#New Noise Magazine

[thisisjoy]

[slovenlyrecordings]

Slovenly Recordings is gassed to release the second 7inch and DEBUT LP (!!!) by ANGEL FACE, a super new group featuring Fink (Teengenerate, Firestarter, Raydios), Toyozo (Fadeaways), wild woman skin basher Rayco on the pummel, and a freak who calls himself Hercules handcuffed to the mic! Our favorite new Japanese band has taken Tokyo by storm one live house party at a time, and these two limited edition vinyl slabs are already sought after by those in the know... Snag a copy of each while you can!

ORDER NOW: slovenly.com/artist/angel-face

Read more from New Noise Magazine HERE!

[mikeywayarchive]

Interview transcript under the cut:

PREDESTINED DUO-ELECTRIC CENTURY

PHOTO: JASON DEBIAK

INTERVIEW WITH MIKEY WAY AND DAVID DEBIAK BY ZACKARY MILLER

Electric Century-the musical duo of former My Chemical Romance bassist Mikey Way and Sleep Station and New London Fire mastermind David Debiak-released their debut album, For the Night to Control, worldwide on July 14 following a highly limited physical release of the album with Kerrang Magazine in 2016. "We've been carrying this thing for so long, now to have the opportunity to share it with everybody is a huge relief," Debiak says.

In the years since Electric Century's Inception, pop culture has again proven that there is an immense power in nostalgia, However, from the beginning, Way and Debiak planned to do nostalgia diflerently-not with a reunion or revival, but with something entirely new. For the Night to Control harks back to the Britpop and new wave music that Debiak and Way grew up loving. "When I was really young, I was drawn to the pop songs that were sad," Way says, "the ones that made you feel weird. You didn't quite know how to articulate the feelings at that age."

Way and Debiak have been friends since around the time Way first scribbled the name Electric Century in a middle school science notebook, but the two were never able to pursue music together due to Way's commitment to My Chemical Romance. When the group disbanded in 2013, the two linked up almost immediately.

Though its creation was chaotic at times, discussing the themes of addiction, death, and loss on For the Night to Control helped lead to Way's recovery and allowed him to return to the formative music of both his and Debiak's childhoods. "Every other time I tried to do something with Dave, I was in a fractured state, and now, for the first time in a long time, I'm not. It's a gift," Way says. "It seemed like the perfect time to finally share it with everybody."

"[At the time], things were fuzzy in Mikey's life-and in mine," Debiak says. "Yet, we still managed to pull something off that we can be very proud of." //////

Interview with David and Mikey, New Noise Magazine #34, 2017

Buy the magazine

[icewindandboringhorror]

I've referenced before how I have a big google document to keep track of every media I've ever seen in my entire life (just for reference because I like to track everything possible lol… I am the Data Collector), but recently as I was updating it, I thought of actually evaluating them to find out random percentages (like for example, out of Total Shows Watched, what percentage did I finish vs. stop watching, what percentage did I like or dislike, etc.)...

Evaluating these things is made easier by the fact that I already place everything on each subsection of the list into 6 broad ranking categories, so I don't have to go back and guess to figure out how I feel about them or anything. The categories are: Ranking 5 - overall best* (despite some criticisms of course because I'm too much of an Analyzer to ever find anything Perfect lol) Ranking 4 - more positive than neutral, but not good enough to be 5 Ranking 3 - either the good + bad negate each other, OR it's just not memorable/interesting in any way enough to be ranked higher or lower (this is the Default category ALL things are placed in if no other rank applies) Ranking 2 - maybe a few redeemable elements but largely more negatives than positives Ranking 1 - So bad that it circles around to being fascinating to observe in some way (not necessarily Funny, or Good, but just interesting somehow) Ranking 0 - Bad in a genuinely frustrating or obnoxious manner

*("best" primarily defined here as most interesting, rather than most good in a technical sense, or some other measure. I tend to value more highly whether there's something novel or thoughtful about the worldbuilding, tone, writing, base premise, etc - than about whether it's actually executed perfectly.)

