Apopthelema Entry 4 Part 3 by Kyle Nonneman

Apopthelema Entry 4 Part 3 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 Part3

POSTED Monday, Sept. 11, 2016

THE AMERICAN NOISE SCENE AS ATROCITY EXHIBITION
PART 3

((This Is The Way Step Inside ))

"I AM THE UGLY AMERICAN, I HATE WHAT I AM... TAKE A PISS ON YOUR FOUNDING FATHERS"-BIG BLACK


"SOME PEOPLE TAKE SO MUCH PRIDE IN IT LIKE "OH, I'M NOISE, I DO NOISE, I DO ANTIMUSIC ." GREAT FANTASTIC, LOVELY- I DON'T CARE-
DANIEL MENCHE

Incongruously in the american underground you see performers cheaply adopting the aesthetics and ideas of other countries and there adaptations are typically dependent on xenophobic distortions and false stereotypes.

Similar to a Redskins mascot or a blackface ministrel show except according to scene politics for some reason its not racist or ignorant... No when punks etc do it, they act like their a fucking modern day John Brown. Fetishizing something unreal inside of a blur of paraphillia....Gaijin Goyum Utlending neophytes such as these still feel themselves justified in passing judgement upon individuals such as myself. They fetishize images and ideas they stole from the japanese and filter it through there american minds until it's bastardized and dissociated from its original source.

They keep their desires and urges locked up behind a wall of denial and neurotic self contempt. Like christian's suppressing the natural urges of mankind and becoming all fucked up in the head. When they're confronted with someone who comes out and owns their depravity they dont know how to fucking respond. They try to channel the spirit of actual demons, but like a cheesy horror flick, when what they conjured up actually rises up from hell, they freak the fuck out.

Im tired of cosplaying paleface fantasists attempting to pass judgement upon me. These people are fucking cattle who have never experienced real brutality in their lives and through their sheltered existence they deem themselves worthy of voicing an opinion about my actions. They're simply sheep pretending to be wolves.

My art has for the most part always reflected my own reality and a way vent the depravity and ugliness intrinsic to my psyche. When i recorded the Disease is love, the spoken word samples in the intro were from private phone calls made to me by my better half while she was in prison for stabbing a cunt in the stomach multiple times. That shit all happened. I dont need to resort to sampling horror films and true crime documentries, i can simply use broken shards of my own tortured existence to spread my hatred to your kind like a virus.

i was always attracted to experimentation musically and transgressing accepted standards and norms. I fucked with electrical devices to make weird noise in an unsophisticated fashion since childhood, i used the reality of video games, the distorted harsh tones of chiptune, reminding me of the escape i chose from abuse and the world surrounding me that i never felt a part of. I started out doing straight harsh noise and progressed to more structured droning atmospheric pieces.

Later on when i became involved in various violent dysfunctional relationships and my life became surrounded with violence, I started doing more power electronics related material as an outlet for that hatred and urge to kill.

i came close to killing Angie a couple times. Cowards within the scene who have never lived with that inside of them, try to channel the evil and misanthropic depravity of individuals like myself. Through vicarous proxy. When confronted with the real thing, they cower in fear, reminded of how weak they are.

Randall Philips the creator of Fuck zine started a feud with Slogun, when he tried to interrogate Slogun as to what attracted him to serial killers and what inspired him to use so much of it as source material. Slogun choked up. He didnt want to admit to admireing them or wanting to be like them. He simply couldnt come up with an answer.

Most of these cattle can't. They act like they're individuals that think independently .But in reality most of them blindly conform to scene politics and follow the rules and standards set by the individual with the most scene capital. They seek acceptance and they crawl for validiation within that social structure.As such they're fucking peer pressure zombies.Not free thinking individuals following their own personal vision.

THIS IS THE WAY
THIS IS THE WAY
STEP INSIDE.........................

MORE TO COME...

(contact Kyle at: http://www.writeaprisoner.com/template.aspx?i=z-16534211 )

Apopthelema Entry 4 Part 2 by Kyle Nonneman

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

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 .

MORE TO COME...

(contact Kyle at: http://www.writeaprisoner.com/template.aspx?i=z-16534211)