Canadian noise in decades past

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Bleak Existence
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Re: Canadian noise in decades past

Post by Bleak Existence »

was making PE in 97 for around 10 years with World Downfall & around 07 i started Bleak Existence HNW (Bécancour,QC)
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Tribe Tapes
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Re: Canadian noise in decades past

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keraunograph wrote: Sat Feb 04, 2023 10:19 am W.A. Davidson/Songs of the New Erotics (Toronto)
The Infant Cycle (Hamilton, ON)
Not 1/2 / Skeletal Remains (Calgary)
Violence and the Sacred (Toronto)
A few of my favorites from this era of Canadian noise. From my recollection, Violence and the Sacred seemed to have been fairly esteemed during their cassette culture heyday. I remember reading an article in Electronic Cottage that favorably compared them to larger-scale noise "ensembles" such as The Haters or Big City Orchestra. They even recorded a few collaborative tapes at one point with the aforementioned Not Half / Allan Conroy.

Speaking of, Al Conroy is still quite active from his corner of this world. Flirted with experimental gabber / extratone recordings during the mid-aughts and beyond. Now, he's looking to get back into the taped noise scheme of things. Not to self-plug, but Dead Hound Records was kind enough to release a more recent collaboration the two of us worked on.

PS: A lot of people tend to forget GX / The Haters originally hailed from Canada too...
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Tribe Tapes wrote: Tue Feb 07, 2023 3:36 pm
keraunograph wrote: Sat Feb 04, 2023 10:19 am W.A. Davidson/Songs of the New Erotics (Toronto)
The Infant Cycle (Hamilton, ON)
Not 1/2 / Skeletal Remains (Calgary)
Violence and the Sacred (Toronto)
A few of my favorites from this era of Canadian noise. From my recollection, Violence and the Sacred seemed to have been fairly esteemed during their cassette culture heyday. I remember reading an article in Electronic Cottage that favorably compared them to larger-scale noise "ensembles" such as The Haters or Big City Orchestra. They even recorded a few collaborative tapes at one point with the aforementioned Not Half / Allan Conroy.
They were definitely a college radio favorite in the day, appropriate as their approach could in some ways overlap with the "experimental" radio collages that were no less popular. Personally, at fourteen years old I was probably in love with the voice of St. Deborah (how could I not be?), whose wonderful readings would often grace the recordings. This one's great, nicely captures the vision cum madness of Thus Spoke Zarathustra. And this here's a more recent much more minimal beaut. I think their single greatest opus is Suture Self, which ventures into more synthetic territory without sacrificing the divine weird and twistedness of the project, and which I can't for the life of me find anywhere in digital form (the video for which it is a soundtrack does I think occasionally pop up on youtube), but is anyway still widely available on discogs.
Last edited by Joie de la Blumpy on Sun Feb 12, 2023 3:33 am, edited 1 time in total.
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Probably getting some distance from noise-noise, but Mr Hamilton's nice list covers a lot of bases.

Talking people released on Robert Olver's seminal Freedom In A Vacuum, we may be remiss in leaving out Order Of Canada recipient Michael Snow, whose sound work has ranged from pure experimentation to sound poetry to quite sublime ethnic documentation. On Continuo's site, Robert Olver drops by in the comments to offer this nugget (excerpted from a lengthier comment),
One issue we needed to discuss arose from the fact that the original recordings were in one-channel mono. This didn’t bother me in the slightest, but it seemed to send everyone I played it for nuts. I thought that was pretty good for a laugh too, but in the end I could foresee too many returned cassettes and boring conversations about them, of the sort wherein you explain 100 years of art history by way of assuring someone, usually not very successfully, that their tape isn’t defective. We didn’t want people to feel ripped off and we thought they probably would if we released the cassette in its original form so we remastered it to two channel mono, which is what you hear on the tape as released. I did the remastering digitally at my house; John Kamevaar was there too.
Robert Olver ran a short-lived shop called HyperMedia at which he'd lovingly introduce wonderful artists like The Gerogerigegege, playing choice cuts that might spark interest in the likes of teenage me- "Hey, check this out: Boys Don't Cry, nyuknyuknyuk," thus to permanently cement the Toronto-Tokyo-Anal-Dynamite connection, at least in my impressionable head.
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Re: Canadian noise in decades past

Post by keraunograph »

