MAN IS THE BASTARD'S GRADUAL AND INCREASING ABSORPTION OF NOISE ELECTRONICS MADE EACH RECORD INCREDIBLY CHALLENGING TO THE EARS, THE EMOTIONS AND THE INTELLECT. BUT MITB WAS MERELY THE CATERPILLAR THAT SPAWNED A MUCH GREATER BUTTERFLY IN BASTARD NOISE. ERIC WOOD WAS ALWAYS THE FORCE BEHIND MITB AND, I GUESS, THEIR DEMISE. BUT BASTARD NOISE IS THE MORE AFFECTING WORK, BECAUSE IT PURIFIED FEELING OF ANGER INTO PURE SOUND. LIKE AN ABSTRACT PAINTING THAT LETS COLOUR AND RELATIONSHIPS BETWEEN FORMS INSPIRE YOUR OWN RESPONSE, NOISE AND ITS TEXTURES AND THE SPACE INBETWEEN FORCE OUT OF THE LISTENER A RESPONSE THAT DEMANDS QUESTIONS BEING ASKED: WHAT IS THE SOUND SOURCE, WHY IS THAT SOUND SOURCE PROCESSED LIKE THAT, WHAT ARE THE POINTS OF REFERENCE, WHAT PLANET ARE THEY ON? NOISE AT ITS BEST WILL DRAW OUT INNER DEMONS OR PASSIONS. BASTARD NOISE CREATE NOISE AT ITS BEST. BOTH ABSTRACT AND IMPRESSIONISTIC, EACH PIECE INSPIRES A CONCRETE VISION BY ASSOCIATION. HARSH ELECTRONICS THAT SOUND LIKE PLANETS ON FIRE, INDUSTRIAL FLOWS THAT IMMITATE ROLLING STOCK, SOUND WASHES THAT COULD BE STELLAR WINDS OR HELLISH STORMS. LITTLE SURPRISE THAT THE ENDLESS POSSIBILITIES HAS LED TO RECORDINGS TOO NUMEROUS TO MENTION OR PURCHASE. ONLY A FANATIC WOULD ATTEMPT THAT, BUT THE WORKS THAT I OWN LIKE 'ANALYSIS OF SELF DESTRUCTION', THE SPLITS WITH MERZBOW AND BIZARRE UPROAR, THE MITB STUFF, AND THE 'THRONE IS MELTING' COMP ALL COVER IMPORTANT GROUND IN THE NOISE SCENE. NON MORE SO THAN SETTING AN EXAMPLE FOR NOISE CREATION. ERIC WOOD COULD BE DESCRIBED AS AN OLD WORLDE ARTISAN. THE KIND WHO NEEDS TO GET HIS HANDS DIRTY LIKE THE BEST CRAFTSMEN. HIS PROCESSORS, OSCILLATORS, NOISE GENERATORS ARE NOT COMPUTER BASED. THEY ARE CUSTOM BUILT AND WIRED UP LIKE A KID MESSING WITH HIS MECCANNO SET. THE RESULTING NOISE IS RICH AND ORGANIC- QUALITIES THAT EVEN THE BEST SYTHESISERS CANNOT MIMIC. THAT'S ALSO DUE TO THE AMPS FOR CHRIST WORK OF BASTARD NOISE ORIGINATOR ENID BARNES (MORE ON HIM IN LATER ISSUES) AND BILL NELSON (UNICORN) BUT TIME MOVES ON, AND WITH A STRONG SET UP WITH JOHN WIESE, BASTARD NOISE IS NOW INCOPORATING COMPUTER SOFTWARE TO ENABLE A COMPLEXITY BEFORE UNHEARD OF. JOHN WIESE'S INVOLVEMENT IS STRONGLY ACKNOWLEDGED BY ERIC WOOD, AND ANYONE WOULD BE ADVISED TO CHECK OUT HIS SISSY SPACEK PROJECT. HERE NOISE AND ELECTRONICS ARE STRUCTURED COMPLETELY DIFFERENT TO BASTARD NOISE'S ESPECIALLY IN THE USE OF REMIXING. ALMOST ADDING A MATHEMATICAL PRECISION TO BASTARD NOISE'S ORGANIC FLOWS. OF COURSE, LIKE THE BEST NOISE, THE LITTLE SAID THE BETTER, SO I DON'T CLAIM THE INTERVIEWS WITH ERIC WOOD AND JOHN WIESE TO BE COMPREHENSIVE. BOTH ARE MEN OF FEW WORDS. JUST READ BETWEEN THE LINES.
