Why is it all the same noise music?
This article will focus not so much on noise, as you might think by reading the headline, but on the music performed by the musicians and the musicians themselves. The author sketched a kind of classification of people who write 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 it’s not necessary to take this classification as a reference manual, but something can be gleaned.
Inspiration, magnetic tape rings scattered all over the place, endless doubts as to whether this or that, something middle or something completely different or something like that – the stimulating mechanisms of the creators of noise music are as vague and ambiguous as she is. Motives that are hard to believe give birth to works that are hard to understand. On the other hand, the simplest techniques give convincing and immediately tangible results. In this article I tried to compose a typology of noise musicians without specifying specific examples – I hope the reader will follow them himself.
Of course, this attempt will seem ambitious to amateurs and connoisseurs, because noise music has undergone quite a long evolution, measured by several generations of followers, and has a huge number of artists, enthusiasts, movements and schools. I agree, the topic is sensitive and affects the interests of many people, so the danger of a rough approach is inevitable, and no categories will be enough to take into account at least most of them. But still…
Matter as a 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. Manifestos that sound from meta-reality do not find the corresponding material embodiment (due to their groundlessness). Incorporeal, they appeal more and more to philosophical than to musical roots, which are already without meaning. From the point of view of the general chaos that comes as the end of the world approaches, their striving for the 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 guilt of the first, protecting its owner.
Weakness and mediocrity (weak-willed mediocrity)
For them, the most painful moment is the very desire to be musicians, although they themselves do not notice it. Indeed, there are so many musicians around, and they all compose, record something … The only problem is the lack of the ability to play musical instruments. But this does not matter – you can refuse them altogether or play as God puts his soul, in the end, and this may turn out to be original (take, for example, Pascal Comelade). This conviction grows stronger every time they hear someone else’s record: according to their own assessment, no special efforts were required to record it. Moreover, it seems eccentric to them to make such music, which they like to call “sound perversions.” All that they come to at best is a sluggish expression of their point of view, which lacks ingenuity and organization to be brought to an end. Powerless press keys, twist the remote control knobs, clog the computer’s memory and are very offended when after half an hour the mass of equipment under the control of their inept hands did not create a brilliant work. Their belief in the fantastic possibilities of technology amazes them against the background of their naive treatment with it. To at least present something as a result, they are content with half-prepared platitudes, to which even the most condescending listener can only shrug. The principle of “everything is transient”, when applied to noise music, finds in its examples its lively confirmation.
They are also mediocre, but they cannot be called weak-willed – on the contrary, they always find the strength to support their tragic image, which is most often based on excessive self-esteem. They expand their narrow worldview to the enormous size of the stage space, populated by noise structures, as if they were unheard of thoughts. They feel like researchers in their own laboratory, but from the side they look like empty chimes squeezing the same sounds out of themselves, without thinking about the strange contradiction between the indisputable zeal and wretchedness of the result. However, they need to encourage their work from time to time, for example, to buy ultra-modern equipment, otherwise their thoughts of suicide and other destructive complexes can develop into hopeless madness. In fairness, it should be noted that among strange creatures there are rare exceptions, shining like diamonds in ash.