Apopthelema Entry 4 Part 2 by Kyle Nonneman
[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the link listed at the end of this entry.]
Apopthelema Entry 4 Part2
THE AMERICAN NOISE SCENE AND THE ATROCITY EXHIBITION:
PART TWO
((THIS IS THE WAY STEP INSIDE))
NOISEBOARD COMPUTER COWARDS KILLED CASSETTE CULTURE....
"THE ONLINE PRESENCE OF NOISE IN THE EARLY 2000S ,WAS DEFINED AMONG NORTH AMERICANS WHO DEVELOPED AN INTERMEDIATED NETWORK OF FAN CREATED WEBPAGES. THE MAJORITY OF WEBSITES ABOUT NOISE HAVE BEEN ORGANIZED AND FREQUENTED BY NORTH AMERICAN PARTICIPANTS. ALTHOUGH THERE ARE A HANDFUL OF BILINGUAL JAPAN BASED SITES,MOST ARE POSTED IN ENGLISH ONLY. EVEN BY THE EARLY 2010S,MANY WELL-KNOWN JAPANESE NOISICIANS DID NOT YET HAVE WEBSITES AND ONLY A HANDFUL OF JAPANESE LABELS
HAVE DEVELOPED WEB BASED SALES PORTALS. IN ADDITION, NOT MANY JAPANESE AUTHORS POST RECORDINGS ONLINE OR CONTRIBUTE TO DISCUSSION BOARDS ABOUT NOISE INDIVIDUAL POSTERS CAN CHOOSE TO REMAIN ANONYMOUS, CHANGE THEIR NAMES REGULARLY & LURK VOYEURISTICLY. WHEREAS THE CASSETTE CULTURE GREW THROUGH BARTER EXCHANGE OF RECORDINGS BETWEEN FELLOW PRODUCERS,NOISE'S ONLINE COMMUNITIES CONVERGED THROUGH OPEN ACCESS TO CROWD SOURCED KNOWLEDGE.INDIVIDUALS COULD PARTICIPATE IN KNOWLEDGE CONSTRUCTION IN WAYS THAT REFLECTED LITTLE OR NO STAKE IN NOISE'S COMPLEXITIES"-NOVAK
Relapse records was responsible for the Japan American Noise treaty compilation issued in the 1990s. As well as the import and distribution of various Japanoise releases with sexual themed covers.Relapse was one of the primary sources outside of the underground cassette culture that brought noise to the attention of American audiences.Relapse dropped a couple Death Metal acts in the 90s, for having no image. The bands they did this to,were acts like Rottrevore, who were attempting to do something more original beyond death,destruction lyrics and instead wrote songs about politics and social criticism.
With Relapse's primary customer base being Metalheads, its very likely they repackaged and promoted Japanoise releases in this fashion in an effort to pander to the proclivities of there primary market demographic. This market obviously carried on the torch when they were inspired by Japanoise releases to start noise side projects as a break from there day jobs in Death/Gore Grind bands.
Noise quickly became a convenient outlet for suburban death metal fans to vent their repressed sexuality and it gave them a way to go from being a fan to an actual recording artist, without the ardent work of actually learning to play an insturment. Bringing the concept of 'Scene metal' to new heights of amateurish mediocrity. This only got worse when laptops were introduced into the equation. Previously they had to at least had buy pedals and learn to chain them together in a closed feedback loop.
Then of course crossover acts like Bastard Noise came out of the california hippy love punk scene, . Bastard Noise's success is largely due to them being the only noise/faux p.e. distributed by punk/grind labels like Deep Six. Bastard Noise also focused on lyrical themes and imagery that unlike British Power Electronics were easily digestible by punk kids and deemed acceptable by the P.C scene police. They didn't do much in terms of innovation, they simply performed a safer defanged easier to swallow strain of extreme electronic music that lame punks could handle, instead of the more subversive and honest sounds of Whitehouse & Sutciffe Jugend.
Its of course ironic and fitting that one of the most active and well-known american noise acts is called Bastard Noise. Since the American Underground is largely founded more on derivative bastardization of foreign subcultures than originality.Which makes sense in the larger context of american history, since this country was stolen by immigrants who transplanted themselves here by force and are forced now to either disown and live in shame of what little cultural heritage they have or be branded a racist. A lot of them also deal with there guilt over being white and compensate for their lack of cultural roots by adopting the identity and culture of other races.
Rap music used to be a form of urban protest music for blacks to fight back against the status quo of american society. Now its just another form of bubblegum pop music and you see trailer trash inbred white dudes in prison with thug life tattoos.Think about that next time you hear Michael Gira talk about turning all the A.C. off in the venue to make it more like a Native American Sweatlodge.... Gira should make the venue more like that Great White/Whitesnake show back in the eighties where all the butt rockers burned alive .
