rec|use - immunization for sale again for the first time in 10 years
Originally released on NCC Records (NCC001) - Limited to 100 hand-numbered copies - Printed on a sandpaper covers
Sunday, August 7, 2011
Monday, August 1, 2011
Transcending Stoic Patterns Digital Re-Release
Just uploaded a digital re-release of the first Travis Morgan album "Transcending Stoic Patterns" on bandcamp - keep any eye on this site as more stuff is gonna be going up soon.
Friday, July 22, 2011
Crunch Pod: ANIMAL RIGHTS Benefit compilation
Title: JUSTICIA PRO BESTIA
Release: V/A Compilation
Release Date: August 2nd 2011
Label: Crunch Pod
Format: Digital only.
Throughout much of the United States animals have about as many rights as a piece of furniture. There are more laws protecting your car then there are for animals. They are considered nothing more than “property” and do not deserve any rights. People who abuse them usually get little to no punishment for the suffering they cause. It’s time for that to change.
JUSTICIA PRO BESTIA (Justice for Animals) is a collection of artists who believe that animals deserve their own rights and much more. All the proceeds from the sale of this digital compilation will be donated to The Animal Legal Defense Fund. Since 1979 they have been fighting for animal rights, domestic and wild, by working to improve and expand laws protecting animals and to help make penalties against animal abusers much tougher. All the songs and remixes found on JUSTICIA PRO BESTIA are previously unreleased.
Track list:
1. Manufactura-Animism
2. Die Sektor-Accelerant (Nitemare Machine remix)
3. Xiescive-Bloodwork
4. Lexincrypt-Crawl to My Grave (vProjekt remix)
5. 9th Evolution-Brightness Falls
6. Bitch Brigade-You think you're so cool
7. Filament 38-Frail (Fear Crawling Mix)
8. System Syn-Chemical (Labrat mix by Cryogen Second)
9. Mangadrive-Mega Man III Intro (remix)
10. Caustic-White Knuckle Head Fuck (Death Proof Mix Feat. SMP)
11. Uberbyte-You're Wrong
12. Rec|use-Rendered Bodies
13. Terrorfakt-ALF (Muted Logic remix)
14. Polluted Axis-Disgusted
15. Sinsect-In All Fairness
16. Mangadrive vs Iammynewt-Chain Whips
17. The Break Up-Ninja
18. Lucidstatic-Jacob's Ladder (remix by Tineidae)
19 Cervello Elettronico-Techno Science (No Science remix by Eisdrive)
20. Warpcoil-Arandisan
21. Aliceffekt feat. Pocaille-The Thaw
22. Lapsed+nonnon-Z Crazy Eyes (Mothboy remix)
23. Torrent Vaccine-Tentative Response
24. C/A/T-Fall Out
for more information on this release visit: www.crunchpod.com
Tuesday, July 5, 2011
Wednesday, June 29, 2011
New rec|use track on upcoming comp - JUSTICIA PRO BESTIA
Release: V/A Compilation
Release Date: August 2nd 2011
Label: Crunch Pod
Format: Digital only.
Throughout much of the United States animals have about as many rights as a
piece of furniture. There are more laws protecting your car then there are
for animals. They are considered nothing more than “property” and do not
deserve any rights. People who abuse them usually get little to no
punishment for the suffering they cause. It’s time for that to change.