And here's the amount of shows that have so far been placed into each category -

TV shows ~ Rank 5 (highest) - 20 shows ~ Rank 4 (mid-high) - 28 shows ~ Rank 3 (neutral/default/meh) - 114 shows ~ Rank 2 (mid low) -33 shows ~ Rank 1 (low low but intriguingly so) - 14 shows ~ Rank 0 (iredeemably low) - 2 shows

This would make for a total of 211 TV shows overall. However, there are 57 shows within these list marked as "didn't finish" (typically meaning I quit on the very first or second episode - but log them still to keep a record that I at least had a brief view of them).

So my total of genuinely fully watched shows would be more 154. 211 Total, but a More Accurate Total of 154.

Counting them all and using the Total Number Of The List (211) -- that means roughly 9.5% of all total shows I have ever watched (or at least attempted to watch) have been Mostly Good, 13% have been Moderately Okay, 54% have been either entirely Forgettable or some mix of good + bad that lands them right in the Neutral Middle, 15.6% have been Mostly Bad, 6.6% have been Bad (but in an interesting way), and 0.9% have been Terribly Bad.

Additionally, I didn't even get past the first two episodes of about 27% of the total.

Sooo, discounting ones I didn't finish, my total TV shows ever watched in my life would be about 154 (maybe give or take a few, assuming I might have forgotten some from very long ago).

But instead of entire life, let's just say this is the total for 'About 20 Years' (so, not counting very early childhood when I likely wouldn't remember things I saw/have no detailed recollection of them (like for example, I'm sure at some point when I was like 4yrs old I must have seen an episode of Spongebob or something, but I have zero distinct memories of it, can't quote anything of it, and barely recall the premise - so I don't count it on the list, etc.)).

In that case, 154 divided by 20 would be roughly 7.7 shows a year.

Which is actually surprisingly low considering that I often have stuff on in the background for hours whilst I make sculptures and do costumes and stuff (maybe I should have also marked some distinction between 'things I fully paid attention to' and 'things I kind of half listened to whilst sculpting', but that would further split the categories too much probably lol), but I guess a lot of that is youtube videos or random documentaries, so .. eh.. maybe I get it being lower.

Now, doing the same thing for movies-

Movies ~ Rank 5 (highest) - 4 movies (3.4% of total) ~ Rank 4 (mid-high) - 12 movies (10.3% of total) ~ Rank 3 (neutral/default/meh) - 91 movies (78.4% of total) ~ Rank 2 (mid low) - 8 movies (6.8% of total) ~ Rank 1 (low but interesting) - 1 movie (0.8% of total) ~ Rank 0 (irredeemably low) - none in this category (0%)

That makes 116 for a Total (Actually Remembered) Movies Watched In Lifetime (Or At Least In 20 Years).

116 divided by 20 is roughly 5 or 6 movies a year (I feel this has probably been skewed though by adding everything since like elementary school onwards, as I remember a lot more movies from child/teen years.. Whereas, the past 3 years I feel like I've barely seen maybe even 5 movies?? lol). I also have "Didn't Finish" marked on 18 of them. Which means I quit halfway through about 15% of the total movies.

So, a for broader summary stuff..

I seem to be less forgiving to movies than tv shows, by far. Which makes sense to me, I guess, because I love elaboration and details, so "short form" things that only last an hour or two are often lost on me a bit. My biggest complaint with movies is indeed usually walking away just wishing there had been more exposition, more scenes where characters are doing nothing, more "mindless bantering" conversations, more Quiet Downtime and Lore Elaboration and so on lol, so... of course most 1-2hr films end up feeling a bit Not Enough To Draw My Interest/Nothingy to me.

