Albini forgive cuz I just stole your title and fucked it up ?.

THE PROBLEM WITH NOISE


The problem with Noise, is that as an improvised expression on a fresh approach or reactionary answer to commercial harmonic compositions, it is damn repetitive, spastic often stacato random, without a focus and if done as merely reactionary or as a jazz cliché, freejazz signature, it has little or no appeal beyond being that tired cliché, the trick is in the Kevin Drumms and of his Ilk or Likeminded, doing both acoustic and electronic work, to still seek out a sonic territory of exploration and colored with a musical longing, noise that works like a halfway rock outfit, it is more interesting in that it gives more context and direction, than that of noise being a naked purist exercise, working freely within the parameter of making none music, music.

Noise might be an escape from pop theatrics but then it also lands flat on its face in unapologetic self importance. Music as an intellectual exercise void of harmonic vision or attempt to communicate is just noise and not a revelation or creating a detail within the muck, like bad art there can be bad noise. Like most free arts, the parameters of quality are inevitable, for there to be good noise there must be bad noise and the harsh noise crowd has to be surpassed in order to generate an evolution of noise, with branches that envelope both expression, impression, influence, result and statement of intent.

Is that so fucking hard to understand? It has been done to death!
Static isnt revolutionary no more, it is perhaps an answer to the one-word question of NOISE? But it is not an exercise to be repeated when you make noise out of white noise you are really going for points over substance, like the repetition of John Cages Silences, there is a lesson in it just not one worth performing or presenting as a valid expression, or as an expression with validity.

Correct me if I?m wrong!!!

Seriously do! If I have blind-spot that prevents me from enjoying this experience within this art in anyway, please try to free me from my Misconceptions.

The Picture is of SVARTE GREINERS setup @ Mono in Oslo before Xmas. It was Fantastic more dronish and ambient but a blending of noise elements with the harmonic potential of the guitar as something unmusical to fashion an expression beyond tonal clichés.

The guitar as a none guitar intrigues me, I have seen also Lasse Marhaug perform noise with a guitarist once at BLÅ, Oslo this also was a great experience in the blend of the two sound-scapes of noise and harmonics creating a communicative freedom laden expression without the sentimental coding of pop or rock music. It is much like Nietzsche love of the composer Wagner for his music being Grandiose, sentimental and pompous all qualities which he later grew too recent the music for, but what grew instead?

My own musical appreciation has grown as a story from inaction to action to reaction, Jaded by all manners of formula music, just gratifying mathematical precision in its execution. Music against music, in music is often the reactionary seeds of anti music, as a statment against  trends subcultural uniform and such, in being purely reactionary a reaction is only a negative mirroring of the counterpoint or action to guide the reaction thus noise is often just that a insolent reationary mirroring pop music, in its anti pop language.

Improvisation and atonal expression beyond a mental genera and creating a lessening of predictable expectation, of course new clichés grow from this but at least it is a reaction like punk intended, that forsakes popular appeal beyond what the conventions are able to corrupt in order to exploit something that punk spite its attempt was unable to do from its conception.
Sex pistols became POP from year one, like Merzbow did with noise in some ways also?

You gotta Start in the margins then refine your expression from that point on, much like punk started as a pile of shit and became a waxy polished turd, almost like moose-dropping earrings.

So? I don?t know like I said put me straight?
I dont like jazz and i hate blues.... for very much the same reasons.....people who like blues, i judge you and find you lacking...in every major way.

picture stolen from somewhere
Question what is the visual index of noise? just wondering.

ALL EARS of Oslo Norway, is Celebrating 10 Noisy years of improvised music, a Gem hidden in plain sight or as hidden as well as any underground event can be.

Last year was noisy, gritty and hidden inside a chocolate factory under deconstruction, with contemporary music blended with electronic and digital noise, jazzy improvisations and more performance related comedic performances resulting in related sound-scapes, it had it all well almost.

I?m a bit of a guitar whore which I hope by the nature of this blog is becoming evident. (The closest i came to an electric guitar was this harp)
And this year ?EARS? had none not to say it was required but the instrumental emphasis was void of an analogue dronish landscape that satisfies me, measured up to last years periodic acts which seemed to hail more from a rock based sonic backdrop. Obviously they love upright bass guitars and saxophones, Damn those instruments feel like one trick ponies at times.