ERIC WOOD/ BASTARD NOISE +(((~~~~~~~~
+Did you feel that MITB had gone as far as it could
go as a creative force in the context of your search for a purer
sound?
"Absolutely not. Both lyrically and musically I feel the
band in 1997 was actually just being born. It was only due to
poor choice making as human beings (and how those choices related
to our collective) that MITB's musical and lyrical productivity
came to an end. I feel we were a rare band situation because
we were able to progress almost record to record."
+I
remember reading in a Mordam catalogue that (I think) the "Our
Earth's Blood" ep employed the "now banned J tone."
What is the J tone?
"No the "J tone" was never used on any level concerning
the "Our Earth's Blood" 7" on Vermiform. In fact
if anything, the "B tone" was used throughout the making
of this material."
+The
most important aspect of Bastard Noise is the equipment used.
Could you give a brief description of what DIY equipment you
use as well as the recording environment on the Alien 8 CD?
"The first 5 years of BN's existence was primarily fueled
by Barnes' ingenuity and brilliance and my inspiration for having
that ingenuity and brilliance heard. When I first met Barnes,
he had already built the tube equipment that Bastard Noise was
to use, and for a good percentage, uses today. When Nelson entered
in 1992, he also brought with him created devices from his own
mind to incorporate into BN's composition. It was actually quite
a lucky fluke to at one point be involved with Barnes and Nelson
collectively in BN. They had known each other years prior and
when we recorded the chemistry seemed perfectly natural. This
was basically the first five years. By today's standards, with
John Wiese in the line-up, I believe we are consciously mixing
both high and low tech formats to give BN indefinite life."
+Most
established noise artistes (Namanax, Lull, Merzbow, Janek Schaefer,
Kid 606) employ ready made instruments like synthesizers and
computer programs. Is the Bastard Noise (and Amps For Christ)
ethic towards DIY music with DIY instruments?
"Prior to 1998 when John Wiese became a fixture in BN, caveman
electronics were strictly used. But with Wiese's inclusion of
a laptop, the custom/ handmade aesthetic is still strong with
the invention of custom software for our exclusive use. Again,
the emphasis in tube powered elements will never dwindle, we've
just added the sonic high tech element to sculpt a new face of
Bastard Noise."
+BN's
noise pieces on "Analysis..." seem to be linear with
each layer flowing into each other smoothly. Is that something
predetermined kinda like a trademark sound?
"On some level it is predetermined because composition otherwise
might be more stifling. If there is any trademark sound to BN's
work, it is purely coincidence."
+I
understand you used field recordings. What were those?
"Actually that is a big misconception. On "The Analysis
of Self Destruction" there are no field recordings."
+"Brotherhood
- Execution Style" is a solo Wood piece on the CD. Can you
give a brief outline on the creative process for that?
"The nearly 8 years of phony brotherhood that existed in
Man is the Bastard was my inspiration. Hard drugs + brotherhood
= brotherhood execution style."
+If
someone wanted to get into electronic music is it important to
have a good knowledge of electronics?
"It obviously can't hurt. The best example I can offer is
Barnes and his Amps for Christ oscillators."
+What's
the best advice you could give to aspiring noise artistes?
"Separate yourself from porn/ bondage."
+Is
the internet part of the mass consumption machine you despise
or does it have a place for future Bastard Noise projects?
"The internet is definitely is a double agent. The individual
user determines how its use helps or hurts. We've used the internet
to disseminate information, which it serves well."
+A
lot of electronic music touches on post-techno. Has that scene
ever interested you ie. employing repetitive (and danceable)
beats?
"No beats."
+You've
worked with Lockweld in the past, what other collaborations or
projects will you be doing?
"A full length BN/ Lockweld will be issued soon by Philosophy
Shop. We are also working on collaborations with Brume, K2, Noisegate.
Also preliminary work on "Our Earth's Blood pt.4" has
begun with additional vocal contributions by Marcelo R. Batista
(Rot), Jan Frederick (Agathocles), Giulio Baldizzone (Cripple
Bastards), and Travis Ryan (Cattle Decapitation)."
+What
would be your ideal BN project- eg. film soundtracks, video,
art installations etc.?
"To do what we are doing already full time."
+In
your spare time are you interested in electronic games consoles
like Playstation or Nintendo 64 (I1m addicted to N64)? And why?
"No, we have no interest in it. Bring back the public arcade!"