If you count 5 and 4 as "like" and rankings 2 to 0 as "dislike", then for TV shows I at least somewhat liked 48 of them, and at least somewhat disliked 47 of them.. So it's almost exactly the same lol. I'm just about equally as likely to find something bad as I am to find something redeeming about it. But overall, the largest chance is that I just won't really care much for it at all and it will be tossed into the 'neutral' pile, forgotten forever. Movies have a bit better of a balance, "liking" 16 of them, and "disliking" only 9 of them. So I'm slightly more likely to enjoy a movie than to find it annoying - though still VASTLY more likely to just not find it anything in particular, possibly not even finishing it.

ANYWAY.. this is vague and literally pointless, but like I said, I just really find information fun. Like my document where I've rated every apple flavor I've ever tried (like 40 of them now?), or reviewed every oreo flavor (32?), or ranking data from my entire 10 years of Trying To Make Friends process (out of 100 people, roughly 8% chance of a moderate compatibility, 3% chance of high), or etc. etc.. I love to have random pointless things to analyze I suppose lol.

I doubt anyone tracks things in their life in this same exact way, but I'd be interested in hearing any at least somewhat similar data !!! (like, how many TV shows you watch a year on average, and what percentage of those you like vs. dislike (if you keep track of that sort of thing), etc.)). I guess it might be easier with movies, since I think some people use those websites where you curate a list of movies you've seen and you can rate them or something, so maybe the numbers are already available on those places. :0

[depravednotdeprived]

New Noise issue 60

[bitter69uk]

The first time I ever read about seminal New York art-noise band Sonic Youth was in Creem magazine as a teenager in the early 1980s. The accompanying photo depicted the scowling musicians posed menacingly around a car with a smashed windscreen while the article singled out singer-bassist Kim Gordon as “the scariest Youth”, noting her “Germanic voice totally devoid of femininity.” Colour me instantly fascinated! Flash forward to 2024 and – long past the dissolution of both her marriage to Sonic Youth co-founder Thurston Moore and the band itself in 2011 – the now 70-year-old Gordon remains the epitome of unassailable, ineffable deadpan cool. On her challenging and confrontational new solo album entitled The Collective, that bleached, alienated voice cited by Creem four decades ago is gloriously intact. I’m still absorbing the songs (I properly listened to it for the first time at the gym on Friday night), but on “Bye Bye” she hauntingly hisses and whispers what sounds like a “to-do” list (“Buy a suitcase, pants to the cleaner / Cigarettes for Keller / Call the vet, call the groomer, call the dog sitter / Milk thistle, calcium, high-rise, boot cut, Advil, black jeans / Blue jeans, cardigan purse, passport, pajamas, silk …”) over juddering, anxious trap beats. And on “I’m a Man”, Gordon – who’s always loved a feminist diatribe – scrutinizes toxic masculinity (“Pass me a black napkin, please / Dropped out of college, don't have a degree / And I can't get a date / It's not my fault … So what if I like the big truck? Giddy up, giddy up!”). In conclusion: Kim Gordon is absolutely slaying right now and it’s a beautiful thing. Pictured: portrait of Gordon by Danielle Neu.

[dustedmagazine]

Maxine Funke — River Said (Disciples)

River Said by maxine funke

Maxine Funke has been making hushed and lovely songs with guitar and voice for more than a decade. Her songs are the dictionary definition of “less is more.” She strips elusive imagery to pencil-drawn simplicity. A whisper carries soft melodies over translucent lattices of acoustic picking, so that both voice and guitar nestle gently in your ear. And yet these songs are far from slight or ephemeral. They grow gnarly roots in your subconscious slyly and before you’ve really noticed it. Said Doug Mosurock in Dusted of the 2012 disc, Felt, “This is one of those records you’ll have a hard time shaking.”

This latest missive delivers the soft but faintly disturbing songs you’ve come to expect from Funke on one side and some intriguing long-form instrumental play on the other. The two halves of River Said are different but complementary, both water-pure reflections of the natural world (and an adjacent spiritual world), but in different timbres.

