NoiseWiki - User contributions [en]

CON-DOM

2016-06-06T14:57:52Z

Fishygoose:

http://www.discogs.com/artist/Con-Dom
http://www.tesco-distro.com/condom/

Mike R. Dando (b.1959-)

Con-Dom stands for Control-Domination, and is the one-man industrial noise band of Mike Dando. Con-Dom explores any kind of social tensions and control: political, religious, racial, with an acid, violent and uncompromising attitude. He is well-known in the industrial scene for his furious ravaging vocals and the devastating live performances, in which he turns into a real stage animal.

[[category:Noise]][[category:Noise:Power Electronics]][[category:United Kingdom]]

SUDDEN INFANT

2016-06-03T15:11:31Z

Fishygoose:

Joke Lanz aka SUDDEN INFANT (born 1965) creates a unique blend of physical sound-poetry and dadaistic vocal expressions, using contact microphones, prerecorded soundloops and noises. Member of the infamous SCHIMPFLUCH collective, singer of the notorious CATHOLIC BOYS IN HEAVY LEATHER and long time accompanist of Rudolf Eb.er, he's presenting his work since more than 20 years all over the world. Born in Switzerland, now based in Berlin, Joke Lanz has collaborated with the likes of [[Z'EV]], [[Carlos Giffoni]], Peter Kowald, Christian Marclay, Norbert Möslang, DJ Olive, [[G.X. Jupitter-Larsen, Big City Orchestra]],Christian Weber, Charlotte Hug, Jorge Sanchez-Chiong, Roger Rotor, Strotter Inst, [[Evil Moisture]], Small Cruel Party and many more. Music for contemporary dance, theatre, sound-installations and short-films. Innumerable releases on international labels e.g. Entracte, [[RRR]], [[Tochnit Aleph]], [[Blossoming Noise]], Artware, Klanggalerie, SSSM. Artist residencies in Berlin (1999) and London (2004). Composition assignment by Pro Helvetia Arts Council of Switzerland (2006).

[[category:Noise]][[category:Germany]][[category:Berlin]]

The New Blockaders

2016-06-03T15:08:37Z

Fishygoose:

The New Blockaders may sound like a hip Indie Rock band, and they may want you to believe such a thing to lure unsuspecting listeners. The brothers Richard (born 1950) and Philip Rupenus (born 1958), as merchants of 'anti-music,' embrace Luigi Russolo's 1913 Art of Noise manifesto and although Russolo is widely credited as being the first major noise theorist, contemporary Noise artists like TNB were the first to progress from the use of noise as assault on tonality to the development of a rich, complex language capable of subtleties of shade and nuance without sacrificing any of its feral power or ability to unlock repressed personae in the listener.

Their manifesto (1982) proclaims, 'Blockade is resistance. It is our duty to blockade and induce others to blockade: Anti-music, anti-art, anti-books, anti-films, anti-communications. We will make anti-statements about anything and everything. We will make a point of being pointless…’ Everything about TNB entails refusal. The title of their collection Gesamtnichtswerk is important here. It reminds us of Wagner’s dream of the ‘total art work’ – the Gesamtkunstwerk, but the art is replaced by nothing.

Lazier souls than I would place TNB within the pantheon-lineage of UK Industrial, although I see them as a free-standing unit with more in common with the Futurists and (maybe) Einsturzende Neubauten (without the ‘songs’): Electrical tools, metal, ear-shredding static noise - the very definition of nihilism through sound. Superficial similarities exist to forbearers like AMM’s free form music aesthetic, Throbbing Gristle’s Second Annual Report and Lou Reed’s one-off decadent, noise-loop experimentation Metal Machine Music. TNB differ in that they have never burdened themselves with writing excessive, sleazy Rock Pop put on, prone to current Pop culture sampling obsessions or attempts at confining unruly, nihilistic sounds. They create a true musical sound cluster of destruction to such an extent that their so-called ‘anti-music’ transcends nihilism into positivism/optimism suggesting new music.

TNB always suggested more than a band or musical project. They are bent almost as much on philosophy and literary ambitions, issuing manifestos and texts and referencing the likes of Debussy and Nietzsche. TNB never set out to be part of a self-glorifying youth movement where pompous, romanticized bullshit dies hard in an endless, capitalistic magic show. Instead, they depict the emotional tonalities of an ambivalent, ambiguous new century with no form and direction. Their musical legacy offers respite from the fraudulent herd of co-opted streamlined sounds, which masquerade as experimental.

They served as a major influence on legendary Noise pioneers as Merzbow and their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is immeasurable. Collaborations in recent years with artists such as Sonic Youth's Thurston Moore have brought their anti-sound to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the abrasiveness of Merzbow all owe something to the anti-music of TNB. They, more than any other, define the essence of true Noise music both in art and in act.

[[category:Noise]]

GREY WOLVES, THE

2016-06-03T15:00:53Z

Fishygoose:

The Grey Wolves are Dave Padbury and Trevor Ward. They exist since the early '80s and have released a lot of tapes via their label Anal Probe, which later split into Artaman and Zeal SS, the latter changed it's name quite often and is nowadays Open Wound. In 1992 they were contacted by Tesco Organisation and recorded their first LP. Their art is definied as "A Manifestation Of The Cultural Terrorism Network", and their packages and visuals are collages of disturbing and provocative images, photos and symbols. The Grey Wolves play heavy industrial noise with a genuine punk attitude, being irriverent and nasty, but never lacking self-irony.

http://www.geocities.com/theegreywolves/

http://www.myspace.com/greywolvesexit

http://www.discogs.com/artist/Grey+Wolves,+The

http://www.last.fm/music/The+Grey+Wolves

[[category:Noise]][[category:United Kingdom]]