This year ALL EARS followed ?Fabrikken? the same locality organizers down to VULKAN another hidden-away rustic building site minus the chocolate (also Henie Onstad art center on the last day). This year a blend was not the same as last year, more jazzy and acoustic and less of a mixture of all flavors, I hope for a better blend next year the crowd and arrangers had gone for a more adult respectable and jazz inviting spread, not by any means meager but a bit more monotheistic than the lowbrow to highbrow I had expected with young noisier acts superseding the mature more respectable performers of this go around. You had your Kevin Drumm and 3 noisemaking Koreans and the French noise Duo but still it felt a bit stripped of the punkish element of noise that has that everything goes plus a fuzz box feel to it, that drags us all down to a more base level, it was to polite and civilized.




Still I say all thumbs up for ALL EARS the venue for improvised brave expression may it blossom to its fullest potential every year from now on.

Keep your eye on their site (www.all-ears.no) and around new years scrounge up about 700NOK for a festival pass and drop expectations and cynicism and experience something new or old close your eyes and become one with the water of the ocean, or not?

With love from the anal retentive listener

?I?m mad as hell and I?m probably going to take it some more" I love paraphrasing this WRONG.-..FYI.. its from Network.. Only WRONG!!


It was an experience seeing music played infront of a big piece of visual art,
just reconfirming my Audio visuial sensibility.

Some other stuff has also been happening:  some Hannah Montana inspired Modifications that may or may not result in sonic goodness. Modified to be performers and noisemakers, played until they disintegrate.

Ijin (allein) demo 002 Northway and down er mulig å kjøpe på LOOOp.no

Gjennom en mail samtale med en kollega  ble ved en tilfeldighet en japansk gitarist/støykunster nevnt ved navn Solmania eller Masahiko 'Masaki' Ohno. Så jeg sjekket det ut på Youtube, der fantes det noen videoer Ohno han og hans orkester opptredener, for meg var dette heller underveldende enn overveldende, men det var hans gitar kreasjoner som fanget min oppmerksomhet. Ikke at jeg syntes han anvendte dem vel i sine opptredener da støyen var så massiv og uten distinksjon at man kan knapt merke at det er mer enn en overstyrt gitar med en masse gædd av effekter.


Gitarene minner mye om Gitar/harpe konseptene jeg selv utviklet i etterkant av ?Transfer composition?, med 2 type instrumenter på en gitar kropp inspirert av Danelectro sin coral sitar.

Transfer compositions malings-gitar/harper. Og en Coral elektrisk sitar fra 60tallet (eller kopi)

Uansett dette var og er om Solmania hvis creasjoner er vanskelig å finne info om  annet enn at det er nok bilder av tingene hans spredd over nettet til å se at han har en mange forskjellige gitar modeller.

 
Her er min ambassadør inn i kunstverden; my first recordlabel Logo T shirt. Begrenset til 60stk.

I noen Tidligere blogg innlegg har jeg plantet frø om behovet for nytenkning rundt kunst og kommersialisme og Gud forby; Merchandising.
Les: Art Delivery System

Den Overførbare ide- The Transferable Idea
Merchandising er ganske betjent tema for det kan fort virke gimickey og forbilligende særlig i et så selvhøytidlig marked og miljø som kunst miljøet, men Merchandising fungerer i en viss størrelse uten blemmer og skam innen undergrunnsrock og electronica og hip hop scenen.
Dette er fordi de forstår alternative distribusjons modeller, samt kultivering av fan-kulturen, den samme fan kulturen eksisterer i kunst livet bare i andre former, da promotering og kultivering skjer knyttet til lansering og eksponering relatert til kunstverk evt. Mini media intervju m.m. Kunst tilhengeren har ingen kontinuerlig kanal til kunstnerens virke. Siden kunst er superprodukt og exponering en av dette produktet skal bevare ekslusivitet, over eksponeres ikke arbeidet og tilhengeren får enten katalog å forholde seg til eller det vinduet av tid en utstilling vises.
Man selger i musikk bransjen CD utgivelser, utover dette er det en etablert merchandising kultur med fans/tilhengere  som  konsumerer merchandise fra flere band samt folk som bare liker produkt designen og ikler seg disse t skjorter, capser, hoddies, buttons m.m. Merchandising i slike scener går forbi Brand for promo og blir et produkt på lik linje med det kunstneriske produkt det representerer.

