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ROBOT MONKS CHANTING OUT THEIR PRAISE OF SATAN
Or something fun like that.
Or something fun like that.
Category Music / Industrial
Species Unspecified / Any
Size 119 x 120px
File Size 8.27 MB
Thanks. I honestly don't even listen to much nosie or industrial...I appreciate industrial as a performance medium and making noise a sort of catharsis for me, is there really anything to it? I mean am I wrong for thinking "well just make a bunch of sounds and people will walk away happy" ?
I would agree in part to that...I tend to insert various concepts/theories/structures in my work, because I believe that 'noise simply for noises' sake' is a somewhat lazy work method (although people are free to operate as they so choose). I tried to change people's minds about 'noise' in general, but it is very hard to do: you can present many different viewpoints, but it is hard to change a person's established opinion, whether or not it is a 'fair', 'balanced', or 'reasonable' opinion to hold.
Many people, in my mind, tend to have somewhat loose standards regarding what they enjoy in music, and the extremely high output of the (arguably) 'greatest' noise artists confirms this: when you are releasing hundreds of albums over the years, it becomes harder and harder to assert that you are continuing to do it for the sake of artistic integrity or personal enjoyment, versus maximizing profits and consumer exposure.
Noise is really not very far from music: the joy is in the creation of the sonic sculpture, the search for a certain frequency or pitch which will resonate (hopefully) with the listener in a certain way. Furthermore, you could approach the concept of noise as having 'more energy' (without sounding too 'New Age-ish') than the average song.
Catharsis, to me, is also important in noise creation, but it is not always necessary. It usually helps facilitate the 'mood' or 'atmosphere' I feel helps make creating noise easier. Also, after creating several noise compositions, I usually walk away with an increased appreciation for music (and vice versa).
In short, I would say you are not wrong for thinking "make a bunch of sounds and people will walk away happy". However, this is a trend that has been infiltrating music in general, beginning when the CD became a popular format and exponentially growing since the MP3 culture began. The intense saturation of music makes it difficult to find consistent quality music (especially since 'popular music' is simply dictated by how deep your pocketbooks are, which determines how much radio airtime the material gets...regardless of how 'good' the actual songs are).
Hopefully this helps explain my position on this somewhat, without making me seem like a soapbox lecturer.
Many people, in my mind, tend to have somewhat loose standards regarding what they enjoy in music, and the extremely high output of the (arguably) 'greatest' noise artists confirms this: when you are releasing hundreds of albums over the years, it becomes harder and harder to assert that you are continuing to do it for the sake of artistic integrity or personal enjoyment, versus maximizing profits and consumer exposure.
Noise is really not very far from music: the joy is in the creation of the sonic sculpture, the search for a certain frequency or pitch which will resonate (hopefully) with the listener in a certain way. Furthermore, you could approach the concept of noise as having 'more energy' (without sounding too 'New Age-ish') than the average song.
Catharsis, to me, is also important in noise creation, but it is not always necessary. It usually helps facilitate the 'mood' or 'atmosphere' I feel helps make creating noise easier. Also, after creating several noise compositions, I usually walk away with an increased appreciation for music (and vice versa).
In short, I would say you are not wrong for thinking "make a bunch of sounds and people will walk away happy". However, this is a trend that has been infiltrating music in general, beginning when the CD became a popular format and exponentially growing since the MP3 culture began. The intense saturation of music makes it difficult to find consistent quality music (especially since 'popular music' is simply dictated by how deep your pocketbooks are, which determines how much radio airtime the material gets...regardless of how 'good' the actual songs are).
Hopefully this helps explain my position on this somewhat, without making me seem like a soapbox lecturer.
I tend to have a similar response after making it. I feel more sonically aware and hear more. I mean now I'm bouncing back and making a gorgeous ambient thing. Also kind of unrelated I may actually get to join up a group of performing acoustic ambient minimalists. That's some rad shit.