JUSTICIA PRO BESTIA (Justice for Animals) is a collection of artists who
believe that animals deserve their own rights and much more. All the
proceeds from the sale of this digital compilation will be donated to The
Animal Legal Defense Fund (http://www.aldf.org ) Since 1979 they have been
fighting for animal rights, domestic and wild, by working to improve and
expand laws protecting animals and to help make penalties against animal
abusers much tougher. All the songs and remixes found on JUSTICIA PRO
BESTIA are previously unreleased. Artists appearing are…
Manufactura http://www.crunchpod.com/artists/manufactura
Polluted Axis http://www.pollutedaxis.com
C/A/T http://www.crunchpod.com/artists/cat/
Uberbyte http://www.uberbyte.net
Mangadrive http://www.mangadrive.net
Lexincrypt http://www.lexincrypt.com
Cervello Electtronico http://www.cervelloelettronico.com
Sinsect http://sinsect.com
Bitch Brigade http://www.crunchpod.com/artists/bitch-brigade
Caustic http://www.tellmeaboutmyuterus.com
9th Evolution http://www.facebook.com/9thevolution
Xiescive http://www.xiescive.com
Die Sektor http://www.facebook.com/pages/Die-Sektor-Official/139271376102530
Aliceffekt http://wiki.xxiivv.com/
Lucidstatic http://www.crlstudio.com/lucidstatic
Terrorfakt http://www.terrorfakt.com
Lapsed http://www.adnoiseam.net
The Break Up http://www.wearethebreakup.com
System Syn http://www.systemsyn.com
Iammynewt http://www.iammynewt.com
Rec|use http://www.facebook.com/transcendingstoicpatterns
Filament 38 http://www.filament38.com/
Torrent Vaccine http://www.facebook.com/torrentvaccine
Available August 2nd through all major and most indie digital download sites.
Friday, June 24, 2011
rec|use news
Quick heads up:
Working on some new rec|use material currently. Should be a comp track coming soon and then I'll spend some more time working on a proper release.
If anyone knows someone that might be interested in putting it out please don't hesitate to get in touch.
I'll also be posting some unreleased and some unfinished rec|use material @ http://www.facebook.com/TranscendingStoicPatterns
be on the look out for those tracks to surface in the next few days.
Also it looks like Lens Records might actually still have some copies of rec|use - immunization, so if you've been on the look out for that you can try here
Signing off for now.
travix
Thursday, May 5, 2011
Tuesday, April 26, 2011
Saturday, April 23, 2011
Wednesday, August 4, 2010
The Lawless States of Heretika - Behemoth / Watain / Withered / Black Anvil - US Tour
Well kids all hell has broken loose and will be spilling your guts and setting your brains on fire all over the nation.
I don't think much else needs to be said so I'm gonna post the dates and some videos and wait for the all the fires to start.
The Lawless States of Heretika:
November 04th Montreal, QC – Club Soda
November 05th Toronto, ON – The Opera House
November 06th Millvale, PA – Mr. Smalls
November 07th Chicago, IL – Bottom Lounge
November 08th St. Paul, MN – Station 4
November 09th Lawrence, KS – Granada
November 10th Denver, CO – Marquis Theatre
November 12th Portland, OR – Hawthorne Theater
November 13th Seattle, WA – El Corazon
November 14th Vancouver, BC – Rickshaw Theatre
November 16th Orangevale, CA – The Boardwalk
November 17th San Fransisco, CA – Slim’s
November 18th Hollywood, CA – House of Blues
November 19th Ramona, CA – Ramona Mainstage
November 20th Tempe, AZ – Marquee Theatre
November 21st Alburquerque, NM – Sunshine Theatre
November 22nd Dallas, TX – Palladium Ballroom
November 23rd Houston, TX – Warehouse Live
November 24th San Antonio, TX – White Rabbit
November 26th Atlanta, GA – The Masquerade
November 27th Ft. Lauderdale, FL – Revolution
November 28th Orlando, FL – Club at Firestone
November 30th West Springfield, VA – Jaxx
December 01st Cleveland, OH – Peabody’s
December 02nd New York, NY – Irving Plaza
Sunday, July 18, 2010
Transcending Stoic Patterns - The Death of NCC Records
Transcending Stoic Patterns:
In the fall of 1999 I created NCC Records as a vehicle to promote and release my own material as well as material from friends of mine who were creating quality work but were just not getting it listened to.
