Eric Clapton announces that he sucks and is overrated

[marina]

do not cue the sound of one persons clapping echoing through an empty auditorium

i like you

are you sure?

HIV positive :)

[moreblack]

do not cue the sound of one persons clapping echoing through an empty auditorium

i like you

are you sure?

HIV positive :)

lovely...

[marina]

do not cue the sound of one persons clapping echoing through an empty auditorium

i like you

are you sure?

HIV positive :)

lovely...

the loveliest

[Jabberwocky]

in other words "I can't hack it playing actual music, so I'm gonna make a bunch of noise and call it 'modern' or 'experimental' because I can't play".

moreblacks' history lesson of the day.

No need to worry your pretty little head banging head off nobody is going to take away your precious little classic rock music away from you. Things will still be the same 100 years from now, I pwomise womise.

Noise music is music that uses sounds regarded as unpleasant or painful under normal circumstances. "Noise" music is regarded by some as a contradiction in terms, because "noise" is generally defined as unwanted and undesigned or unintentional sound and music as the opposite. However, "noise" in a more general sense refers to any extremely loud or discordant sound, and that these sounds are often the basis of noise music. Secondly, as famous noise musician Masami Akita said, "If by noise you mean uncomfortable sound, then pop music is noise to me." Noise music is not necessarily "noise" to the listeners, although it is certainly "noisy" in the more general sense of the term.

Noise music is loosely related to industrial, sharing its DIY ethos, independence and ethic of using "non-musical" sources. It also shares with early, Throbbing Gristle-era Industrial, a fascination with the hypnotic, and magical qualities of sound. Often punishing and abrasive, Noise music can be difficult listening, ranging from the free-form extreme electronic music of Merzbow and Masonna to the more sculptured sounds of Otomo Yoshihide and Aube, to the cold haiku sound-scapes of Ryoji Ikeda and Toshimaru Nakamura.

Luigi Russolo, a Futurist painter of the very early 20th century, was perhaps the first Noise Musician. His 1913 manifesto L'Arte de Rumori (The Art of Noises) stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. (See: cognitive dissonance) Russolo found traditional melodic music confining and envisioned Noise Music as its future replacement. He designed and constructed a number of noise-generating devices called Intonarumori and assembled a noise orchestra to perform with them. A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived. Although Russolo's works bear little resemblance to modern Noise Music, his pioneering creations cannot be overlooked as an essential stage in the evolution of this genre, and many artists are familiar with his manifesto

Beginning in the 1920s, composers (in particular Edgard Varèse and George Antheil) began to use early mechanical musical instruments--such as the player piano and the siren--to create music that referenced the noise of the modern world. In the 1930s, under the influence of Henry Cowell in San Francisco, Lou Harrison and John Cage began composing music for "junk" percussion ensembles — scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more. Cage started his Imaginary Landscape series in 1939, which combined elements like recorded sound, percussion, and (in the case of Imaginary Landscape #4) twelve radios. After the second world war, other composers (including Pierre Schaeffer, Iannis Xenakis, and Karlheinz Stockhausen) started to experiment with early synthesizers, tape machines and radio equipment to produce electronic music, often with very abstract sounds and structures. Much of this music has proven influential on the creators of noise music.

With the advent of the radio, Pierre Schaeffer coined the term musique concrete to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially. His ideas about non-referential sounds take their most extreme form in noise music, which often blurs or obscures the actions which produced the sounds while also suggesting the physicality of sound itself.

In all the cases of these forerunners, the sudden affordability of home recording technology in the 1970s with the simultaneous influence of punk rock established a new aesthetic of non-musicians creating music. When anyone could produce noise, and anyone could record and distribute it, then noise music provided a way for any person (artist or non-artist) to experiment with sound as a painter might with visual material. Noise began in earnest when classical avant-garde ideas became democratised, separated from the academic thought that started it, and experimented with by laymen with nothing at stake other than making music for its own end.

American archivist and writer Boyd Rice has been a seminal influence on Noise music. Starting in 1975, Rice began experimenting with the possibilities of pure sound. In his live performances, he attached an electric fan to an electric guitar and also used an electric shoe polisher as an instrument. He created extremely loud, cascading walls of noise and played pieces of recorded conversations, news reports, and music just beneath the threshold of comprehensibility. Rice has created works that combine brutal soundscapes with various poetics. He has also structured noise elements into harmonious, rhythmic pieces that defy easy categorization.

