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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

BASTARD NOISE DISCOGRPAHY

>"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

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