Joie de la Blumpy wrote: Sun Feb 12, 2023 3:28 am Probably getting some distance from noise-noise, but Mr Hamilton's nice list covers a lot of bases.
Well, as a friend of mine used to say, all music is noise, when you think about it.
Talking people released on Robert Olver's seminal Freedom In A Vacuum, we may be remiss in leaving out Order Of Canada recipient Michael Snow, whose sound work has ranged from pure experimentation to sound poetry to quite sublime ethnic documentation. On Continuo's site, Robert Olver drops by in the comments to offer this nugget (excerpted from a lengthier comment),
Indeed - would have included him but he's pretty well known... left out obvious people like Knurl for the same reason.
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

keraunograph wrote: Sun Feb 12, 2023 12:20 pm
Joie de la Blumpy wrote: Sun Feb 12, 2023 3:28 am Talking people released on Robert Olver's seminal Freedom In A Vacuum, we may be remiss in leaving out Order Of Canada recipient Michael Snow, whose sound work has ranged from pure experimentation to sound poetry to quite sublime ethnic documentation. On Continuo's site, Robert Olver drops by in the comments to offer this nugget (excerpted from a lengthier comment),
Indeed - would have included him but he's pretty well known... left out obvious people like Knurl for the same reason.
Well, I needed some excuse to post the Olver quote.
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Re: Canadian noise in decades past

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Does anyone know who was behind Caustic Tapes? The 'Caustic Showers' comp from 1986 was maybe the last artefact of its type to be published in Montreal - tape compilation with some local Montreal people (Catharsist, Cultic Scrypt, QRN and a few others) as well as Die Form, Merzbow, Giancarlo Toniutti and Due Process and artwork by Philippe Fichot.

The really classic Montreal-released comp of the 80s was 'Cadavres Exquis' by Chimik Communications - again, a pile of mostly disappeared locals alongside P16.D4, Nurse With Wound, Legendary Pink Dots and Human Flesh amongst others. (One of the great things about compilations back then was the diversity... you really didn't ever know what was coming next. Would be nice to see that spirit revived.). And then Freedom in a Vacuum's first comp LP from '87 is one of the all time greats but ironically no Canadian artists present at all!

I see Catharsist and ...Of Tanz Victims both have Bandcamp pages now so there are definitely some old timers still alive and well out there.
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Re: Canadian noise in decades past

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Joie de la Blumpy wrote: Sun Feb 12, 2023 10:25 pm Well, I needed some excuse to post the Olver quote.
Amazing that Robert resurfaced.
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Re: Canadian noise in decades past

Post by Buried_slag_debris »

Not sure if Frazer Hall / blackhumour is still in Canada? or how active he still is.
Didn't see anyone mention him yet in this thread, just GX from the same era - but a lot of his old releases had a Vancouver PO Box, or live recording info from Vancouver, etc.
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Brian Ruryk certainly needs to be mentioned, guitar noise dada extraordinaire since the 80s and still going strong, still burying tapes in obscure places for the chosen few to dig up by luckful chance. I remembered him first as Deadlines, as in the memorable college radio hit record A Tongue In Someone Else's Cheeks, no doubt played as much for the wonderfully shite fi sounds as for the opportunity to announce the album title.

Nice little interview here.
19. What is your favourite colour? Justify your selection.

I'm not happy with any of the colours I've seen yet. I am looking forward to seeing some new ones soon.
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Re: Canadian noise in decades past

Post by Trash Stratum »

A couple more outstanding Vancouver folks to add:

Seagull
Burrow Owl

Seagull has (almost?) all of their discography downloadable at https://smokefilledcasket.tumblr.com/

... and yeah, I'll second Coastal, Sick Buildings, and Flatgrey.
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Re: Canadian noise in decades past

Post by moozz »

Jake Vida is Canadian as well. He released harsh noise under his own name and also as Remlap which was more in the HNW territory. He also ran Pointless Blank Rec.
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Re: Canadian noise in decades past

Post by adult human »

moozz wrote: Mon Feb 20, 2023 4:50 am Jake Vida is Canadian as well. He released harsh noise under his own name and also as Remlap which was more in the HNW territory. He also ran Pointless Blank Rec.
Really enjoyed his 'Culling the Dead' cdr on Long Long Chaney which I bought blind when it came out alongside a Family Battlesnake release on the same label. Really dynamic but LIVE feeling and not overly hifi.