Originally influenced by the sounds of European bands like Whitehouse, Japanese style noise music then pushed this approach to an extreme of loudness and density, which in turn became a major influence on western noise bands. Sometimes known as "Japanoise" (not just as a pun in English, but even in Japanese: ジャパノイズ ), it is usually associated with "harsh" characteristics including walls of white noise, non-linear pulses, beats, sampled loops, dialogue, and sirens. Since the late 1980's this Japanese style has been probably the most prolific and noticeable part of the Noise Music scene. Thus in magazines and the popular imagination the term Noise Music is often closely associated with this style. Likewise the popularity and prolific output of musicians such as the aforementioned Noise Music figurehead/posterboy Merzbow, Otomo Yoshihide and other names like KK Null, Masonna, The Gerogerigegege and Hanatarash (founded by Boredoms frontman, Yamatsuka Eye) have made Japan something of a Mecca for many noise fans. In terms of sales, Noise music is not particularly more popular in Japan than in Europe or America. However, there is perhaps a higher level of recognition from crossover with mainstream genres and events, such as fashion shows or dance performances with music by noise artists, and a comparitively large number of noise live performances are held in Tokyo.

Also, in more recent years, the onkyo style of noise/free improv is becoming more prevalent in Japan. Centered around the Off Site club in Tokyo, and including artists such as Sachiko M, Otomo Yoshihide, Toshimaru Nakamura, Shigeru Kan-no and Taku Sugimoto, it is a form of electro-acoustic improv that focuses on quiet, pure tones, static and space. As with most genre descriptors, there is a backlash against the term, feeling that it solidifies the style into a fixed form (obviously the death knell for any free improv), but for now, it serves as a simple way to convey the general style of modern Japanese improvisational music.

Lou Reed's double-LP album Metal Machine Music released in 1975 is an early, well-known example of noise music. A lesser known, but perhaps more prophetic release regarding the future of Noise music, is Boyd Rice's 1978 LP, Pagan Muzak. Reed's Velvet Underground cohort John Cale's electronic drone music with artists such as Tony Conrad and LaMonte Young in the mid-60s can also be cited as having been influential. (see the CD release of Inside the Dream Syndicate Volume 1: Day of Niagra).

In recent years European musicians associated with jazz, electronica and black metal have been active in the Noise music arena. In Canada the Nihilist Spasm Band has been performing acoustic-based noise music for decades. In the early 1990s, the noise operas of Lisa Crystal Carver and Costes in Suckdog placed a new emphasis on drama and histrionics in noise music. This led, in part, to Chicago's free glam movement adding an emphasis on cultural and social dissonance to the concept of noise music. The aptly named noise rock fuses rock to noise, usually with recognisable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonalism, improvisation and white noise. One of the best-known bands of this genre is Boredoms. This style is more like a "traditional" band compared to abstract or electronic noise and sometimes bears a similarity to grindcore. The name noisecore is also used to refer to noise-influenced hardcore techno or rock.

Fans of the genre sometimes distinguish between "harsh noise", the more well-known super-dense and abrasive sounds of Merzbow, Masonna and similar artists, and other loose sub-genres like "rhythmic noise", "power electronics", "free noise" and so on. Confusingly, some industrial techno sub-genres have very similar names, i.e. power noise. Power noise is comparatively conventionally musical, and is not to be confused with power electronics, the synthesizer based subgenre of abstract and experimental noise performed by Whitehouse.

Other artists mix Noise with subtle ambient shades to create ambient noise music.

One possible influence of noise music has been to change the way of thinking about what is "musical" or "unmusical" noise, and recently many different genres, such as techno and hip-hop, include some kinds of sounds that could be viewed as "noise".

[moreblack]

classic rock? I thought we were talking about the blues...

[marina]

in other words "I can't hack it playing actual music, so I'm gonna make a bunch of noise and call it 'modern' or 'experimental' because I can't play".

moreblacks' history lesson of the day.

No need to worry your pretty little head banging head off nobody is going to take away your precious little classic rock music away from you. Things will still be the same 100 years from now, I pwomise womise.

Noise music is music that uses sounds regarded as unpleasant or painful under normal circumstances. "Noise" music is regarded by some as a contradiction in terms, because "noise" is generally defined as unwanted and undesigned or unintentional sound and music as the opposite. However, "noise" in a more general sense refers to any extremely loud or discordant sound, and that these sounds are often the basis of noise music. Secondly, as famous noise musician Masami Akita said, "If by noise you mean uncomfortable sound, then pop music is noise to me." Noise music is not necessarily "noise" to the listeners, although it is certainly "noisy" in the more general sense of the term.