We started out making handmade covers and cdrs in very low numbers, pushing it off on zines, indie radio, and anyone that would listen. These tactics, plus word of mouth, and sites like mp3.com really helped us grow a base of supporters, that I have always appreciated for being there.
Over the past 10+ years I've had countless opportunities to travel, play music, and meet some of the most talented and awesome people in the noise scene and that's something I will always be thankful for. Most people never do shit with their lives other than sit around on the internet and talk trash and make everyone else around them miserable.
Over the past 10+ years I've had the blessing of being able to publish releases from bands that I love, and saw the quality of these releases progress as our fan base grew.
I've gotten to see my friends go from passing around mp3s on IRC to actually going out on the road to play shows and get air play and reviews for their hard work.
Over the past 10+ years I've had an opportunity to build a small personal empire that I got to play in like a kid in a candy store, putting out cds, records and tapes, creating scenes in each city I've lived in, helping book bands in obscure locations and large venues, and meeting people that liked what I was doing with my noise and my label in every town I've traveled to on a whim for a small show here or a two day fest there.
Over the past 10+ years I've made a lot of great friends in cities all over the U.S. and beyond and I am more than thankful and appreciative of this.
In hard times the supporters of me and NCC Records have been there to help me out of a jam, or have been patient when I wasn't able to make it to the post office to deliver records right away as they all understood running a one man record label and trying to do the other day to day shit (pay a mortgage, be a good boyfriend, take care of dogs, be a friend, try to create music / art when you're in a slump, try to be human) can sometimes be more than most people can handle.
I want to personally thank everyone who has helped along the way, from fans that bought the records, to all the distros that carried the stuff, the club and radio djs that played the stuff, the zines and bloggers that wrote about it, the bands that trusted me with their material to make them a quality product, the people that show me pictures of stickers or tattoos of the NCC records logo, the people that tell me they still have all the handmade promo materials and releases, the promoters and kids that booked the shows, the people that bought merch so I could get a fucking beer, or a piece of pizza, or gas to move on to the next show or just get back home broke and tired, all the friends I've made over the years, the kids I toured with or just chat online with late at night and tell me about their new projects.
In short, the people who cared and believed - Thank You, the last decade has been fucking amazing because of you.
Having said all that, If you're still reading NCC records has been taken deep out into the woods and shot.
Again the past decade has been amazing, but it's time for me to move on.
As much as NCC Records has been a blessing and an outstanding force in my life, it's also associated with a major personal part of my life that is basically dead.
Don't let it be misunderstood, I'm not turning my back on noise, the people who make it, the labels that put it out, or all the people that have supported NCC over the years, this is not the case at all, I will continue to create and support noise.
It's simply time to molt and start creating the next chapter of my life and my work and I don't think any of this can be done under the same moniker.
For any of the friends I've made through the years that are still interested after this, I am dividing my time into three projects currently
A. Transcending Stoic Patterns - This is simply a personal blog that I will use as a vehicle to post my own visual art / sounds /and writings to. Not just new material but also any other older stuff I feel is relevant.
B. A Radio With Guts - This is a zine/blog that I have created to help promote all type of music that I like genre be damned. There is a slight emphasis on current music and art events in Knoxville TN but it is no way a local rag type blog.
Feel free to send your shit in for reviews or contact us about interviews and news for your projects.
C. Lost Sea Recordings - This is a new label that I will be starting to publish any type of music that I feel needs be listened to - not unlike A Radio With Guts, it's a genre be damned approach.
I'm taking everything I've learned over the years about running a record label and applying this to a less pigeon holed approach. Formats will include Cassettes, Records, and CDs.
We are currently seeking acts for this label so feel free to get in touch - again anything goes as long as it's good.
It's been a blast everyone, and I hope that I'll still have the support from all of you as I progress in these new projects and leave NCC Records to rest in pieces.
For any of you that are still interested in obtaining the remaining NCC Records catalogue please feel free to get in touch - travis.wayne.morgan@gmail.com
Thank you all again.