Here's an edit from that release. I'll need to dig out the real thing at some point. https://www.youtube.com/watch?v=OBRORenyALM
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Re: Canadian noise in decades past

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Buried_slag_debris wrote: Thu Feb 16, 2023 11:21 pm Not sure if Frazer Hall / blackhumour is still in Canada? or how active he still is.
Yeeeeeesh. Last I know of blackhumour was when he played the first Wooden Octopus Skull Pfest in 2005. I thot he lived on the US side somewhere around the Bellingham area, but cld be wrong. And that was a while ago.


Burrow Owl was fantastic. What was her name? She was nice.

I just saw some instagram clips this morning, Flatgrey played a show somewhere. Flatgrey sets always floored me. Harsh composition. 😃
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Re: Canadian noise in decades past

Post by Happiness, forever »

Also, can we talk abt the greatness of Griefer!! every set i’ve seen, all the recordings = AWESOME!!
Are the “elites” 😝 not so into it cuz the projects focus is on nerdy computer hacker stuff 🤓 so the fraternities of PE people aren’t as into him?? Do PE people have fraternities? I imagine their keggers cld be fairly wild.
Ha! Funny.
But I digress:
GRIEFER // Ron // !!!
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Re: Canadian noise in decades past

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Joie de la Blumpy wrote: Sat Feb 18, 2023 5:10 am Brian Ruryk certainly needs to be mentioned, guitar noise dada extraordinaire since the 80s and still strong
Love Brian's packaging. One I have is just a bank envelope ATM-booth-style, crinkled with a picture and wrapped tightly around the cassette with elastics. Very simple yet effective.

Happiness, forever wrote: Mon Feb 20, 2023 7:33 pm Yeeeeeesh. Last I know of blackhumour was when he played the first Wooden Octopus Skull Pfest in 2005. I thot he lived on the US side somewhere around the Bellingham area, but cld be wrong. And that was a while ago.
Be awesome to hear some new stuff from blackhumour. Regional Bears had a release out in 2017 - recordings from 09.
I don't know much about his Canadian connection - but figured he belonged on this thread too.

Happiness, forever wrote: Mon Feb 20, 2023 8:00 pm Also, can we talk abt the greatness of Griefer!! every set i’ve seen, all the recordings = AWESOME!!
Griefer is awesome. Saw him play in Halifax in 09 or 10 (I can't remember exactly) - great set, and super nice guy too.
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Re: Canadian noise in decades past

Post by 33033 »

Ron has held it down in Victoria for so long. Had him open a Mitochondrion gig back when. Griefer is and was stellar.
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Another champion of the long gone persuasion: Dethfuk. Active mainly mid-late 90s as far as releasing shit, but said to have been in it for years. The gentleman responsible was also behind a short-lived label called 7HZ which released split-collabs with Odal, Flatline Construct, SICKNESS. Quite the character, quite the sense of the humorous, often to drop deadpans along the lines of I was doing noise when you were still in diapers! He also played together with a project I have seen naked. Nice little interview here.
As for the name it is very open to interpretation. I like the way it sounds…Death & Fucking! 2 of my favorite things.
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Re: Canadian noise in decades past

Post by Brian O'Blivion »

Greenmist is a Canadian artist who was fairly active from 2005-2011 and worked with labels such as RRR, Chocolate Monk, Turgid Animal, and others. Toured with Wolf Eyes, collaborated with John Olson on a Green Palace release, which came out on American Tapes. A few years later, he was one-half of the Canadian noise band Slime Street, who did a fantastic split with Evil Moisture in 2013. An unreleased Slime Street full length is coming out later this year on Disaster Sources.
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Re: Canadian noise in decades past

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yullowteef wrote: Sun Feb 26, 2023 10:17 am Greenmist
Good call! Though I know his stuff cos he was living and playing in the UK right as I got involved with going to shows and checking out what was happening underground here. Still have a bunch of his tapes and should revisit some time. This would be a good project for the drugs thread too. Dallas' stuff stinks of weed. Didn't know anything about Slime Street and will need to check it out. He also used to do a guitar noise project called Terminal Outputs.
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Re: Canadian noise in decades past

Post by Lead Lozenges »

This may be of interest to folks:

What about me?: The Rise of the Nihilist Spasm Band

https://www.youtube.com/watch?v=uppcF4lCTyU
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Re: Canadian noise in decades past

Post by WCN »