Factory records med sin unike design og systematiske estetiske katalog som ikke engang krevde en bands sinatur.
 eksempel Joy Division.
 

Whatever the Fuck Works!
T skjorter, buttons, plektre, posters, kataloger og hva enn man kan få sitt trykk evt. logo på!
En kunstner er sin egen myntenhet og brand navnet blir synonymt med kunstnerens eksponerte arbeider. Kunstens store hindring er forelskelsen i superproduktet dette forhindrer deseminering av kunsten forbi dokumentariske midler.
Bruk undergrunnen, både i kunst og musikk og kopier om mulig de idealistiske formidlings modeller?
I kunst speiles samtid, fortid og fremtid, tankene om dem og utprøvde ideer, slik ideer om fanzine og blogg nå gjenopptas, anvendes og videreutvikles utenfor sine sedvanlige medie modeller.

"One shirt we had was the very popular "This Is Not A Fugazi Shirt" shirt, worn by punk/emo/music fans everywhere. Fugazi is one of those bands who are anti-commecialization, opting instead to sacrifice their profits to make sure the music gets out to fans. CDs are marked with both their price as well as an address to send money to buy it, in case your local record store won't follow their insistance on the $10- and $11.99 max sticker price, and their live shows are legendarily still priced as low as can be - I recall seeing prices of $6, $10, $12 for shows that have come here over the years. Fugazi also did not sell merchandise like t-shirts, because they were a ripoff to fans and went against their ethic. Someone, however, cleverly decided to sell not-Fugazi shirts and as such, they were bootleg shirts that are perfectly legal. Nowhere on the shirt does it claim it IS a Fugazi shirt, and makes the point obvious in big, bold blue letters. But in doing so, it aserts that it is indeed a Fugazi shirt, just as does Magritte's painting of a tobacco pipe, titled Ceci n'est pas une pipe ("this is not a pipe"). (I won't get into the fact that his work really is not a pipe, but a painting of a pipe. It doesn't suit my purpose here, but poses all kinds of interesting philosophical questions that I'll let you ponder.)

Read more: http://blogcritics.org/music/article/this-is-not-a-fugazi-review/#ixzz0xje2sSIq

"Fugazi worked out their DIY aesthetic by trial and error. Their decisions were partly motivated by pragmatic considerations that were essentially a punk rock version of simple living: for example, selling merchandise on tour would require a full-time merchandise salesperson who would require lodging, food, and other costs, so Fugazi decided to simplify their touring by not selling merchandise. They were also motivated by moral or ethical considerations: for example, Fugazi's members regarded pricey admission for rock concerts as tantamount to price gouging a performer's most loyal fans. Their inexpensive target goal of $5 admission was spawned during a conversation on an early tour when the band's members were debating the lowest profitable admission price. At some venues, particularly on the east and west coasts of the U.S., Fugazi was unable to get ticket prices below about $10. However, they never saw the $5 rule as inviolable, instead aiming to charge a price that was both affordable and profitable. Unlike some similar, small-scale independent rock contemporaries, Fugazi's performances and tours were nearly always profitable, due to their low business overhead costs, and MacKaye's keen sense of audience response in given regions"

Fugazi band: Wikipedia
For Mer om Fugazi og deres filosofi
HER er en artikkel som var interessant..

Les (blogg innlegget): The Problem With Music: by Steve Albini

DIY Igjen
90tallets idealistiske plateselskaper fra punk og hardcore undergrunnen, utviklet et anti kommersialistisk system hvor ?do it yourself ? var et sentralt begrep, tanken var og ikke å inngå i det økonomiske profesjonelle system, pop institusjoner og industri, men skape et eget miljø som kun forsynte en nisje med sine egne kulturelle relikvier gjerne håndlagede og eksklusive.