Hopefully our paths will continue to cross as I set out on these new ventures.
Best,
Travis Morgan
Thursday, July 15, 2010
Black Meat / Wilt - Earth AD 2xC20
This was a split release double c-20 cassette between Wilt and Black Meat,
curated by Wilt and inspired by Earth AD.
This line up of Black Meat featured myself, Graham Moore, and Byron Lag.
A departure from earlier Black Meat material, these recordings featured drums, bass, guitars, field recordings, and countless hours of edits and added layers.
I have two copies left of this for sale
$5 + postage
paypal = travis.wayne.morgan@gmail.com
VA - Bullshit Detector
This is a compilation I was on in 2008 that features noise / industrial acts paying tribute to hardcore / anarcho punk acts such as Crass, Flux of Pink Indians, Crucifix, and more.
The comp features tracks From
Concrete Violin
Fire In The Head
Guilty Connector
Halthan
Travis Morgan
Noisewerrrk
Nyarlathotep
Shallow Waters
Sistrenatus
Sudden Infant
Wertham
I did a tribue to Annie Anxiety (aka Little Annie) called "Muneca"
I have two copies of this left for sale
$5 + postage
paypal = travis.wayne.morgan@gmail.com
Bad Memories - Self Titled
Bad Memories is a collaborative effort I did with Todd Appleton (aka Dec 23rd)
Total mind fuck ritual drones conducted at various times through out a span of years in the woods of Athens TN.
I have 2 copies of this left for sale.
$5 + postage
paypal = travis.wayne.morgan@gmail.com
Gigantic Noise Tape Sale!! (get this stuff out of here please)
All cassettes are $5 each plus shipping
email before ordering - travis.wayne.morgan@gmail.com
paypal account is the same address
feel free to get in touch about discounts on bulk orders
just need the room and the cash so I'm willing to bargain with you
Bereft - First Degree Of Separation
Evenings - Descending Coma (2 copies)
Impregnable - Beauty Stone
Liver Mortis - 25 Minutes Over Holly
Liver Mortis - Suited Treatment
Marax - Breathing Cold Memories
Marax / Hyperdriver - Reap This
Nkondi - HEREYESRAN
Nkondi / Graham Moore - Mugshots Vol 3
Phroq - The Kingdom
Robert Inhuman - Putrid Sacrifice
Savage Streets - Wild in the Streets
Yeko / Can't
Zandosis - Old Gold
RRR Recycled Series:
De Fabriek
Donna Parker
Immaculate Grotesque
John Wiese
Wolf Eyes
Friday, June 18, 2010
Review - V/A - Bullshit Detector
Here's a review of the Bullshit Detector comp I submitted a track for.
The concept of the comp was a noise homage to anarcho punk and hardcore legends.
Initially I was going to do a cover of "So What" by CRASS but in the end decided to do a cut up tribute to Annie Anxiety entitled "Muneca"
V/A – Bullshit Detector 2008 CDR
Now THIS is a BAD ASS noise comp!!! First of all, fucking awesome idea. Bullshit Detector offers noise remixes and re-interpretations of anarcho-punk, hardcore, and metal songs. With many of the people on the punk/hardcore/metal end of the “extreme music” spectrum doubting the power of noise/industrial let them doubt no more and look no further then Bullshit Detector 2008.
There’s not one track on this compilation I dislike. Every artist delivers their best here with an absolutely consistent lineup. Concrete Violin offers a great opener with “Annihilation (Crucifix)” featuring some top-notch vocals. Fire in the Head follows up with “Clutches (Nausea)”, his screamed vocals over a low distorted drone with great windy noise washes makes for a stunning wall of unforgivable industrial noise. The mighty Guilty Connector is up next with “Tears And Tears (Angry Filth Mix)” a throbbing LFO synth pulse and harsh noise brewing above it clocking in around 2 minutes. Many of these tracks are just that short, with no intention to impress or evolve Bullshit Detector is 100% noise kills punx dead.