+Do
you still keep in touch with the other MITB guys or local power
violence bands?
"Refer to above. (Sorry, but that's the truth.) Power violence
is dead. Anyone claiming the "power violence" description
for their own is cancer."
+The
MITB split with Despise You never happened. Will those songs
ever be released?
"Again, refer to above."
+How
did you hook up with John Wiese?
"Around the time of the initial MoonLanding compilation,
Erik Hoffman (Ground Fault, Spastic Colon) referred us to each
other. The piece "Denied Psychotic Human" was submitted
to volume 2 and at that point our contact grew concerning sound
and recording and we quickly began collaborating together at
my former home in Pomona. The question was raised about joining
and it was a very smooth transition and gave Bastard Noise definitive
new life."
+Is
BN now a permanent duo of yourself and John?
"Absolutely. I can't see any additional personnel added
to BN on a permanent basis beyond John and myself. Collaborative
work will always continue, but we will remain the core of BN's
existence."
+How
was the Japanese tour?
"Koji Tano [MSBR] is the man. On all levels he was organized,
professional and human. We were treated with great warmth by
fans and artists alike which really helped in our extremely fast
paced travels both north and south. Excellent sound everywhere
and respect from the clubs -- what more could you ask for?"
+Do
you have any funny stories from that tour?
"No stories in particular, but there was great fun throughout
the tour. Those around us really worked for us and kept us comfortable
from the time we arrived to the time we left. Especially Koji
Tano, Hitoko Sakai, Kohei Nakagawa, and Yasutoshi Yoshida."
+Did
you learn anything from playing with those Japanese artistes?
"The entire atmosphere of the artists, promoters, venues
and audiences was an eye opener in the realm of what is possible
even in the context of such demanding "entertainment."
Their respect and serious creative work ethic could be unparalleled."
+How
close knit is the American noise community?
"Not at all -- it's every man/woman for themselves. We have
close and quality ties with Groundfault in our local area. Erik
Hoffman has been especially supportive to BN and our agenda,
as well as selflessly promoting the international noise underground
with his label and distribution efforts."
+Is
the new work with John very different to past BN material?
"Without a doubt it is very different. I have been in BN
since 1991 and although our history is filled with numerous memorable
events and times, our work in the last year has fulfilled me
the most. But our Japan tour also assisted in BN's rebirth. We
are just on the tip of the iceberg as far as what we can create
as a duo and for what we can compose in front of an audience.
Really it is just the beginning."
+Is
there any chance of MITB ever getting back together?
"Because of differences in work ethic and honesty, definitely
not."
JOHN WIESE/SISSY SPACEK ~~~))(((~~~~~~~
~Is
Helicopter about introducing listeners to the noise scene, ie.
the Moonlanding series, or is it about releasing records by artistes
you admire?
"The MoonLanding series was meant to serve as a zine. The
noise scene suffers greatly from lack of consistent publications
and means of disseminating informations. Since a good deal of
the work being done is utterly impossible to describe in any
"useful" manner (magazines such as Bananafish provide
an interesting answer to the question of how to write about experimental
music, though I don't think it translates to "effective
promotion") it's seems that getting the work heard in some
capacity is the best way of introduction. Through those compilations
my intent was simply to expose people to artists that I like/
have some connection to."
~Do
you have an overall vision of where you want to take the label?
"I've only had the money/effort to release my own works
so far and I think this is how it will continue in the future.
I have not had the inclination to release something else with
the idea that it will sell well or prosper the label -- Helicopter
is self-sufficient at this point, so that's already more than
I was expecting."
~Is
it an uphill battle to make an impression on people's tastes?
"People's response has been very enthusiastic -- the battle
has lied more in getting the work heard than it has been in making
an impression. In the arena of "experimental" work,
opportunities differ from the conventional band arrangement..."
~What
is the agenda for Helicopter?
"[ do you mean future releases? ] By the end of 2001 I should
be
releasing a new Sissy Spacek CD and a Bastard Noise/ Government
Alpha
split CD."
~Do
you feel you've taken Bastard Noise towards newer directions?
"Bastard Noise has collectively (Wood and myself) taken
it in new directions. Our marriage of diy high- and low-tech
approaches has brought us to new places altogether. With new
members change is inevitable -- I can only try to live up to
the incredible precedents set by Bill Nelson and Henry Barnes."
~How
do you reconcile the marriage between caveman electronics and
laptop technologies?
