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08/08/2004: "noise."

So I read and re-read the Noise Primer in the new Wire, and I'd been meaning to put in my two cents on it. I'd been following Simon's thoughts on it, and the commentary on a few other blogs. I have nothing against D. Keenan; I've liked a lot of his stuff and I think he's a good writer. And I was happy to see a shout-out to the LA Free Music Society, one of the most criminally underrated scenes ever. But I disagree with his primer.

I should start by saying that I don't like the concept of primers, though I do find them useful and occasionally illuminating -- a case in point is the great Biba Kopf Neubauten primer, which I still refer to often. On the whole, though, they seem too textbooky for me. And when dealing with more than one band -- a whole genre, a host of conceptual approaches, a bunch of wriggling ideas -- the primer becomes problematic. What gets included and what gets excluded with something as abstract as "noise"? How do you draw your reader in with some familiar stuff and some non-obvious stuff, and how do you link those disparate pieces together? How do you avoid looking like you're trying to teach a lesson with a primer; how do you make music seem vital and interesting, something to be experienced, not just studied -- without just uselessly "bigging up" the underground?

The other problem with primers is they tend to be too obvious. God I would be so happy if I never had to read about TG again. What's the most shocking thing about Throbbing Gristle's "Zyklon B Zombie/United" 7", released on Industrial Records in 1978? That "United" was an out-and-out pop song. Nothing I ever heard from TG -- even their super-caustic early stuff -- ever struck me as horrible noise. Let's face it -- Genesis P is about as shocking as Howard Stern is shocking. I also found it interesting that out of all the Neubauten mentions there could have been, "Kalte Sterne: Early Recordings" was listed. The song "Kalte Sterne" itself is also pop music, and when I interviewed Blixa last year he admitted as such. It's a beautiful melody with a conventional verse-chorus-verse-chorus song structure, and the most shocking thing about it is how lovely it is, how sad it is.

And what's the most disturbing thing about Metal Machine Music? That it "refuses the notion that everything is consensual, that communication is paramount, that music must be about pleasure"? Hardly. The most disturbing thing about Metal Machine Music is its prettiness. Fluttery and floaty, the thrum of bodies, of life, of the harmonic elements the flit up to the surface in spite of themselves. That's what's shocking about Metal Machine Music: that it's not shocking at all.

I wonder what would have happened if a woman had written the Noise Primer; I wonder if there would have been more mentions of women aside from a dashed-off line or two about Cosey; I wonder if a woman would have described Masami Akita a.k.a. Merzbow's music as "There's no plot and no build-up; instead it cuts straight to the pay-off, a gonzo compilation of vivid, libidinous money shots. Like the greatest high energy rock, it's gratuitously satisfying"?! Oh come off it! I'm so bored of the maleness of this noise canon, the self-congratulatory cock-rockness of it.

TG, Merzbow, Whitehouse, Non, and on and on...these were all people with really warped ideas of sexuality, of course. But their ideas about sex had so much to do with control and repression, of strapping things in, of exposing carnality and ugliness and messiness but paradoxically hiding behind the exposure, afraid of it, afraid of sex, afraid of intimacy...

I'll tell you what the most disturbing noise performance I saw recently was: a Double Leopards (faves of Keenan's, it must be said) show in a dank basement bar for five bucks. What I found shocking was the girl in the band. Her name escapes me, but she was sitting there on the stage, quiet as can be, with a box of effects pedals, and she was gently stroking them--in an almost motherly fashion--to provoke bizarrely contorted sounds. I found her gentle nature TEN TIMES MORE disturbing than all the dickwaving noise rock and the noise "canon" of Whitehouse/Merzbow/Masonna/etc/etc/barf that I've been privy to. Fuck the noise canon, fuck Throbbing Gristle and their useless cash-in reissues, fuck Merzbow and his BDSM bullshit and how he's gone all soft with his laptop stuff recently, fuck Borbetomagus (who are softies as well--I fall asleep listening to them sometimes), fuck Metal Machine Music -- bring me the future. The only hint of the future I saw in the whole primer was 150 words on Wolf Eyes at the end. And that's my rough opinion on noise. Now if you'll excuse me I'm going to go rock out to some dance music under the "surveillance glare" of this beautiful Sunday; it's my "nine to five soundtrack for regulating work and consumption." At night, of course, I transform into a bloodsucking vampire, and that's when I listen to all that experimental music rotting on my shelf. . .