Noise music is loosely related to industrial, sharing its DIY ethos, independence and ethic of using "non-musical" sources. It also shares with early, Throbbing Gristle-era Industrial, a fascination with the hypnotic, and magical qualities of sound. Often punishing and abrasive, Noise music can be difficult listening, ranging from the free-form extreme electronic music of Merzbow and Masonna to the more sculptured sounds of Otomo Yoshihide and Aube, to the cold haiku sound-scapes of Ryoji Ikeda and Toshimaru Nakamura.

Luigi Russolo, a Futurist painter of the very early 20th century, was perhaps the first Noise Musician. His 1913 manifesto L'Arte de Rumori (The Art of Noises) stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. (See: cognitive dissonance) Russolo found traditional melodic music confining and envisioned Noise Music as its future replacement. He designed and constructed a number of noise-generating devices called Intonarumori and assembled a noise orchestra to perform with them. A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived. Although Russolo's works bear little resemblance to modern Noise Music, his pioneering creations cannot be overlooked as an essential stage in the evolution of this genre, and many artists are familiar with his manifesto

Beginning in the 1920s, composers (in particular Edgard Varèse and George Antheil) began to use early mechanical musical instruments--such as the player piano and the siren--to create music that referenced the noise of the modern world. In the 1930s, under the influence of Henry Cowell in San Francisco, Lou Harrison and John Cage began composing music for "junk" percussion ensembles — scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more. Cage started his Imaginary Landscape series in 1939, which combined elements like recorded sound, percussion, and (in the case of Imaginary Landscape #4) twelve radios. After the second world war, other composers (including Pierre Schaeffer, Iannis Xenakis, and Karlheinz Stockhausen) started to experiment with early synthesizers, tape machines and radio equipment to produce electronic music, often with very abstract sounds and structures. Much of this music has proven influential on the creators of noise music.

With the advent of the radio, Pierre Schaeffer coined the term musique concrete to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially. His ideas about non-referential sounds take their most extreme form in noise music, which often blurs or obscures the actions which produced the sounds while also suggesting the physicality of sound itself.

In all the cases of these forerunners, the sudden affordability of home recording technology in the 1970s with the simultaneous influence of punk rock established a new aesthetic of non-musicians creating music. When anyone could produce noise, and anyone could record and distribute it, then noise music provided a way for any person (artist or non-artist) to experiment with sound as a painter might with visual material. Noise began in earnest when classical avant-garde ideas became democratised, separated from the academic thought that started it, and experimented with by laymen with nothing at stake other than making music for its own end.

American archivist and writer Boyd Rice has been a seminal influence on Noise music. Starting in 1975, Rice began experimenting with the possibilities of pure sound. In his live performances, he attached an electric fan to an electric guitar and also used an electric shoe polisher as an instrument. He created extremely loud, cascading walls of noise and played pieces of recorded conversations, news reports, and music just beneath the threshold of comprehensibility. Rice has created works that combine brutal soundscapes with various poetics. He has also structured noise elements into harmonious, rhythmic pieces that defy easy categorization.

Originally influenced by the sounds of European bands like Whitehouse, Japanese style noise music then pushed this approach to an extreme of loudness and density, which in turn became a major influence on western noise bands. Sometimes known as "Japanoise" (not just as a pun in English, but even in Japanese: ジャパノイズ ), it is usually associated with "harsh" characteristics including walls of white noise, non-linear pulses, beats, sampled loops, dialogue, and sirens. Since the late 1980's this Japanese style has been probably the most prolific and noticeable part of the Noise Music scene. Thus in magazines and the popular imagination the term Noise Music is often closely associated with this style. Likewise the popularity and prolific output of musicians such as the aforementioned Noise Music figurehead/posterboy Merzbow, Otomo Yoshihide and other names like KK Null, Masonna, The Gerogerigegege and Hanatarash (founded by Boredoms frontman, Yamatsuka Eye) have made Japan something of a Mecca for many noise fans. In terms of sales, Noise music is not particularly more popular in Japan than in Europe or America. However, there is perhaps a higher level of recognition from crossover with mainstream genres and events, such as fashion shows or dance performances with music by noise artists, and a comparitively large number of noise live performances are held in Tokyo.

Also, in more recent years, the onkyo style of noise/free improv is becoming more prevalent in Japan. Centered around the Off Site club in Tokyo, and including artists such as Sachiko M, Otomo Yoshihide, Toshimaru Nakamura, Shigeru Kan-no and Taku Sugimoto, it is a form of electro-acoustic improv that focuses on quiet, pure tones, static and space. As with most genre descriptors, there is a backlash against the term, feeling that it solidifies the style into a fixed form (obviously the death knell for any free improv), but for now, it serves as a simple way to convey the general style of modern Japanese improvisational music.

