Why all the same noise music?
This article will discuss not so much about noise, as you might think, after reading the title, but about the music played by the musicians and the musicians themselves. The author sketched a kind of classification of people writing electronic music. Obviously, this article could be supplemented, and recall a few more types. It is also obvious that the author’s opinion is subjective, and you don’t need to take this classification as a reference tool, but you can learn something.
Inspiration, magnetic tape rings scattered everywhere, endless doubts that it is better – this or that, something average or something completely different, this way or that – the stimulating mechanisms of the creators of noise music are as vague and ambiguous as it is. Motives that are hard to believe give rise to works that are difficult to understand. On the other hand, the simplest methods give convincing and immediately tangible results. In this article I tried to compose a typology of noise musicians without specifying concrete examples – I hope the reader will trace them himself.
Of course, this attempt will seem too bold to amateurs and connoisseurs, because noise music has undergone a rather long evolution, as measured by several generations of followers, and has a huge number of artists, enthusiasts, movements and schools. I agree, the topic is delicate and affects the interests of many people, so the danger of a rough approximation is inevitable, and no categories will be enough to take into account at least most of them. But still…
Matter in sacrifice to the idea (idealists)
When people consisting of flesh and blood fall into meta-reality, they often dissolve in it, lose their individual traits, surrendering to the power of the main thought that drives them. In the end, it may turn out that the musician turns into a schematic representation of this idea. Manifestations, sounding from meta-reality, do not find a corresponding material embodiment (by virtue of their groundlessness). Incorporeal, they increasingly appeal to the philosophical than to the musical roots, already devoid of meaning. From the point of view of the general chaos that comes as the end of the world approaches, their striving for purity of the idea seems touching, but in fact there is only one consolation – that the beast has not yet won an unconditional victory over the spirit, and that the latter is able to atone for the first, protecting its owner.
Weakness and lack of talent (weak-minded mediocrity)
For them, the most painful moment is the very desire to be musicians, although they do not notice it. Indeed, there are so many musicians around, and everyone is composing something, recording … The only problem is the lack of ability to play musical instruments. But it does not matter – you can abandon them altogether or play, as God will put on your soul, in the end, and this may turn out to be original (take, for example, Pascal Komelad). This conviction grows stronger whenever they hear someone else’s record: according to their own assessment, no special effort was needed to record it. In addition, they seem eccentric to engage in such music, which they like to call “sound perversions.” All that they at best come to is a sluggish expression of their point of view, which lacks ingenuity and organization to be brought to the end. Powerless press keys, twist the knobs of the console, clog up the computer’s memory and get very offended when in half an hour the mass of equipment running their inept hands did not create a brilliant piece. Their belief in the fantastic possibilities of technology against the background of their naive treatment with it is striking. In order to at least show something as a result, they are content with half-ready banalities, to which even the most condescending listener can only shrug their shoulders. The principle of “everything is transient,” being applied to noise music, finds in its examples its liveliest confirmation.
They are also untalented, but you can’t call them weak-willed – on the contrary, they always find strength to support their tragic image, which is often based on high self-esteem. They extend their narrow ideology to the enormous size of the stage space, inhabited by noise structures, as if unheard of thoughts. They feel that they are researchers in their own laboratory, but from the outside they look like empty chimes who squeeze the same sounds out of themselves without thinking about the strange contradiction between the indisputable zeal and wretchedness of the result. However, they need from time to time to encourage their work, for example, to buy state-of-the-art equipment, otherwise their thoughts about suicide and other destructive complexes could turn into a hopeless madness. In fairness it should be noted that among strange creatures there are rare exceptions, shining like diamonds in the ashes.
Swastika bearers and enemasophils
Is it really so nice to have sex with a collapsing corpse or stuffed with straw stuffed?