Mestring av Silketrykk er veien til DIY merchandicing

Det handler om og Formidle et budskap med mild populisme, invitasjon og en ydmyk appell til publikum. Hvis ikke kunstnere ikke utvikler en sensitivitet for formidling så gjør de sine egne arbeider irrelevante og i et stadig ekspanderende kunstfelt med signatur og sjanger død er formidling og utvikling av visse kvalitetsbegreper essensielt. Samt kultivering av en tilhengermasse utenom kunst institusjonen.  Lag kanaler for formidling; nettside, blogg og sosial nettverk, Kunst er vanskelig nok å finne og om du maler har du bare et eks av hva enn du gjør så ikke vær gnukk med å vise det! Kunstnere forplikter også å utvikle tanker om sin forståelse av kunst ofte med håpløst patetiske resultat og noen få ganger såpass opplysende at det er å regne som filosofi verdig kunsthistorisk pensum relevans.

Case and point; Picasso og hans Guernica, et prakt eksempel på kunstnerisk signatur og verdens anskuelse.
Eller? salvador Dali og hans arbeider som krever sin symbolske håndbok. er ikke særlig fan av verken sine arbeider men deres ikonske status taler for seg selv å skaper en prototype for kunstnere i dag om hvordan skape seg en kommunikativ idetitet og her særlig Dali og hans sterkt populistiske tilsnitt.
Ingen kunne posere som mr. Dali.

This oft-referenced article is from the early '90s, and originally appeared in Maximum Rock 'n' Roll magazine. While some of the information and figures listed here are dated, it is still a useful and informative article. And no, we don't know how to reach Steve Albini.

-Negativland

www.negativland.com

The Problem With Music
by Steve Albini

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course.

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave.

Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.

These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another laborer or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyways, it doesn't cost them anything if it doesn't work. 15% of nothing isn't much! One day an A & R scout calls them, says he's 'been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y'know what -- he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude.

They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself.

Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties. Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer--one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be great royalty: 13% [less a 1O% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, an no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they're actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There's a gold mine here! The lawyer Should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not.

The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked.

The guitars of Christian Blandhoel

Decibel system
>> Nate Young of Wolf Eyes on DIY noise, drunk-proof gear and those sounds in his head

Nick Cain of The Wire characterizes Wolf Eyes as

 
Støy er Veien?
Mer en konsekvens enn en plan, snuten følger dit hvor den merker rumpa går, eller det ble litt feil? Wag the dog?
Når jeg selv tenkte på å modifisere instrumenter og selv lage musikk, fristet det mer å utforske et lydvelde nært opp mot de idealer jeg hadde hørt i Støy musikk, shoegazing og de eksotiske og esoteriske elementer fra mine favoritt orkestere, det mer dronete og instrumentale.
Etter et søk på Noise music så fant jeg wikipedia definisjonen, og det var inspirerende for min egen tenkning rundt musikk begrepet:

Noise music is a term used to describe varieties of avant-garde music and sound art that may use elements such as cacophony, dissonance, atonality, noise, indeterminacy, and repetition in their realization. Noise music can feature distortion, various types of acoustically or electronically generated noise, randomly produced electronic signals, and non-traditional musical instruments. Noise music may also incorporate manipulated recordings, static, hiss and hum, feedback, live machine sounds, custom noise software, circuit bent instruments, and non-musical vocal elements that push noise towards the ecstatic.^[1][2][3]

Dilettant paraden
Uansett hvilken musikk det er jeg fatter interesse for, så følger det ikke med en naturlig sjanger loyalitet eller struktur respekt, så det blir kun toneangivende påvirkning, elementer og fasinasjonen for grunnelementet som tillater en ytring utover det jeg er vant med. Slik startet min fasinasjon for musikk generelt, at når jeg oppdaget pønk skjønte jeg at dette var ikke kun for de som kunne spille et instrument.
Man trenger ikke kunne spille gitar for å spille gitar, er et gammelt pønk konsept. Eller mer en erkjennelse av pønkens estetikk at hvem som helst følte de kunne spille et instrument uten å ha næret anlegget for å spille. Man trengte bare kunne spille 3 grep så var man i gang.

Action reaction,for every action there is an equal or greater reaction
Slik Bygger også en fasinasjon for støy på toppen av fasinasjon for pønk. Støy mer enn pønk inviterer til en utfordring av et konsept om støy, svakheten innen støyt er at de søker som regel den samme lyden; strukturløs diskant harmoniløs flukt fra musikalsk kontekst. Når presentert med fullstendig frihet så danner det seg fremdeles en norm som en majoritet ser ut til på klamre seg til. En uniformering av en lydfilosofi som omhandler non konformitet og expansiv yttring utover konvensjoner og forutsigbarhet.