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accept credit cards said @ 11/01/2004 08:03 PM EST

Wolf Eyes are great and all, but they cannot touch Whitehouse or NON.
To those of you who say Whithouse is not "shocking" anymore...I guess you're just too cool for school. I'm sure you just put it on for dinner music right? William Blake isn't relevant any longer either...I mean, Christ it's so OLD.

Les said @ 09/22/2004 09:34 PM EST

The one issue I have with your comments about the "cock-rock" aspect of noise is when you bring up Wolf Eyes as the future of noise. Now, I like Wolf Eyes, but they embody this, too, to a certain degree. I saw them open for Sonic Youth in Detroit about two weeks ago, and as far as I'm concerned, they're a metal band. Nothing wrong with that, of course, but you may want to consider that. John Olson started the set by waving around a mace and then a sword. Tongue-in-cheek? Sure, but there is that "cock rock" aspect to it.

Jeff said @ 08/18/2004 09:48 AM EST

i've for some reason felt that the current crop of "noise" artists or whatever is particularly evenly sexed...hence: dead machines, wooden wand/vanishing voice, nautical almanac, can't, metalux, fat worm of error, charlambides, 16 bitch pile up, double leopards, etc etc.....anyway, the only noise show i've seen that directly addressed the sausage party factor of experimental music was the last time i saw nautical almanac.....carly did some really weird shit. can anyone else concur? it seemed like her whole M.O. for the night was an address of gender/power/gaze. she was doing this stuff whether performing or not. it was fucking stunning, even if the message was lost on most of the audience.

doug said @ 08/16/2004 01:18 PM EST

william bennet has produced several albums that address the white male aspect of noise thing
extreme music by women, from africa, china and russia, all different takes on the noise aesthetic.

mms said @ 08/14/2004 11:50 AM EST

try getting the william bennet curated series of cds extreme music for women / from africa /japan/china /russia for some variation on the theme via whitehouses website , i think bennet etc are aware of the male, white limitations and these cds address some of the issues, of course bennet is still the curator

mms said @ 08/14/2004 11:48 AM EST

One quibble: I don't think Masonna should have been lumped in there. He's a pretty fun-spirited dude.

Tim Ellison said @ 08/13/2004 03:40 AM EST

Good point on the primer: its really useful when dealing with an artist with a massive discog (neubatten and even more so with ppl like cecil taylor) but gets very difficult when dealing with a 'genre' so you get stuff like keenan's guide to noise and spend all yr time finding the flaws.

When lester Bangs did his 'reasonable guide' he was saying something like -- this is a trend and more ppl are doing 'shronk' on rock recs and so on -- its not confined to avant garde anymore. But he was also thinking as noise as stuff you hate etc. and then a short record guide of current records (maybe released in the last 2-3 years). A primer is more like a retrospective, and mainly a record guide with (in this case) an awful intro which feels more like its hanging off it (this approach led to the 'scared' part of yr reply, and things like the forced exposure culture that is talked abt by mark s in the 'noise' piece -- but there's nothing on that).

Having said all that I liked the inclusion of ikeda and mego stuff on there, all deriving from his apparoach to look for 'shronk' in other genres like electronic music or improv (borbetomagus) or (as you point out) in songs. Other things: I did feel like buying that whitehouse record, I liked his discussion of it (apart from the first line). Further plus points for writing abt recs released in 30 copies or whatever (much of the indie press does write abt small labels anyway, he's just taking it one step further -- encourages a wider reissue ;-)).

I don't recall him really pushing the shock angle too much, more like giving context (and I guess if you're gonna go ambiguous toward a subject like whitehouse do then making that kind of music maybe does heightens that ambiguosity? I don't know), but as I recall MMM was sprung up on ppl who had bought transformer: was it 'unlistenable' to them? (yes yes on the other hand house music is 'shronk' to many ppl who love MMM or whitehouse etc). Also there was that whole COUM transmission controversy (but it sounded more like a 'tabloid' controversy to me, not sure it counts...).