Lou Reed's double-LP album Metal Machine Music released in 1975 is an early, well-known example of noise music. A lesser known, but perhaps more prophetic release regarding the future of Noise music, is Boyd Rice's 1978 LP, Pagan Muzak. Reed's Velvet Underground cohort John Cale's electronic drone music with artists such as Tony Conrad and LaMonte Young in the mid-60s can also be cited as having been influential. (see the CD release of Inside the Dream Syndicate Volume 1: Day of Niagra).

In recent years European musicians associated with jazz, electronica and black metal have been active in the Noise music arena. In Canada the Nihilist Spasm Band has been performing acoustic-based noise music for decades. In the early 1990s, the noise operas of Lisa Crystal Carver and Costes in Suckdog placed a new emphasis on drama and histrionics in noise music. This led, in part, to Chicago's free glam movement adding an emphasis on cultural and social dissonance to the concept of noise music. The aptly named noise rock fuses rock to noise, usually with recognisable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonalism, improvisation and white noise. One of the best-known bands of this genre is Boredoms. This style is more like a "traditional" band compared to abstract or electronic noise and sometimes bears a similarity to grindcore. The name noisecore is also used to refer to noise-influenced hardcore techno or rock.

Fans of the genre sometimes distinguish between "harsh noise", the more well-known super-dense and abrasive sounds of Merzbow, Masonna and similar artists, and other loose sub-genres like "rhythmic noise", "power electronics", "free noise" and so on. Confusingly, some industrial techno sub-genres have very similar names, i.e. power noise. Power noise is comparatively conventionally musical, and is not to be confused with power electronics, the synthesizer based subgenre of abstract and experimental noise performed by Whitehouse.

Other artists mix Noise with subtle ambient shades to create ambient noise music.

One possible influence of noise music has been to change the way of thinking about what is "musical" or "unmusical" noise, and recently many different genres, such as techno and hip-hop, include some kinds of sounds that could be viewed as "noise".

finally, someone with an open mind :):)

*cues Butthole Surfers PCPEP*

Edited June 1, 2006 by marina

[moreblack]

ALL traditional music sucks and is overrated.

The new goal is to destroy music and make it new again by focusing on form,instrumentation,arrangement,recording devices, texture, etc

does that sound open minded?

[Jabberwocky]

ALL traditional music sucks and is overrated.

The new goal is to destroy music and make it new again by focusing on form,instrumentation,arrangement,recording devices, texture, etc

does that sound open minded?

Oh come on dude, I was just being a smart ass. I was reading it off a flyer for a label I record for. I grew up on blues, bluegrass, reggea, punk, hard rock, emo (the original emo from 20 years ago) etc but my preference is experimental music. Some people get hard ons over Judas Preist, some people get hard ons over Merzbow.

But yeah I really do think traditional music is overrated but who can I fault for that? Nobody. The human mind and ear is designed to pick up on melody but it doesn't mean what what I do and what my peers do isn't considered art or music just because it doesn't stick to traditional conventions. Experimental just doesn't get the chance because it ends up being buried by the traditional way and people's unwillingness to even try to attempt to listen or try something different because they want to play it safe and sound. Some people complain about rocks repetativeness but that's because you can only get 16 bars off of a guitar.

I ain't trying to bitch you out or anything, just see where I'm coming from.

[swlabr]

ALL traditional music sucks and is overrated.

The new goal is to destroy music and make it new again by focusing on form,instrumentation,arrangement,recording devices, texture, etc

does that sound open minded?

Nah. People don't understand history of music and dont appreciate the impact and influence it has had on 'modern' music. All modern music sounds generic, anyway.

Where's the fun in that?

[Guest Ohdistortedsmile1789]

I think that we should be looking forward musically, but it's more important to embrace the past first.

[Bucketslash]

wow, i have to agree with moreblack here

first of all, those are the worst lyrics i've ever heard......

i now have a mission to kill that band then committ suicide for getting in a close enough viscinity to stab a knife into each one's back, then senselessly torture and cut them up as they beg for mercy, then kill myself for going that close to such untalented pieces of shit

thats my new goal in life

second, Eric Clapton rules. From working with B.B. King, rivaling Jimi Hendrix, creating a song that's gotten me enough women to rival him, and still rocking out to white room, makes him at the top of the book in my pov

*que the sound of queen's death on 2 legs*

[brud]

I'm really not a fan but you've got to admit the boy can play.