The song structured side starts with “Willow White,” a murmured beauty of soft intimations and fluid picking, a serene and bucolic piece with ghosts in the shadows. “A trifle early is the spring/whisper willow whispering,” Funke intones in lucid simplicity, conjuring a riverbank world in sunshine. Yet there are darker, fairy tale elements hovering in the margins, sleepwalkers and nightmare wakers and power lines droning overhead like a beast. Beauty coexists with unsettling archetypes. Later, “River Said,” unleashes eddies and swirls of guitar sound that seem to mimic the motion of water running downhill. An elliptical sketch of a picnic takes shape. Bottles are uncorked, beer is sipped, feet are dabbled in the stream. There is something so clear and simple about the song, and yet it slips in and out of focus.

These are solitary songs, and Funke sings and performs them by herself. “Call on You,” adds an overdubbed vocal counterpart, Funke answering Funke in a delicately gorgeous call and response, “I’m gonna call,” she trills, and then, fainter, like a mountain echo, comes the reply, “Call you.” The beauty of the songs comes in their purity and spareness, yet just this once, you see how ornamentation could fill them out and expand them.

Funke interspersed some instrumental intervals into Silk, layering keyboards and electronics and field recordings in abstract squiggles between verse-chorus songs. Here she explores similar un-song-like textures in two long tracks at the end of the album. You can almost smell the salt air in “Long Beach,” an extended meditation on surf and birdsong that Funke embellishes with subtle clicks and rattles of percussion and long crystalline organ tones that roll in and recede like the waves. “Oblivion” natters and scrapes with bowed tones, a cello apparently, but mussed and scratched to illegibility. Slowly a rhythm emerges in quick, overlapping swipes, and birds twitter, en masse, in the rafters. Funke adds some vocals in the second half of the cut, first intoning, then singing fragile lines about obsidian and sea lions. It is quite beautiful, in a shadowy, dream-haunted way, though you can never really get a firm grip on what it signifies.

Both the songs and the noise compositions have their merits—though I prefer the songs—and both distill natural energies into unruffled reflecting pools of sound. Both will calm you down, but also, if you let them, disturb you. These are gorgeous landscapes with sketched in trolls and demons in the margins, hard to see but showing their teeth.

Jennifer Kelly

[neomachine]

bro i need to hear raygun tackle those kurt cobain screams on scentless apprentice so bad

[avomagazine]

Every week, we bring you a treasure trove of captivating music videos from lesser-known, new and intriguing Japanese artists who deserve your support! Join us on this extraordinary musical journey as we shed light on the artists who often go unnoticed but leave an unforgettable impact. We also maintain a YouTube Music playlist!

This week we highlighted music videos from:

🍙 xiexie 🍙 くしゃみ。。 (Kusyami..) 🍙 LOT SPiRiTS 🍙 Dead By Inches 🍙 Barbican Estate 🍙 Sezyo 🍙 QUINCAMPOIX

Since 2020, AVO Magazine has been publishing a list of seven music videos by Japanese artists in various music genres (from pop to rock to metal) that we think you will find interesting!

Enjoy the music!

[crewdlydrawn]

This article is gold.

“If you can’t run a company ethically, you shouldn’t run it at all,” said Reich, whose progressive views on business and inflicting psychological torment on Brennan Lee Mulligan are widely known.

GOLD.

💔

[slovenlyrecordings]

DESTROY ALL GONDOLAS / G​​​Ū​​​TARA KYŌ split 7" reviewed at New Noise Magazine!

"Admittedly, I had never heard of either of these bands. But when the revered label, Slovenly Records, breaks tradition with its first ever split seven-inch after 250-some releases, I—along with the rest of the world—pay attention. Venice, Italy is the obvious home of Destroy All Gondolas, led by Wasted Pido. Their track, “Death By Hamburger,” is a barrage of furious riffs and feedback with blinding speed in a psyche garage punk whirlwind. The band had an LP in 2017 and an EP in 2015. Popping up on Slovenly with a new blistering track in 2023 is sure to find the spotlight. The song is chaotic mayhem until about halfway through when it descends into a surf-laden, sparse echo chamber of a reverb-drenched headfuck.