K.M. TOEPFER needs to be mentioned. He’s been putting in work as POTIER. for years but his recent stuff under his own name is some of the most inspiring harsh noise of the past several years for me. Icy, alien textures presented in a way that’s both austere and chaotic. Way under appreciated.
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Lead Lozenges wrote: Fri Mar 03, 2023 11:26 am This may be of interest to folks:

What about me?: The Rise of the Nihilist Spasm Band

https://www.youtube.com/watch?v=uppcF4lCTyU
So you think the CN Tower is the tallest free-standing structure, what about me?
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Joie de la Blumpy wrote: Thu Mar 09, 2023 10:02 am
Lead Lozenges wrote: Fri Mar 03, 2023 11:26 am This may be of interest to folks:

What about me?: The Rise of the Nihilist Spasm Band

https://www.youtube.com/watch?v=uppcF4lCTyU
So you think the CN Tower is the tallest free-standing structure, what about me?
I'm grateful to you Mother Canada

M is for the Many things you have given to me
O is for the Other places I don't want to be
T is for the Times you've shown you're always on my side
H is for the Happiness that fills my heart with pride
E is for the English that is our only official language
R is for Elizabeth Regina our queen

C is for the Cretins around us all like sand
A is for the Amplifiers that you gave our band
N is for the Nihilism on which our band is based
A is for the Anus of the world
Sorry, I always stop there...

More classy at least than talk of making a living licking shitholes and fucking Eskimo up the asshole.
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Re: Canadian noise in decades past

Post by Joie de la Blumpy »

Not sure I ever reposted this from that first time back in '98, but here it is cause why not:

The Nihilist Spasm Band is a phenomenon best seen to be believed.
Doubters got their chance to become believers on Saturday when the
Forest City Gallery, in conjunction with the Ontario Arts Council,
presented the second instalment of Canada's "first ever noise
festival."

First? Perhaps. The first to feature the King of Noise himself,
Jojo Hiroshige/Hijokaidan, in his Canadian debut. The first to extend
over two days. The first to present such an eclectic assortment of
auricular luminaries: from Chicago electro-acoustician Hal Rammel to
New York underground fixture Thurston Moore to Toronto harshead Alan
Bloor (AKA Knurl) to Chicago minimalist Alan Licht. The first, in any
event, to seriously rock my ass.

You wouldn't expect to hear music at something called the No
Music Festival and fortunately, expectations were fulfilled. Jojo
Hiroshige set the tone - that would be one no-holds-barred megablast
of pure raucous guitar squall - and together with The Nihilist Spasm
Band and "surprise" guest Alan Licht delivered, as promised, no music
at all.

Well, I'm exaggerating. Quite a lot of music was getting played
-- you just couldn't hear it beneath all that infernal racket.
The evening opened on a surreal enough note. First a nervous
spokesperson for the mayor of London got up in front of the
not-quite-sold-out crowd of 200 or so and delivered a vaguely
prepared speech, thanking the Nihilist Spasm Band for helping put
London on the map. She may even have believed it at that. Then a
rather more enthusiastic Ben Portis (esteemed organizer) did his bit
to smooch noisehead hiney and extend thanks left and right. Finally,
a soft-spoken Jojo gave a little prepared speech of his own. "Noise
is difficult to understand...Noise is beautiful...It gives us
images..." Pause.

KABLAAAOW! Ten minutes, fifteen, twenty? A distinct interval of
time passed. And it was loaded. Loaded with awesome, face-blistering
whiteout. Deep in the cesspool we call the International Noise
Underground, the dirt on Jojo is that he doesn't quite live up to his
lofty title. Time to move on, old king, and relinquish that crown to
more deserving up-and-comers. Clearly these people are joking. If
tonight's performance was any indication of Jojo's usual mode, that
crown ought to be welded onto his close-cropped pate.
Three words: total aural saturation. I was getting images all
right. Images of bliss and grandmaul seizure. Half the show is Jojo's
manic, epileptic, gesturing at unseen forces. The other half is the
custom-noiseguitar-based air-particle implosion. A constant state of
scathing, accelerated, metallic static. From where I sat, most of the
audience seemed to be getting something out of it, if not complete
understanding. But frankly, Jojo bellowed as the next selection
kicked into gear, "I don't give a damn!" after which followed a
non-stop volley of incoherent verbal invective. Trembling with rage
and the images in his head, it wasn't long before the King had worked
himself up to an almost religious fervour, first invoking the demons
within (you have to scream really loud so they can hear you back
there), and then casting them out with a blaze of glorious
fuzzscrape, wringing his hands in spiritual ecstasy. At last he was
joined on stage by Junko, Queen of Noise and Hijokaidan lead
screecher. The two served up a comparatively muted duet which
showcased Junko's unique vocal talent for peeling paint with the kind
of visible physical exertion one normally reserves for sipping a nice
cup of tea. God I love that voice!