I'm glad I got to hear this from you as it gives me frame of mind from some one who actually pays attention to noise or the noise scene. Back when I was on Gaia, there was a forum for electronic music. A few annoying guys seemed to be into industrial and noise but I hadn't quite gotten into it and that was my only exposure to a fan, which is kind of bad.
I love the idea of textural music. For me there isn't a whole lot of difference between noise and ambient in some cases it's just how much attention it wants to take, or simply the mood you want to make. I should try more dark ambient...Maybe in the future. I got the pleasure of seeing a local ambient act live and they were stunning. Even without visuals, lights were dimmed and all these stupid teenagers sat down. The waves of sound poured out and it was so awesome I think I almost cried.
I suppose I should get comfortable with that as part of my texture works, and maybe get a little more adventurous with my fib sequence series...I need to get on #s 3 and 5 still.
On a side note...this is what I would like to do if I ever performed textural music...
http://www.youtube.com/watch?v=-6dkPCyiseY
If him and Brian Eno had a soundbaby the world would probably find bliss.
Or it'd be a train wreck of concepts.
I'm glad I got to hear this from you as it gives me frame of mind from some one who actually pays attention to noise or the noise scene. Back when I was on Gaia, there was a forum for electronic music. A few annoying guys seemed to be into industrial and noise but I hadn't quite gotten into it and that was my only exposure to a fan, which is kind of bad.
I love the idea of textural music. For me there isn't a whole lot of difference between noise and ambient in some cases it's just how much attention it wants to take, or simply the mood you want to make. I should try more dark ambient...Maybe in the future. I got the pleasure of seeing a local ambient act live and they were stunning. Even without visuals, lights were dimmed and all these stupid teenagers sat down. The waves of sound poured out and it was so awesome I think I almost cried.
I suppose I should get comfortable with that as part of my texture works, and maybe get a little more adventurous with my fib sequence series...I need to get on #s 3 and 5 still.
On a side note...this is what I would like to do if I ever performed textural music...
http://www.youtube.com/watch?v=-6dkPCyiseY
If him and Brian Eno had a soundbaby the world would probably find bliss.
Or it'd be a train wreck of concepts.
No one is asking my input here but I'm going to interject my ideas as well.
As far as any type of noise music goes it's not just sounds, it's ideas and emotions, and at the very least an idea of what makes a 'good' or interesting sound. If you sit down and just twiddle knobs around in a desperate attempt to appear like you have talent with no idea or emotion it defiantly shows, and I've heard a good deal of even wall noise being ruined by having absolutely no idea behind it.
Industrial on the other hand is a little different because most people think of Skinny Puppy and Front Line Assembly's signature sounds in percussion and sample manipulation.
In my opinion it's possible to argue ambient artists have industrial influences because in my mind Industrial was the point were music was stretched as far as it could go, we went to the very boundaries of what the artist could do, basically it was the point were the ideas and texture became more importiant then the actual composition or how it could be considered 'pleasant'. Granted of course they aren't the same as Industrial is, at least historically, focused on horror aspects and shock value and extremes, and ambient most defiantly is not. But then again, you see those values crossing over in dark ambient, and I think with how unbelievably far out industrial artists today have gone into other genres we'll see those values crossing more.
Just my two cents.
As far as any type of noise music goes it's not just sounds, it's ideas and emotions, and at the very least an idea of what makes a 'good' or interesting sound. If you sit down and just twiddle knobs around in a desperate attempt to appear like you have talent with no idea or emotion it defiantly shows, and I've heard a good deal of even wall noise being ruined by having absolutely no idea behind it.
Industrial on the other hand is a little different because most people think of Skinny Puppy and Front Line Assembly's signature sounds in percussion and sample manipulation.
In my opinion it's possible to argue ambient artists have industrial influences because in my mind Industrial was the point were music was stretched as far as it could go, we went to the very boundaries of what the artist could do, basically it was the point were the ideas and texture became more importiant then the actual composition or how it could be considered 'pleasant'. Granted of course they aren't the same as Industrial is, at least historically, focused on horror aspects and shock value and extremes, and ambient most defiantly is not. But then again, you see those values crossing over in dark ambient, and I think with how unbelievably far out industrial artists today have gone into other genres we'll see those values crossing more.
