Not Noise So Much as Mania

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The label "noise" always bothered me when applied to Lightning Bolt. Recently, it struck me that what defines them is more of a manic energy, a hyper-caffienated, ADHD kind of energy that also seems to permeate many other current bands such as The Battles, Hella, Animal Collective, Deerhoof, etc. Does this constitute a trend? Some kind of *new sound*? Have music writers already labeled and catalogued this? Does it reflect the zeitgeist?

Hurting (Hurting), Tuesday, 30 November 2004 19:03 (twenty-one years ago)

I don't see nearly as much "mania" in "The Battles" really. They're actually pretty calm and collected. Hella is too to a certain extent, especially live. You're probably referring mostly to the music though, so in that sense you're also bringing a lot of non-noise bands into that "mania" fold.

I'm serious ... Ti-i-i-i-im (deangulberry), Tuesday, 30 November 2004 19:11 (twenty-one years ago)

animal c and deerhoof don't strike me as very manic.

the battles are pretty hyper soundwise tho. live, they are all not so hyper, but the music is downright hyper. try wiggling your butt to it. it's a work out. reminds me of rovo.
m.

msp (msp), Tuesday, 30 November 2004 19:22 (twenty-one years ago)

I just see it as bands who like the Boredoms.

walter kranz (walterkranz), Tuesday, 30 November 2004 19:29 (twenty-one years ago)

I know exactly what Hurting means. Why on earth Animal Collective get called a noise band is beyond me and as for the Boredoms, they haven't been noise for about 8 years! Deerhoof also go into this yet I haven't heard the other bands mentioned. I see these bands as a continuation of the Post-Rock movement, but more powerful. Power-Post?

dog latin (dog latin), Tuesday, 30 November 2004 19:42 (twenty-one years ago)

Maybe "manic" is the wrong word -- I thought the Battles had this sort of nervous, jittery energy live -- maybe not mania, but definitely this "I drank a 2-liter bottle of coke and played video games all day" feeling. I do think there's something in common in the sound of all these bands too, even if they aren't all the same genre.

BTW, I wasn't trying to suggest that all the bands I listed are considered "noise" -- other than Animal Collective, none of them usually are. I just meant that I find some common thread that I can't quite place.

Hurting (Hurting), Tuesday, 30 November 2004 19:44 (twenty-one years ago)

They all sound sort of "sped up" to me, but that's not a very descriptive term.

Hurting (Hurting), Tuesday, 30 November 2004 19:46 (twenty-one years ago)

Is The Battles the same band as Battles?

Jordan (Jordan), Tuesday, 30 November 2004 19:49 (twenty-one years ago)

All these bands have a cartoonish, not-so-much "heavy" yet more raucous splatterhouse energy to them.

Search:
Tortoise: Blackjack
A great lost John Barry soundtrack.

Deerhoof: Rainbow Silhouette Of The Milky Rain
Oi Punk for Children's ITV

Boredoms: (Circle)
Going up and up and up and up in a helicopter. And never going back down.

Animal Collective: Who Could Win A Rabbit
The Beach Boys get lost in Woburn.

dog latin (dog latin), Tuesday, 30 November 2004 19:51 (twenty-one years ago)

From what I've heard of real Noise bands like V/Vm, Masonna and Wolf Eyes is that they sound more static. There's a certain nerdiness to it. A lot of it is throwaway and stems from IDM rather than maybe prog-rock.

dog latin (dog latin), Tuesday, 30 November 2004 19:54 (twenty-one years ago)

Maybe we can call them "bands who people are constantly, unsuccessfully trying to label."

I'm serious ... Ti-i-i-i-im (deangulberry), Tuesday, 30 November 2004 19:54 (twenty-one years ago)

LB, Hella and AC strike as particularly "nerdy." LB especially. (xp)

I'm serious ... Ti-i-i-i-im (deangulberry), Tuesday, 30 November 2004 19:55 (twenty-one years ago)

I wasn't saying that the Boredoms were "noise" but rather that some of the Lightning Bolt and Animal Collective stuff I've heard made me think "Hey cool. Some new American bands that listened to a lot of Boredoms." And specifically the mania and energy that Hurting is talking about reminded me of Chocolate Synthesizer-era Boredoms. Mainly because that sped-up vibe seems like something quite distinct from the energy of american hardcore or Sonic Youth-style "noise" stuff. I think the ADHD connection is an interesting one but I also think there's a definite connection to a Japanese influence.

walter kranz (walterkranz), Tuesday, 30 November 2004 19:56 (twenty-one years ago)

"Maybe we can call them "bands who people are constantly, unsuccessfully trying to label." "

That's fine. My goal isn't to label or categorize them so much as to describe what might be a common spirit and sensibility.