"Their spirit is the same in that they both come from the
diy ethic. The difference between the programs I am creating
and the oscillators and homemade instruments designed by Henry
Barnes and Bill Nelson is pretty trivial. We work with the mediums
we know but I feel we arrive somewhere that's harmonious."
~Did
you have a prior vision for Bastard Noise or has the sound evolved
day by day?
"I feel our progression has taken a natural course. With
every release we hope to take it further and further "out"."
~What
qualities separates Sissy Spacek from Bastard Noise?
"Sissy Spacek is in essence a musical entity, but focuses
on sound without pretense of pure-music or pure-noise. The instruments
of music are utilized to create an abstraction of their intention
-- though music, the boundaries between original form and "remix"
are often blurred and a collage of musical, non-musical, studio,
live and field recordings are employed to form compositions.
Since the traditional song-form is abandoned, they work on micro
and macro levels -- which is why the s/t CD is suited for straight-through
or random play. A big picture is created out of all the details."
~Tell
us something about Cory Ronnau.
"I first met Cory in high school. Once I caught him with
a dead fish in his pocket. Another time at lunch I put grapes
in his mouth until it was absolutely full. When he bit down a
huge tidal wave of grape juice shot out of his mouth onto himself
and everyone in the vicinity -- I started laughing harder than
I had every laughed before, causing Cory to laugh and almost
choke to death. Cory is one of the smartest people I know."
~Do
you have any opinions about indulging in remix projects?
"Since Spacek operates almost as a "remix band"
of sorts (a band primarily remixing itself), I have thought about
doing a series (possibly creating a new label) that was music
based on the music of another band for each release. It would
be a remix, but also an entirely new work..."
~Do
you want the noise scene to be popular/ accepted?
"It's been said that people are stupid, but a person is
smart, and I've found this to be very true. Any degree of worry
about noise becoming popular or accepted is completely unnecessary.
People will find endless fascination with guitars, rhyming words
and bright colors, but rest assured there will always be a person
out there that will love to be transported right to the edge
of the volcano so they can jump right in."
~Did
you learn anything from the noise artistes in Japan?
"The entire atmosphere of the artists, promoters, venues
and audiences was an eye opener in the realm of what is possible
even in the context of such demanding "entertainment."
Their respect and serious creative work ethic could be unparalleled."
~Isolating
your influences from Bastard Noise and Sissy Spacek, how would
you describe your attitudes to noise creation?
"I am constantly trying new things. The key word -- "experimental.""
~What's
your favorite creative technique?
"By this point I have been through a number of processes
including traditional instruments, contact mics, mixer feedback,
etc. As for a favorite, I would have to say the most recent --
programming, because it is the most limitless and most challenging."
~What
is a Nulenarchenal?
"The Nulenarchenal was device of Cory's imagination. It
was used on several early Sissy Spacek recordings (including
"Nulenarchenalitic Fracture" as found on the MoonLanding
Vol.3 7" and "Corpse of Nulenarchenal" on the
"Collected Tracks" CD, named so after the untimely
destruction of it). Cory has also created other instruments such
as "the Hive"."
~Do
you believe computer software has made it easier for more people
to experiment with noise?
"Sound is everywhere -- no computers needed. The last time
I was in St. Louis (X-mass, 2000) Cory and I collaborated with
Andy Ortmann of Panicsville for a 7". We recorded it in
his mom's basement using only the acoustic sounds of found objects
via a hanging microphone. Objects and their sounds lay dormant
until someone draws them out (magic) -- like dinosaurs in the
ground they wait patiently until their time to rise up and rule
once again."
~Are
you able to distinguish between a good noise record and a bad
one?
"Yes, though contemplating all relativity's is a loop that
makes feedback in my brain. I like to listen to sounds I like
to listen to (sounds I like to listen to) sounds I like to listen
to, etc."
~Do
you believe all noise works should have an intellectual goal
as opposed to arbitrary creation for its own sake?
"Ideas show themselves in different ways -- it's easy to
favor an "intellectual goal" over something that is
"arbitrary", but I don't find much work passing through
my ears that is either or, whether it aligns itself with academic
circles or the underground/diy. Some work should be understood
within a particular context/ concept, others stand firmly on
their own -- and I wouldn't say that one is better than the other
on that level."
~What
do you think of beat dominated electronics like techno or dance?
"Techno and dance music have not particularly interested
me, though I am happy that someone can be successful without
the aid of the ubiquitous guitar..."
~Do
you hang out much with other noise artistes?