Just my two cents.
I should put some effort into making dark ambient...
I'm certainly happy to have your input.
Given your thoughts on the issue, that intention informs quality, what are your thoughts on this outing? Do you think I accomplished a decent effect, I couldn't even begin to know what soudns ameturish for noise.
I'm certainly happy to have your input.
Given your thoughts on the issue, that intention informs quality, what are your thoughts on this outing? Do you think I accomplished a decent effect, I couldn't even begin to know what soudns ameturish for noise.
Well to start off with the source is awesome, I love Gregorian chants so I may be a little biased on that one.
The beginning to it is great, not enough people use granular effects and they are so damn cool, same goes for about the 1:23 mark.
Not a fan of :30 or so to 1:30 or so, I find straight harmonic feedback boring honestly and it hurts my ears to begin with, although that's more of a personal preference. Personally I would filter that part and maybe throw a delay or octavor in there to try and get things moving at the speed the rest of the piece does.
2:00 is very nice, I like how it starts to fade out and the signal starts to decay slowly, the changes in the pitch of the distortion are very nice as well, defiantly sounds great.
The return of the source material in a repetitive manner is a nice touch as well, and the harmonics here are interesting
Overall I think you did very well on it, and I can sense underlying ideas and tones.
This is just my interpretation though, art is undefined and reliant on the observer. Someone else may think something different, but overall the most importiant opinion is your own. Your art should matter to you number one and everyone else as an afterthought.
The beginning to it is great, not enough people use granular effects and they are so damn cool, same goes for about the 1:23 mark.
Not a fan of :30 or so to 1:30 or so, I find straight harmonic feedback boring honestly and it hurts my ears to begin with, although that's more of a personal preference. Personally I would filter that part and maybe throw a delay or octavor in there to try and get things moving at the speed the rest of the piece does.
2:00 is very nice, I like how it starts to fade out and the signal starts to decay slowly, the changes in the pitch of the distortion are very nice as well, defiantly sounds great.
The return of the source material in a repetitive manner is a nice touch as well, and the harmonics here are interesting
Overall I think you did very well on it, and I can sense underlying ideas and tones.
This is just my interpretation though, art is undefined and reliant on the observer. Someone else may think something different, but overall the most importiant opinion is your own. Your art should matter to you number one and everyone else as an afterthought.
Source was definitely the entire point. Juxtaposition and the like.
I whore granular effects.
In fact the piece that set the stage for this one is
http://www.furaffinity.net/view/1173530/
I guess I polished up or refined the technique a little if so much can be said. It's still essentially all improvisation. On Glorious I knew the beginning was going to go the way it did, after that I let my impulses do the work.
In that regard noise is certainly for me. I tend to do it most passionately when I'm not happy. I pour emotions into it and basically let everything fall where it does. So long as I work that way I imagine I will continue to have certain cliches to my work. That aside though, I like hearing what people think of it. It's the BIG bonus to these communities. Not the exposure, not the like minded artists...not necessarily, mostly it's the instant feedback. I get to know why or why not it worked or what people thought they liked most.
And so on.
I whore granular effects.
In fact the piece that set the stage for this one is
http://www.furaffinity.net/view/1173530/
I guess I polished up or refined the technique a little if so much can be said. It's still essentially all improvisation. On Glorious I knew the beginning was going to go the way it did, after that I let my impulses do the work.
In that regard noise is certainly for me. I tend to do it most passionately when I'm not happy. I pour emotions into it and basically let everything fall where it does. So long as I work that way I imagine I will continue to have certain cliches to my work. That aside though, I like hearing what people think of it. It's the BIG bonus to these communities. Not the exposure, not the like minded artists...not necessarily, mostly it's the instant feedback. I get to know why or why not it worked or what people thought they liked most.
And so on.
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