Hurting (Hurting), Tuesday, 30 November 2004 20:13 (twenty-one years ago)

"All these bands have a cartoonish, not-so-much "heavy" yet more raucous splatterhouse energy to them."

Well put.

"that sped-up vibe seems like something quite distinct from the energy of american hardcore or Sonic Youth-style "noise" stuff. I think the ADHD connection is an interesting one but I also think there's a definite connection to a Japanese influence."

Good point. There's none of that brooding angst I usually associate with hardcore and noise(y) bands. The Japanese connection sounds OTM as well, though I'm only minimally familiar with current Japanese bands.

Hurting (Hurting), Tuesday, 30 November 2004 20:16 (twenty-one years ago)

Ruins and Melt-Banana along with the Boredoms been doing this kinda thing for a decade or more. See also Naked City, God Is My Co-Pilot, Harry Pussy, The Ex, Flying Luttenbachers, Scissor Girls ... bands playing it fast n' frenetic is nothing particularly new...

Stormy Davis (diamond), Tuesday, 30 November 2004 20:34 (twenty-one years ago)

Dec. Spin has a decent piece on "The Noise Punk Underground:masks, Mayhem & Feedback." Yeah, I was thinking of proto-punk-meets-free-jazz attempts by Stooges and MC5 as one kind of precedent/possible influence. Also garage-punk party music, like "I Like Peanut Butter" chants, and some of the ESP-DISK tribal rants. Spin's Ben: "Though its origins lie lie in 70s proto-industrial grind of London's Throbbing Gristle and sonic assault of 80s and 90s noisemongers like merzbow and the Boredoms, today's noise-punk developed largely as party music." Then he goes on to talk about this old mill reclaimed and named Fort Thunder, in Providence. The piece pretty much focusses on this place, and on Providence as a happenin' noise source. Thurston cites Glenn Branca as a precedent too. (Apparently he is a "long time scene booster who has talked up many of the bands in a column he co-writes for Arthur magazine." Anybody seen that? How is it?Also, in my Voice review of the Mars Volta's DE-LOUSED, was struck by the way they crammed a lot of flamboyant elements from the 60s-thorugh 00s into their Technicolor blender. Battles is descended from Don Cabellero (and a guy from Helmet's in there too, right?). So Don Cb's so-called "math rock" (which could get pretty pyschedelicized/punkily-intensified) would be another tributary. And "math-rock" like the Oxes, Notekillers, and Dysrhythmnia can get that cranked up too. And early live King Crimson (K.C. influencing "math rock" audibly enough; mid-70s K.C. especially) could sound like the best early live Metallica.

don, Tuesday, 30 November 2004 20:48 (twenty-one years ago)

arthur is one of the few print magazines worth reading left.

i've read nothing but negative discussion about that spin article for the last week. the term "noisepunk" seems to be really unpopular amongst those in that scene at large. even tho the music seems descended from noise and punk. there's so much variety in that scene that one phrase is doomed.

"noise is the new emo"

fort thunder rip.
m.

msp (msp), Tuesday, 30 November 2004 22:05 (twenty-one years ago)

Can see how they wouldn't like it. He gets a bit lecture-y (or book reprt-y, even), and for all I know the Providence details are wrong. But he makes some interesting points, like about party music and, as in that xpost, how this stuff is usally more fun (or *having* more fun, on stage, if not in the audience, at least) than say, the Swans. Thurston's quoted re comparing current noise to *early* Branca, and I'd say yeah if he means SONGS 77-79, featuring Branca's distended artpunkwave (sort of like if T.Heads had come through that early Crimson heaviness prev. mentioned). Two bands, not that they were just his; lots of personality-noise, in the Nerve and Theoretical Girls. Also I like his SYMPHONY NO. 1, with Thurston and many others getting tribal. Also Mars' 78+, which I think is almost everythig they did, except for the noise opera JON GAVANTI. And this year's finally-assembled DNA ON DNA. I also like most everything anybody's mentioned on here (not so crazy about recent Black Dice or Oneida). Tonight I listened to Aqui's "psychedelic punk opera" THE FIRST TRIP OUT, which is more squealo than screamo, and doesn't let the oives waste good songs, as happens on Blood Brothers' BURN etc. Also Man Man's THE MAN WITH A BLUE TURBAN WITH A FACE, which is kind like White Stripes re-doing Tom Waits's most avant arrangements with Gogol Bordello and the Klezmatics (and Honus Honus plays Rhodes *synthesizer*? What's with these Texans? Which reminds me, let's not forget NTX + Electric's WE ARE THE WILD BEAST, which i reviewed for the Voice)(if you check the site, put subject in quotes; some other folks commented on Man Man, and maybe Aqui too, by now)

don, Wednesday, 1 December 2004 08:41 (twenty-one years ago)

i think the whole wierdo rock thing is more fun. the emo-core thing of the early to mid-90s could be way too serious sometimes.