Nic endo's 'white heat' EP was a blast of 'shronk' on par with merzbow and atari teenage riot seemed to improve massively when she came in. I've seen double leopards last year and I liked it. Wish venues didn't close so early, I'd love them to drone for a few hours instead of 40 mins. or allow them to start early. Sunburned hand of man do also have a female member, she was also doing stuff on microphone/controls etc.

julio said @ 08/11/2004 06:35 AM EST

word

beautiful music said @ 08/10/2004 02:14 PM EST

You look at TG, Whitehouse, and MMM now and they aren't shocking. And of course they aren't, 25 to 30 years after they came out. They have been canonized and internalized by contempory bands. The real question is were they shocking (at least for the audience they were targeted at) originally. I can't answer that question, I was a toddler at the time. Today this older music has to stand on its musical legs instead of the performance art aspect of it, but that was not necessarily true when it first came out.

m said @ 08/10/2004 02:12 PM EST

(geeta karate chops) hai ya! (stone tablet of rock splits in the middle)

wbtnk said @ 08/10/2004 01:14 PM EST

liked it, except there are two women/two men in Double Leopards.

hstencil said @ 08/09/2004 05:37 PM EST

i am wondering if noise trad. gendered 'female' is known as bliss/drone

yeh, wonder how this fits in with say Mclary's analysis...

mark k-punk said @ 08/09/2004 05:25 PM EST

Brilliant! And right on. Interestingly enough, some of the most violent, punishing and noisy hardcore techno have been made by women. Do you know the french Michelson sisters? If not, try and check out their work, especially Poka Michelsons as No Name on Fischkopf records. It's everything TG/Whithouse/etc. pretend to be, but the real stuff, truly strange and disturbing, and psychedelic beyond belief.

Jannik said @ 08/09/2004 02:34 PM EST

Merzbow is actually all over the place, technique-wise: his stuff certainly can sound like it was operating on cock-rock jack-off metaphors, but he also toys with, yes, slow queasy build-ups, endless trudges, and even ammniotic bliss of a kind (like, I swear, the last track of Dharma). He's also become something an animal activist lately -- the dude even has pet chickens! -- which sounds to me like maybe a new reconciliation with all things fleshy.

The Boredoms of Soul Discharge, psychologically speaking, may be the most charming of all rock noise-oids, as there they revert to a kind of pre-sexual infantile messiness.

Michael Daddino said @ 08/09/2004 02:26 PM EST

Glad you've raised this actually, Geeta, coz what I'm planning to do at the Noise conference at Middlesex takes up this 'sexing' of noise theme...

Think the problem at every level is the aesthetics of shock. But, actually if you think about it, that phrase is paradoxical. Aesthetics literally means 'feeling' - but if something really is shocking it is anaesthetic in that the organism automatically closes itself down and 'zeroes' the stimuli.
Freud delineates this basic model in Beyond the Pleasure Principle, and it's taken up by McLuhan in Understanding Media. The organism is cooked by stimuli which produces a baked surface: the skin which both constitutes the organism as such and which protects it from the outside world. So more stim = more anaesthesia.
That's why the habitual mode in late capitalism is zombie trance: there's simply too much for us to take in, so we drift through the Kapitalscape in a kind of somnambulent haze.
But what would things look like from the PoV of the Body without organs? Or the body without organ? If we've learned anything from Irigaray, Haraway and Plant, it is that the female body is less closed up on itself than the male, less 'organic' .
So a survey of Feminoize might start with the (s)mothering intimacy of MBV's Loveless, which might be seen as an intensive sonic mapping of the female body. MBV's is noise in the cybernetic sense (see Mark S's piece) in that it confuses the relationship between figure (signal) and ground (noise)....

Disquiet is more disturbing than extremity.

It's only by coaxing the organism that you can get it to open up.

mark k-punk said @ 08/09/2004 01:03 PM EST

Yes. Yes. Yes.

Liz said @ 08/09/2004 12:12 PM EST

Yes, right on.

I think its far more 'shocking' (if were talking getting a strong reaction from an audience) when a musician self consciously tries to create something beautiful. I'm thinking, like, music for airports as an example.

This is what pisses me off about post-rock al la Mogwai - just as they achieve something heartbreakingly tender they take the easy route and just turn all the guitars up and be ugly.

it's soooo easy to be ugly.

ian baxter said @ 08/09/2004 07:47 AM EST

totally right on. i am wondering if noise trad. gendered 'female' is known as bliss/drone - and where those two cross over to one another. noise as male = russolo's 'sound of war' which was just as obviously bs in 1917 or whatever as it is now? dunno. haven't read the wire thing but will get my hands on it.

daphne c said @ 08/09/2004 02:19 AM EST

Geeta I kiss you. (or do I gently stroke you in a motherly fashion and provoke bizarrely contorted sounds? I forget.)

Matos W.K. said @ 08/08/2004 07:05 PM EST

fab response.

philt said @ 08/08/2004 05:55 PM EST

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