"In Los Angeles I am fortunate to have the association of
incredible individuals who use their brains to actually create
something whether it is photography, paintings, design, sound,
or even a record label/ distribution (Groundfault, NuForm) or
art gallery (Freezing Cold). They are the most magical."
~I
notice on your website guestbook that someone has proclaimed
undying lust for you. Do noise artistes have groupies too?
""You know, baby, umm, I really think I've transcended
the boundaries of western musical tradition you know, by focussing
just on pure sound as opposed to the traditionally accepted 'song
form,' so to speak... You wanna make out?""
~Please
introduce yourself and your finer qualities.
"I am a member of the groups "Bastard Noise" and
"Sissy Spacek" as well as releasing/ performing solo.
I have recently graduated from the California Institute of the
Arts. My occupation is Graphic Design and Type Design. I have
lived in Kansas, Tennessee, Boston, Chicago, St. Louis and Los
Angeles. I have been to every US state except Hawaii and Alaska."
~Are
you fully immersed in your projects or do you have time to pursue
other interests?
"I try to immerse myself in my interests. Actually I have
no choice, I've found there is no use resisting. Projects grab
me don't let go."
~Is
that photo on the back of the Sissy Spacek CD typical of your
dress sense?
"Lockweld always seem to have an opinion on my clothes,
but I would have trouble discussing such a thing myself... haha..."
....END
>"1937
Epiphone Banjo Amp" BN, USA 3.5 Mac Disk
>split
w/ Unseen Noise Death BN, USA 7"
>split
w/ Krachgau Lärm Nerv, Darmstadt Germany 7"
>split
w/ Bizarre Uproar BN, USA 7"
>split
w/ Personas Non Gratis BN, USA 7"
>"3
Dollar Date" AIPR, Germany 7"
>split
w/ Nation of Hate BN, USA 7"
>"Our
Earth's Blood pt.3" Rhetoric, USA 7"
>split
w/ Gerogerigegege BN, USA 7"
>split
w/ Hermit New Noise, Holland 7"
>split
w/ Pain Jerk Alternative Tentacles, USA 7"
>collaboration
w/ Outermost BN, USA 7"
>the
R.A. Sessions Riotous Assembly, USA 7"
>split
w/ Locust King of the Monsters, USA 10"
>3
way split "Sources of Power... From Another World"
w/ UND and Bizarre Uproar BN, USA 12"
>split
live w/ MITB Vibrator, Japan 12"
>split
w/ Merzbow Release, USA LP/CD
>collaboration
w/ MSBR BN, USA 12"
>Japan
Tour Helicopter, USA 12"
>split
w/ Spastic Colon PAL, USA LP/CD
>"Analysis
of Self Destruction" Alien 8, Canada CD
>"If
It Be Not True" Vermiform, USA 2xCD
>split
w/ Bizarre Uproar BN, USA CD
>"Symptoms
of a Failing Equalibrium" Freak Animal, Finland CD
>split
w/ Government Alpha Xerxes, Japan CD
>Red
Hurricane BN, USA 3" CDR
>split
w/ Guilty Connector and MSBR MSBR, Japan CDR
>split
w/ Hospital Noise Blugeon, Canada CD
>Selected
Pathways to Undisclosed Planets: Live Manufracture, Canada CD
>Throne
Is Melting Helicopter, USA CD
>split
w/ Hermit Recalcitrant Noise, USA CS
>"Recycled
Music" RRR, USA CS
>collaboration
w/ Diagram A Sound Probe, USA CS
COMPILATION APPEARANCES
>Eric
Wood V/A Fear of Smell Vermiform, USA 12"
>V/A
Audio Espionage Ax/ction, USA 8"
>V/A
Bllleeeeaaauuurrrrgghhh! - A Music War Slap a Ham, USA 7"
>V/A
Fruited Other Surfaces Vermiform, USA CD
>V/A
the Accelerating World PAL, USA CD
>V/A
Noise Net Noise, Taiwan 2xCS
>V/A
Consumed Leg Meat, USA LP
>V/A
MoonLanding Helicopter, USA 7"
>V/A
Release Your Mind Vol.2 Release, USA 3xCD
>V/A
Reality Vol.2 Deep Six, USA LP/CD
>V/A
KFLR Kill Frank Lentini, USA CD
>V/A
Not Without a Fight Fistfight, USA 2xCD
>V/A
Freak Animal #10 Freak Animal, USA 7"
>The
Locust (remixes) GSL, USA 2x12"/ CD
>w/
Sinking Body V/A False Object Sensor Vermiform, USA CD