no wave surely influenced many of the bands. there's no question about that.

but the influences are all over the place... it comes back to a discussion about noise in another thread that i'm too lazy to find... "noise" comes from many different angles. pita is not whitehouse is not sonic youth is not rubber o cement is not john zorn is not captain beefheart. etc etc. are all of those noise? maybe. depends who you ask. but they can be. yet they all come from different places.

and that goes for some of the bands you've mentioned and the ones above. they play together. and maybe embody a similar creative ethos on some levels. but i think the attempts to catalog the scene under one banner is gonna be seen as sort of a commodification by outsiders .... "are we going to see noise on mtv? fuck!" (of course, how can music writers avoid that kind of offense? ultimately, who cares?)

m.

msp (msp), Wednesday, 1 December 2004 15:14 (twenty-one years ago)

IMO "noise" comes from culture - a culture of chaos, of order from disorder. there is so much potential, as a journalist, academic writer, whatever, to write about this, that it makes it all the more disappointing to see people still having to reference sonic youth, beefheart and proto-punk in order to talk about it. I'm quite sure all of those bands/artists had something to do with noise in music as a whole, but it is IMO less of an influencial relationship than a another-part-of-continuum relationship. When Spin, or whoever, starts writing about noise and culture, then we'll have gotten somewhere. (I didn't read the Wire thing on Wolf Eyes, did they bring any of this up?)

Dominique (dleone), Wednesday, 1 December 2004 16:04 (twenty-one years ago)

"When Spin or whoever starts writing about noise and culture, we'll have gotten somewhere" and so now they have, so maybe we have. Yeah it's from all over the noise of assembly of process (*In* a bllender, Isaid: not after being blended; that would be a smoothie, and this stuff aint smooth). The noise is in the assembly of audience's assiciations from all over, as much as the performers', at this point. How commodified can it get? Faux noise faux preppies in videos and New Yorker club listings? Lightning Bolt on "Late Night With Conan O'Brien"? Fine with me Mebbe les Texas Terribles like NTX and Trail Of Dead or Explosions In The Sky, with Man Man's Honus as guest, on "Austin City Limits"?(Well they did have Texans Spoon, and non-Texans Beck w)Flaming Lip; not noise but leaving the door ajar) Relevant influences should include anything in which noise is a crucial component, not just sonic seasoning. the Spin piece quotes a current noiser as mentioning Ornette. Yeah, he's right about the way Ornette was taken, by some, at the time (barbarian at the gates!). But now he seems kinda normal (ditto Beefheart, certainly ditto Sonic whatis, not to say that they can't all be great[Ornette and CB more often than SY}), compared to say Sonny Sharrock's still wildBLACK WOMAN and MONKEY-POCKIE-BOO (I prefer the former, but they'll both give your nerves exercise) And a lot of folks, including fans, still are in the process of coming to grips with Albert Ayler.(xpost correction Blood Brothers' *voices* trash otherwise-promising tracks)

don, Wednesday, 1 December 2004 19:44 (twenty-one years ago)

Then he goes on to talk about this old mill reclaimed and named Fort Thunder, in Providence. The piece pretty much focusses on this place, and on Providence as a happenin' noise source.

Fort Thunder was demolished like three years ago.
Most of the spaces that have sprung up in its wake have also been condemned and the inhabitants forced to move. Providence = sinking ship, sadly. Most of the places where punxxx/art folks/noizers live can't have shows anymore because they're afraid of the same fate. (Lots of firecode violations, people living in zoned industrial areas, etc.)

Fuck Spin in the eye.

Ian John50n (orion), Wednesday, 1 December 2004 20:42 (twenty-one years ago)

Lightning Bolt on "Late Night With Conan O'Brien"?

Never gonna happen.

Ian John50n (orion), Wednesday, 1 December 2004 20:43 (twenty-one years ago)

but if andy was still on the show... cabin boy + lb = pick a winner!
m.

msp (msp), Wednesday, 1 December 2004 22:01 (twenty-one years ago)

xpost:
What about Lightning Bolt on Letterman? They can join forces with Paul and the gang!

