Agreed. I dont actually listen to a lot of new stuff, just some here and there. I’m quite happy diving thru ole midwest & japanese classics. That said Linekraft is extremely my shit & one of my favourite modern noise artists.
Right now the trend seems to be more about VST’s, anime aesthetics and either super misogynistic torture porn or the complete opposite, ultra woke political trans activism. Then theres the actual tape scene doing exactly the same thing everyone has been doing for the past 30 odd years.
…i also slimmed out my swedish gear to the essentials…takt, tone and m:s had to leave…
but two heats, two ot’s, a cycle and an a4 will stay forever…
never hit a stage without ot and heat, hardwired to the cue’s…
and only next new swedish machine would be the machinedrum meets sid meets monomachine in a digifootprint…anything else they can’t sell to me no more…
thanx to bitwig…
while hell yeah…russian flavour is hardly missing here these days…
lyra was too much talkin’ to whales…
pulsar is too expensive for what i would love to do with it…
but enner will do that trick…for me…
no noise bro here…
but post industrial dub meets kind of melancholic eclectic electric trick pop will eat itself…
defines me since day zero…
This was from a time here when there were noise shows put on by multiple venues and sometimes there were scheduling conflicts, plus a mix of interpersonal issues and not so serious joking around, which included some stereotyping. The “academic noise” vs “noise bro” war is no longer happening here - that’s why I used the past tense. It was funny and dumb at the time.
If you weren’t there, you don’t need to feel defensive about it. If you love to flip the table after your set, keeping doing what you do
I don’t care how much people pay for their gear, but if I’m paying to see a gig, I’d prefer it if they weren’t all doing the same bloody thing with their gear, cheap or not.