Thursday, August 25, 2016
THE AMERICAN NOISE SCENE AND THE ATROCITY EXHIBITION:
PART TWO
((THIS IS THE WAY STEP INSIDE))
NOISEBOARD COMPUTER COWARDS KILLED CASSETTE CULTURE....
"THE ONLINE PRESENCE OF NOISE IN THE EARLY 2000S ,WAS DEFINED AMONG NORTH AMERICANS WHO DEVELOPED AN INTERMEDIATED NETWORK OF FAN CREATED WEBPAGES. THE MAJORITY OF WEBSITES ABOUT NOISE HAVE BEEN ORGANIZED AND FREQUENTED BY NORTH AMERICAN PARTICIPANTS. ALTHOUGH THERE ARE A HANDFUL OF BILINGUAL JAPAN BASED SITES,MOST ARE POSTED IN ENGLISH ONLY. EVEN BY THE EARLY 2010S,MANY WELL-KNOWN JAPANESE NOISICIANS DID NOT YET HAVE WEBSITES AND ONLY A HANDFUL OF JAPANESE LABELS
HAVE DEVELOPED WEB BASED SALES PORTALS. IN ADDITION, NOT MANY JAPANESE AUTHORS POST RECORDINGS ONLINE OR CONTRIBUTE TO DISCUSSION BOARDS ABOUT NOISE INDIVIDUAL POSTERS CAN CHOOSE TO REMAIN ANONYMOUS, CHANGE THEIR NAMES REGULARLY & LURK VOYEURISTICLY. WHEREAS THE CASSETTE CULTURE GREW THROUGH BARTER EXCHANGE OF RECORDINGS BETWEEN FELLOW PRODUCERS,NOISE'S ONLINE COMMUNITIES CONVERGED THROUGH OPEN ACCESS TO CROWD SOURCED KNOWLEDGE.INDIVIDUALS COULD PARTICIPATE IN KNOWLEDGE CONSTRUCTION IN WAYS THAT REFLECTED LITTLE OR NO STAKE IN NOISE'S COMPLEXITIES"-NOVAK
Relapse records was responsible for the Japan American Noise treaty compilation issued in the 1990s. As well as the import and distribution of various Japanoise releases with sexual themed covers.Relapse was one of the primary sources outside of the underground cassette culture that brought noise to the attention of American audiences.Relapse dropped a couple Death Metal acts in the 90s, for having no image. The bands they did this to,were acts like Rottrevore, who were attempting to do something more original beyond death,destruction lyrics and instead wrote songs about politics and social criticism.
With Relapse's primary customer base being Metalheads, its very likely they repackaged and promoted Japanoise releases in this fashion in an effort to pander to the proclivities of there primary market demographic. This market obviously carried on the torch when they were inspired by Japanoise releases to start noise side projects as a break from there day jobs in Death/Gore Grind bands.
Noise quickly became a convenient outlet for suburban death metal fans to vent their repressed sexuality and it gave them a way to go from being a fan to an actual recording artist, without the ardent work of actually learning to play an insturment. Bringing the concept of 'Scene metal' to new heights of amateurish mediocrity. This only got worse when laptops were introduced into the equation. Previously they had to at least had buy pedals and learn to chain them together in a closed feedback loop.
Then of course crossover acts like Bastard Noise came out of the california hippy love punk scene, . Bastard Noise's success is largely due to them being the only noise/faux p.e. distributed by punk/grind labels like Deep Six. Bastard Noise also focused on lyrical themes and imagery that unlike British Power Electronics were easily digestible by punk kids and deemed acceptable by the P.C scene police. They didn't do much in terms of innovation, they simply performed a safer defanged easier to swallow strain of extreme electronic music that lame punks could handle, instead of the more subversive and honest sounds of Whitehouse & Sutciffe Jugend.
Its of course ironic and fitting that one of the most active and well-known american noise acts is called Bastard Noise. Since the American Underground is largely founded more on derivative bastardization of foreign subcultures than originality.Which makes sense in the larger context of american history, since this country was stolen by immigrants who transplanted themselves here by force and are forced now to either disown and live in shame of what little cultural heritage they have or be branded a racist. A lot of them also deal with there guilt over being white and compensate for their lack of cultural roots by adopting the identity and culture of other races.
Rap music used to be a form of urban protest music for blacks to fight back against the status quo of american society. Now its just another form of bubblegum pop music and you see trailer trash inbred white dudes in prison with thug life tattoos.Think about that next time you hear Michael Gira talk about turning all the A.C. off in the venue to make it more like a Native American Sweatlodge.... Gira should make the venue more like that Great White/Whitesnake show back in the eighties where all the butt rockers burned alive .