Following Guilty Connector’s spastic assault is Halthan with “Is There Anybody There? (Flux Of Pink Indians)” a more subdued thick noise rumble with up-front vocals which leads into Travis Morgan’s “Mueca (Tribute To Annie Anxiety)” probably the track with the most variety here. Blasts of harsh noise, layers of experimental feedback loops and cut-up vocal samples. Next Noisewerrrk uses guitar loops in his more traditional remix of “Meanwhile (Discharge)” which if I didn’t know any better could just be a strait-up nasty power electronics assault. Nyarlathotep’s “Onward Christian Soldiers (Icons Of Filth)” does some interesting things with a bass guitar before throwing us into a virtual industrial blender of what I can only assume is a swirling barrage of mutilated punk rock. Even Shallow Water’s “Our Life, Our World (The Mob)” offers a great change of pace, offering up the longest track here by slowing things down to a wall of droning noise to slowly and relentlessly build up their seething wall of distortion to a soaring torrent of monolithic noise.
Finally we’re down to the last three tracks, the final bastion of brave souls who dared to stand up to mutilate these once classic tracks. Sistrenatus’s “Multinational Corporations (Napalm Death)” is my favorite of the disc with a fucking pummeling track of rhythmic industrial noise and incredibly scathing vocals. Yet another heavy hitter Sudden Infant picks up the second-to-last maltov cocktail to throw with “Asylum (Crass)” giving a subtle new take on Crass’s classic diatribe. Finally Wertham drops the bomb on everyone with “Polvere Fastidiosa (Indigesti)” which is probably the first track of his that I really enjoy. Once again using a looping sample like Noisewerrrrk did it’s simple, to the point and hits home just like the classic track itself delivers.
Great concept for a compilation. Flawlessly executed, the mastering and track order is perfect. Everything is loud and brutal, the tracks provide depth, evolution, variation, keep my interest and offer a new and interesting take on these classic songs. In addition every artist here just absolutely kills it. Bullshit Detector 2008 delivers the energy and pissed off attitude that lacks so much in today’s punk and hardcore world.
404 Noise Fest - Creative Loafing Article
404 Noise Festival: Difficult listening
Experimental sound showcase celebrates music without limitations
by Chad Radford
The word "noise" carries a gamut of loud and intrusive connotations. To most, it is the unwanted aural pollution that disrupts our abilities to think clearly. But in the annals of rock journalism, it is the hazy sonic aesthetic that connects the Ronettes' "wall of sound" to the grittier proto-punk dirges of the Velvet Underground and Sonic Youth. Stemming from the traditions of punk's subversive nature, noise has evolved into a genre of its own standing. It defies the limitations of marketable brands of music with a pure and expressive manifesto that is shared by intuition. It is a scene that exists as splintered factions of outsider musicians, bound by global, grassroots networks that embrace abstract sounds as a means of attaining artistic freedom. And it is a scene that has coalesced in and around Atlanta in a major way.
On Friday, March 16, four local noise labels – Blossoming Noise, NCC Records, Sounds From the Pocket and Robot Fishy – along with other regional labels and artists, will converge on Eyedrum for an exposition of noise in the Southeast. The aim is to strengthen Atlanta's noise community and to illustrate that there is more to the music than what the word implies.
Slouching in a corner booth cradling coffee cups in the late-night ambiance of the Majestic Diner, Travis Morgan, Graham Moore and Justin Waters are at ease. These are the respective faces behind NCC Records, Blossoming Noise and Sounds From the Pocket, and they're staring at the ceiling, looking for the perfect soundbite to capture noise in a nutshell.
For all three, the music is a means to an end combining both ideology and expression. "It's about the freedom of not placing any limitations on your music," Moore explains. Morgan finishes the thought, adding "It's what punk should have been."