Ken L (Ken L), Wednesday, 1 December 2004 22:10 (twenty-one years ago)

xpost torn down three years ago: yeah they say "its former space is now is now home to a Staples and a parking lot." Seems to have been important to the NYC underground in the 60s and early 70s, when, according to guys who were there, a lot of 'em all lived in the same tenements would go to each other's apartments to jam (or lofts, if they could manage that). I don't think Brooklyn is that convenient. And they used to have that big warehouse or whatever it was, divided into studio and living spaces, in San Francisco, and there was one in Atlanta, a few years ago (they all came out of their hives and pooled resources for a party I went to) Hey give Spin a break; they just got to Hives on the cover and "10 Essential *New Wave* CDs," and then Franz Ferdinand on the cover with "the COOL List: Rock's Top 40 Trendsetters, starring The Killers, Interpol,the Strokes" and like that yall! Would like to see some noise (let's leave off the "punks") give Max Weinberg 7 a chance to freak out (especially those horns; let's see what they can do, past "Grazin' In The Grass" eh?)

don, Thursday, 2 December 2004 01:16 (twenty-one years ago)

Oh, meant to ask: what does "IMO" stand for? Can think of several things I hope it stands for.

don, Thursday, 2 December 2004 02:20 (twenty-one years ago)

I guess you can't control a thread once you post it, but I really don't think Lightning Bold and the other bands I named are "noise" at all in the way that most "noise bands" are today, and that was part of the point. I don't hear particularly strong influences of free jazz, Glenn Branca, Sonic Youth, or any of the other stuff named. I didn't really intend for it to be a discussion of noise so much as how Lightning Bolt and these other bands seem to have a common thread that is something other than the noise scene.

Hurting (Hurting), Thursday, 2 December 2004 03:04 (twenty-one years ago)

Deerhoof and Lightning Bolt have CUTENESS in common. I guess Animal Collective are kinda cute too. But yeah, SO NOT NOISE.

Ian John50n (orion), Thursday, 2 December 2004 03:09 (twenty-one years ago)

Hurting, I agree and not to beat a dead horse but that's where I was going with the Boredoms reference. Most of the earlier "noise" rock bands mentioned in this thread had a darkness and cynical distance that I think characterized american indie rock in the 80s & 90s. The idea of an overly caffeinated (sp?) culture alone doesn't quite do it for me because what scene was more about coffee and yet more glum and emotionally detached than 90s Seattle? US bands of that period who attempted to be light or cute often came across as being annoyingly cute or wacky (ween?).

Where I think the Boredoms and similar Japanese bands fit in is the way they found a middle ground between cutesy dayglo Japanese pop culture (Shonen Knife, Cibbo Matto, Corneilus) and the laughably serious sadism of the Japanese noise scene (Haino, Merzbow, etc.). They (and most likely other bands I haven't heard of) managed to explore the hyper-cute dayglo overload of Japanese pop culture while maintaining an acid-soaked edge of danger every bit as powerful and exciting as the straight "noise" scene. Where is the equivalent American or British synthesis of these extremes (Butthole Surfers?)?

And I think the reference to ADHD and a hyper-accellerated video game culture is OTM as far as being an explanation for why a slew of American bands picked up on this particular japanese influence at this point in time. It's such a pure psychedelic expression of media overload that it seems entirely inevitable.

Of course I may be responding entirely to surface presentation through album art, clothing, song titles, etc. but I think this bleeds through into the music somehow.

walter kranz (walterkranz), Thursday, 2 December 2004 03:52 (twenty-one years ago)

Walter Kranz: +1, Insightful

Ian John50n (orion), Thursday, 2 December 2004 03:54 (twenty-one years ago)

It's such a pure psychedelic expression of media overload that it seems entirely inevitable.

yeah otm. i knew that the fact that the mp3s scattered around www.jamhandy.com reminded me of wolf eyes.

djdjdj, Thursday, 2 December 2004 04:07 (twenty-one years ago)

*deliberate* psych overload, repates to what I said about MVolta's "technicolor blender" and "process" as the sound. All the sound that gets filtered out of (or prevented) so much "music" in the uusual sense. Including so much oh-so-carefully tweaked hard rock, even aside from Celine etc. The noise, the swing of process, is out front, but the art and craft are concealed, somewhat (L.Bolt can come on cute as they like, with kiddie pictures or faux-kiddie pictures on their covers, but no way is it easy to make albums as good as theirs, for all the dumbos who always say,"Oh I could do that!") So in that sense, this "noise" is "music" (in coventional sense) turned inside out. And yeah, pretty darn cute, often. Perhaps relating to the rckist bubblegum championed on another thread recently.(Compliment)

don, Thursday, 2 December 2004 04:48 (twenty-one years ago)

re: What walter kranz said about boredoms as a middle ground - maybe so, but i think setting cutecutecute and grrrrnoise as polarized extremes to be synthesized is a bit oversimplified, at least to me they seem to be different paths stemming from a common fertility (which very roughly i suppose is something in Japanese culture). I'm not sure the boredoms are in any middle, as such, but another tangent in a much broader more diversified root network of references - all working off "extremity" to whatever shade or degree (Plus Tech Squeeze Box and Masonna and Sonic Dragolgo, rather than versus etc). Sorry, this is splitting hairs.....

xcixxorx, Thursday, 2 December 2004 05:54 (twenty-one years ago)


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