Waves. Then a friend of mine lent me a tape of the
Hafler Trio's _Bang! an open letter_. Then Brave New Waves played some of
Severed Heads' early tapeloop stuff. Then small town boredom drove me to
sling letters to record labels of all sizes looking for mail order
catalogs. One of the people that got me in touch with was Not 1/2 (Allan
Conroy of Winnipeg, MB--where are you?), who turned me onto some good
classic stuff. I've been turned out ever since.
--
Dave Watson, Severed Heads Liberation Front (Re-release the _Stretcher_ EP!)
Frezier Balzoff (Ottawa), Ontario, Canada Email-...@Freenet.carleton.ca
My music and anime webpage: http://www.geocities.com/SunsetStrip/Alley/4207/
ONTARIO--Where FASCIST PRAGMATISM and DEFICIT HYSTERIA pass for COMMON SENSE.
murgunsturrrm
Brent Bruni Comiskey wrote:
>
> >>>Bloody Valentines 'Loveless' still remains the album that has
> >>
> >
>
> I don't think I can add anything to that. The piece is as timeless as Van
> painting.
>
> I heard it cost $600,000 to record Loveless. And Van Goh(sp) painted Starry
> Night looking through the bars of his cell in an insane asylum.
I love loveless
Matthew Turner
Let's just not talk about Henry Rollins, Okay? And anyway Coleman and Sun Ra
kick his arse any day.
sye...@cablehouse.dyn.ml.org
I was into Nurse With Wound for a long time -- that was probably my first
noise-related group, and soon I'd found the "150 Murderous Passions" album.
From that I found out about Whitehouse (urk), and then the whole Japanese
noise scene -- Merzbow on out. That's where things really started to happen; I
just grabbed up everything I could find and have been doing so ever since.
I actually blundered into Dissecting Table sort of by accident as well -- I
bought ZIGOKU thinking they were a Zeni Geva-type of band (I'd found out about
them shortly before and LOVED their stuff; they sounded like they were one of
the first bands who could take the whole Godflesh/Big Black/etc. idiom into a
direction that wasn't redundant or insulting). So when I put it in and heard
sequencers and temple drums I went, "What the eff?" But I kept with it and
realized it was pretty fuk'n cool... and then proceeded to find every last
record of theirs I could get my hands on.
Speaking of which, my copy of INTO THE LIGHT hasn't arrived yet. Grrrrr.
http://cablehouse.dyn.ml.org/gline
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