Moore continues, explaining that even at the onset of punk, there were managers and marketing schemes at work, creating images and enforcing rules, planting the seeds of what would become a very contrived genre. "With noise there are no rules," he adds.
Morgan and Moore play in Black Meat, testing the limits of concept and feedback, and receivedCreative Loafing's Reader's Choice Award for Best Local Experimental Band in 2006. Waters plays guitar for Mugu Guymen, melding an overblown rock dirge with aggressive rhythms.
Noise has received a fair amount of exposure in the United States recently, with bands such as Wolf Eyes signing to Sub Pop, and Animal Collective falling into the good graces of the Pitchfork contingency. New York, Los Angeles, Boston and Chicago have historically fostered scenes for experimental music, and Atlanta is no different. It boasts outlets, such as Eyedrum and Georgia Tech.'s 91.1 WREK-FM, that celebrate noise via long-running radio shows such as "Friction" and "Destroy All Music."
But there's still the issue of semantics. The word "noise" conjures images of disaffected smashing guitars and twisting knobs on distortion pedals to the tune of squelching feedback. The stereotype is not entirely unfounded. Spontaneity, improvisation and pure emotional release are all part of the agenda. But it is seldom without rhyme or reason.
Chris White, who performs as Magicicada, has developed an ear for the subtler aspects of sound. Onstage, he utilizes everything from traditional instruments, including keyboards and hand drums, to more unorthodox sound sources, such as rocks, boiling water and various found objects. During performances, he crawls around on his knees and occasionally wanders off stage only to find a new place to sit and create sounds. His scattered accoutrements are strewn about in a tangle of chords and effects devices. The sounds he creates linger between serene and foreboding in a cloud of abstract textures that are guided by his internal sense of rhythm.
White's music is not the result of random noodling, but of meticulous sound-sculpting to achieve a desired effect. "There is a common perception that there is no thought process behind what's being presented," White says. "I put a tremendous amount of thought into what I do. I spend time building specific sounds and a specific structure, and within that structure I improvise. I figure in my sounds and melodies and improvise around them, and this isn't an uncommon way of doing things."
Former Swans vocalist Jarboe, who was an active noise musician in Atlanta in the early '80s, will also perform. Her set will revisit one of her earliest from a WREK studio session titled "Walls Are Bleeding."
One act that stands out among the jarring aural clutter is Tree Creature, in which Robot Fishy proprietor Nathan Brown plays keyboards. Tree Creature crafts soothing drones that bubble and chirp in slow, meandering soundscapes. What qualifies it as noise is its reliance on texture rather than melody. Tree Creature is a shining example of the anything-goes policy. "When you're playing purely expressive music, sometimes it's pleasant and sometimes it's not," Brown explains.
This typifies what Morgan, Moore and Waters want to bring together with the festival. "The more exposure it gets the more people will get involved," Morgan adds. "There are people all over the place making or buying noise records. ... As we speak there's probably a kid sitting in his bedroom in Atlanta, listening to Merzbow who has no idea who we are."
http://clatl.com/atlanta/404-noise-festival-difficult-listening/Content?oid=1266289
Experimental sound showcase celebrates music without limitations
by Chad Radford
The word "noise" carries a gamut of loud and intrusive connotations. To most, it is the unwanted aural pollution that disrupts our abilities to think clearly. But in the annals of rock journalism, it is the hazy sonic aesthetic that connects the Ronettes' "wall of sound" to the grittier proto-punk dirges of the Velvet Underground and Sonic Youth. Stemming from the traditions of punk's subversive nature, noise has evolved into a genre of its own standing. It defies the limitations of marketable brands of music with a pure and expressive manifesto that is shared by intuition. It is a scene that exists as splintered factions of outsider musicians, bound by global, grassroots networks that embrace abstract sounds as a means of attaining artistic freedom. And it is a scene that has coalesced in and around Atlanta in a major way.