Gutara Kyo hail from Kobe, Japan. While slightly more restrained and discernable, the psych-garage of the Japanese ‘60s modern day ferocity and hostility is appreciated in this updated sound. Gutara Kyo’s B-Side is undeniable in its severe rocking despite only exhibiting two short tracks in under three minutes. Both embrace the signature sound of Slovenly. “Revolving Hell” drives with an abrasive stomp while being energetic and boldly infectious. “Just Gotta Do It” boasts a brash, alarm like repetitive guitar line. I love the drum sound on the tracks. The guitars are caustic and loose. Two glorious tracks here."

[seronefada]

The Ghost sucks at haunting.

Tim is annoyed, he moved in a new apartment. And it's hunted, he could possible deal with that, but this ghost must be the worst poltergeist in history.

He doesn't let books fly around. He usually tries to read them and gets angry. When the books get to complicated. Then he throws them.

Plus point for not throwing Tim's comic.

Does not let's plates and stuff flow around, just brings them in Tim's room when he didn't clean them.

Except for the time Tim got hurt on patrol and was really tired, the ghost did them himself.

Sometimes makes strange noise. Nothing creepy just strange. Turns out sometimes Tim just hears him play with something. Most of the time self build rockets.

Ghost doest not attack his gaming equipment. He plays with them while Tim is out. This ghost even made his own saves.

He named his save files: totally not a ghost.

He took Tim's credit card and made an subscription to a space magazine.

Tim is pretty sure that's one of the worst ghost ever. It's just a roommate who doesn't pay rent and borrows all your stuff without asking.

[depravednotdeprived]

New Noise Full of Hell Flexi

[dustedmagazine]

Last Light — A Bridge Over the Lagoon (Carbon/What Lies Beneath)

A bridge can provide a path from one place to another, but it can also be a means of suspension. If you match title to sound-induced association, A Bridge Over The Lagoon acts more as the latter; at a minimum, it’s auditorily faithful to an environment in which nothing happens fast. It is the debut LP of Last Light, which comprises Ben Spiers and Dean Brown.

The two men are New Zealanders who transplanted to England in 2008. Spiers has recorded under his own name and with Anthony Milton, Campbell Kneale, and 1/3 Octave Band; Brown performs as Little Skull and has been part of Nova Scotia and Negative Eh. Despite each of them having been known to each other prior to their synchronous shift, and despite both having been involved in music both prior to and after their respective migrations, they didn’t get around to collaborating until the middle of 2023, when they convened for one day at Witney, a town near Oxford whose municipal website boasts of its stunning countryside.

If geography is a prompt, it’s safe to suppose that Spiers and Brown spent little time looking out the window while they recorded. This LP’s six tracks are about as anti-bucolic as an automobile graveyard whose contents have been rusting away since the lead was taken out of gasoline. They range in length from 2:20 to 18:14, but each imparts a sense of stasis that immune is palpable change. Both the tooth-drilling electric guitar and the buzzing electric organ on “Hills Turn Black,” for example, shift in pitch, the one moving up while the other descends and vice versa. But their constant adjustments in proximity feel less like a representation of change than a demarcation of a zone that contains movement, but never lets it leave.  And while “A Gulf Of Lions” is an undeniably active slugfest between feedback tones, there’s no resolution, no escape. The players might as well be gladiators doomed never to leave the stadium, no matter who wins.

None of these statements are critical; rather, they celebrate the fact that Last Light scales a peak that most would never look at, let along climb. A Bridge Over The Lagoon is an heir to fellow New Zealanders Surface Of The Earth and RST in their treatment of abrasive, electric sound as raw material to be formed into rough but very particularly selected shapes.

Bill Meyer