The Alan Licht school of No Music was up next. Pulling out an
electric guitar, a delay pedal and a smattering of lesser toys, the
poker-faced Alan simulated three minutes of crunchy crankshaft
avalanche. Inevitably, and perhaps necessarily, it all caved into
long, shimmering dronefest special a la KK Null. The perfect
opportunity for aural recuperation and you can bet my ears were
paying attention. Somewhere along the way, time disappeared, but it
couldn't have been longer than 20 minutes.

Finally, the main event. Spewing mock seriousness and goodwill,
the deep-voiced Bill Exley - a dead ringer for Santa Claus in his
trim years - presented the Nihilist Spasm Band without so much as a
hohoho. Covering such hit classics as "Stupidity," "I have Nothing to
Say" and the ever popular "No Canada," NSB proved that not only were
they the first noise band, but probably the first grindcore band as
well. While Mr Exley gave his best Napalm Death-meets-Pavarotti
impersonation the rest of the band did their best to turn Canada's
First Noise Festival into a free-jazz hillbilly hoe-down. Individually,
each contributing member did not produce all that much noise. But add
the "bass" (a three-stringed two-by-four) to the "violin" (AKA Pratt-a
various) to the various species of "guitar" to a set of drums and the
world's biggest kazoo and you got yourself one enormous cacophony of
competing sound. Every so often, the cacaphony would dissolve into
moments of inspired improv, punctured by occasional bursts of helpless
laughter from members of the audience (I couldn't help myself). Other
times the sheer force and density of the aural mass would simply
overwhelm the senses.

The Spasm Band's set ended with a series of Spasm Jams featuring
most of the billed artists from both instalments. Highlights included
an impressive dose of crackling guitar scree from the ubiquitous
Thurston Moore, a jazzed up drumming routine from the charming Aya
Onishi (of Osaka punk band Sekiri), a bowed whiner from the ingenious
Hal Rammel and his half-guitar half-iron-maiden monstrosity and of
course, the mighty King of Noise.

But the evening wasn't over yet. Not by a long shot. Now came
the fun part. Mr Exley invited everyone (space permitting) to attend
Interplay II, wherein all the artists from both No Music instalments
got a chance to mix 'n match styles and obsessions in a tiny basement
dungeon with an equally tiny wooden platform that doubled as stage.
Each brief performance seemed to be organized on the fly, but that
didn't rule out the possibility of truly inspired combos. First up,
the next generation of Spasm Banders, including the virtuosic
son of the late Greg Curnoe (one time Spasm member) among other Spasm
kids. Things get a bit hazy after that, as something approaching
twenty different jam sessions followed. Memorable moments include an
Alan Licht/Jojo-propelled guitar explosion of massive feedback-
drenched squawk and a Thurston Moore/Junko/Aya screechfest-banshee
Blue Murder-a-thon. Junko's shrieking fits did an equally good job
drowning out the acoustic violin antics of Terri Kapsalis, as did
Jojo's torrential jetengine tests to a frustrated Knurl and his
malfunctioning amp.

Knurl got his chance for redemption in the final session when
about a third of the festival performers were called up to fill the
stage to over-capacity. Erm. Let's see. John Boyle on three-bell
kazoo, John Favro (Murray Favro's youngster, by popular demand) on
cheap-o synth and voice, Alan Licht, John Clement and Thurston Moore
on guitar, Knurl on contact-miked fireplace grate, and two more guys
whose names elude me on drums and guitar respectively. The assembled
group turned out over an hour of beautifully dense, thunderous
blowout, complete with about ten false stops and fifteen shifts in
focus. Yes there was music going on in there, but I don't think
anyone really minded.

No closing speech, appropriately enough. I think the noise
pretty much spoke for itself.

sodomy non sapiens,
J
---
"I am 28 years old, I enjoy a quiet life and hate noise of all kind."

-- Bill Exley/The Nihilist Spasm Band (1967)
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