On Friday, March 16, four local noise labels – Blossoming Noise, NCC Records, Sounds From the Pocket and Robot Fishy – along with other regional labels and artists, will converge on Eyedrum for an exposition of noise in the Southeast. The aim is to strengthen Atlanta's noise community and to illustrate that there is more to the music than what the word implies.
Slouching in a corner booth cradling coffee cups in the late-night ambiance of the Majestic Diner, Travis Morgan, Graham Moore and Justin Waters are at ease. These are the respective faces behind NCC Records, Blossoming Noise and Sounds From the Pocket, and they're staring at the ceiling, looking for the perfect soundbite to capture noise in a nutshell.
For all three, the music is a means to an end combining both ideology and expression. "It's about the freedom of not placing any limitations on your music," Moore explains. Morgan finishes the thought, adding "It's what punk should have been."
Moore continues, explaining that even at the onset of punk, there were managers and marketing schemes at work, creating images and enforcing rules, planting the seeds of what would become a very contrived genre. "With noise there are no rules," he adds.
Morgan and Moore play in Black Meat, testing the limits of concept and feedback, and receivedCreative Loafing's Reader's Choice Award for Best Local Experimental Band in 2006. Waters plays guitar for Mugu Guymen, melding an overblown rock dirge with aggressive rhythms.
Noise has received a fair amount of exposure in the United States recently, with bands such as Wolf Eyes signing to Sub Pop, and Animal Collective falling into the good graces of the Pitchfork contingency. New York, Los Angeles, Boston and Chicago have historically fostered scenes for experimental music, and Atlanta is no different. It boasts outlets, such as Eyedrum and Georgia Tech.'s 91.1 WREK-FM, that celebrate noise via long-running radio shows such as "Friction" and "Destroy All Music."
But there's still the issue of semantics. The word "noise" conjures images of disaffected smashing guitars and twisting knobs on distortion pedals to the tune of squelching feedback. The stereotype is not entirely unfounded. Spontaneity, improvisation and pure emotional release are all part of the agenda. But it is seldom without rhyme or reason.
Chris White, who performs as Magicicada, has developed an ear for the subtler aspects of sound. Onstage, he utilizes everything from traditional instruments, including keyboards and hand drums, to more unorthodox sound sources, such as rocks, boiling water and various found objects. During performances, he crawls around on his knees and occasionally wanders off stage only to find a new place to sit and create sounds. His scattered accoutrements are strewn about in a tangle of chords and effects devices. The sounds he creates linger between serene and foreboding in a cloud of abstract textures that are guided by his internal sense of rhythm.
White's music is not the result of random noodling, but of meticulous sound-sculpting to achieve a desired effect. "There is a common perception that there is no thought process behind what's being presented," White says. "I put a tremendous amount of thought into what I do. I spend time building specific sounds and a specific structure, and within that structure I improvise. I figure in my sounds and melodies and improvise around them, and this isn't an uncommon way of doing things."
Former Swans vocalist Jarboe, who was an active noise musician in Atlanta in the early '80s, will also perform. Her set will revisit one of her earliest from a WREK studio session titled "Walls Are Bleeding."
One act that stands out among the jarring aural clutter is Tree Creature, in which Robot Fishy proprietor Nathan Brown plays keyboards. Tree Creature crafts soothing drones that bubble and chirp in slow, meandering soundscapes. What qualifies it as noise is its reliance on texture rather than melody. Tree Creature is a shining example of the anything-goes policy. "When you're playing purely expressive music, sometimes it's pleasant and sometimes it's not," Brown explains.
This typifies what Morgan, Moore and Waters want to bring together with the festival. "The more exposure it gets the more people will get involved," Morgan adds. "There are people all over the place making or buying noise records. ... As we speak there's probably a kid sitting in his bedroom in Atlanta, listening to Merzbow who has no idea who we are."
http://clatl.com/atlanta/404-noise-festival-difficult-listening/Content?oid=1266289
Subscribe to:
Posts (Atom)
