Quote:
|
Originally Posted by noisereductions
Anyway, when I think of noise personally, I think of like Merzbow, or SILVER SESSIONS, etc. When tape splicing is involved, that's more like composition to me. I think of them separately.
|
I see what you're saying, and you are correct to explain it as your personal way of defining things, as "noise" gets used so many different ways by different people there can be no other way to do so.
However, the Silver Sessions were arguably really pretty composed in the editing process and you'll find much of what Merzbow does is often along the same lines. Yes, Sonic Youth just took everything they had to create the loudest racket imaginable when they made the wall of sound that turned into Silver Sessions, but they meticulously edited and arranged those noises into individual tracks with intended impacts at specific points. I don't know if they were working with tape or digital tools to do so, I suspect the latter since O' Rourke was kind of running Echo Canyon at the time, but really either way you're doing the same thing.
Also, the problem with thinking of bursts of electonic harsh noise and tape splicing separately is that you can't count on the artists to do the same. As saramkrop pointed out, the best and most mature noise artists are going to spend more time thinking about what they are doing and composing it, and likely expanding their bag of tricks to encompass more techniques.
Meanwhile, another type of "noise music" entirely is something like
Borbetomagus who make their racket foremost through saxophones and have little to do in terms of technique with much of todays electronic oriented noise scene. Nothing "composed" about their improvisations, but they are more rooted in the free jazz tradition the way
Last Exit were.