Slik startet Ijin. Instrumentene jeg hadde bygget for støy avfødte; Feedbacker et instrument som lagde lyder jeg tidligere hadde kun fått til på munnspill pitcha ned 20 ganger, dronete uforutgibart og innen dette fantes lyd til grenseløs ukontrollerbar støy eller tilfeldige harmonier i takt med dens gitarsutgangspunkt. Tidlig i utvikling av SONICS fant jeg en tankrekke fra et gitarblad som reflekterte egne tanker men også frigjorde meg til å strekke meg forbi snevre, fastgrodde inneforståelser rundt gitaren.

Carl Fredrik Berg og Blandhoel: Ijin (orchestra) session

Så en korreksjon før den oppstår jeg sier ikke at Støy er punk, støy er noe man vokser seg inn i, litt som i etterkant av en pornoavhengig så må man lære seg å relatere til mennesker igjen, etter å ha blitt empatisk avstumpet i sin foregående sysselsetting. Det er en gjenoppdagelse og rendyrking av en grenseløshet som finnes i musikk, i sprekkene og i krokene. Det nerdete i søken etter imperfeksjon i det harmoniske og slik sett er dette ikke diletant leken, men det krever den samme entusiasme man kan kun skape noe nytt å vakkert, så lenge man har lengten og søker etter noe.
Støy er et musikk felt uten et fast signatur instrument, enhver lydkilde har potensial, å det er dette jeg bringer inn i min lesning av støy, hvor rock blir til støy over tid sakte og hurtig. Lou Reed var her med Metal Machine Music så veien er allerede gått til en viss grad, men alle bidrar noe nytt.
Mitt bidrag er Ijin.

Konsept av Carl Fredrik Berg og Christian Blandhoel

 CrossoverComposition#1
Maleri Christian Blandhoel

Lyd Carl Fredrik Berg
CrossoverComposition#3
Maleri Carl Fredrik Berg

Lyd Christian Blandhoel

Kamera og klipp: Maria Dorothea Basch
Kamera og rigg Tommy Zouaoui
Transport og utstyr Prosjekskolen
Lokale: Galleri 1857

Takk til:
Stian E Kluge, Steffen Håndlykken, Sigurd Blandhoel,
Prosjektskolen

(NB. Tittelen har ikke noe med musikkgruppen å gjøre)

Keith Rowe (kontemporær musikern) poengterer og paralellfører sitt eget virke med fremveksten av den abstrakte kunstscenen i New York på 50tallet hvor kunstnere markerte et pradigmeskifte ved å legge lerretene sine på gulvet å malte dem slik, dette utviklet et ny kunst og stil, på likt vis la Rowe gitaren ned på bordet for å rekonseptualisere hvordan man tenkte gitar og lyd.

I dette finnes det en erkjennelse som jeg selv oppdaget da jeg jobbet med Transfer Composition. Hvor en gitar ble brukt til å male på et liggende lerret.

Jazz er fødestedet til moderne improvisasjon som igjen ble appropriert av rockere og andre scener særlig på 70 og 80tallet i mindre synelige miljøer, som med Lou Reed sin plate Metal machine Music boblet til overflaten, historien er nok mer kompleks enn som så, men dette er bruddstykkene som danner et bilde, hvor musikk og billedkunst har parallelle linjer som i fagfeltet berør hverandre men i offentlig presentasjon separeres og raffineres til å svare til nisje og dyrkning av faglig suverenitet.

 
Nirvana på MTV Live and Loud

hvor de ikke nødvendigvis musikalske elementer fra rock og metal, ble hyperfokusert og satt inn i en lytters kontekst og ekspandert til sitt eget utrykk, som å klippe vekk alt det klisjeefulle og overflødige for å sitte igjen med rent kjøtt støyet og nerven.

Jeg har lært noen ting fra noen folk. Paraphraser
Det er de som liker musikken vår og de som ikke liker den og de burde ikke engang prøve. Steve Albini
Som kunstner skaper du ikke det publikum forventer å høre, men det de ikke visste de ville høre. Ladytron