Blog #11
I am going to blog about the chapter 10 readings regarding noise music and Merzbow by talking about an experience I had making a noise piece. David Kerschner and I recently embarked on a quest to make a noise piece. We had no idea where to start so we looked at a few different noise artists, mainly Merzbow. Within the reading, the text states that “in noise music there is no endpoint or ultimate moment.” I wasn’t completely aware at first but upon finishing the piece I realized that at no point in time did we ever mean to put something in a particular spot, or at a particular time within the piece. There was no ‘ultimate moment’ for anything to happen.
I am going to blog about the chapter 10 readings regarding noise music and Merzbow by talking about an experience I had making a noise piece. David Kerschner and I recently embarked on a quest to make a noise piece. We had no idea where to start so we looked at a few different noise artists, mainly Merzbow. Within the reading, the text states that “in noise music there is no endpoint or ultimate moment.” I wasn’t completely aware at first but upon finishing the piece I realized that at no point in time did we ever mean to put something in a particular spot, or at a particular time within the piece. There was no ‘ultimate moment’ for anything to happen.
Another quote from the text states that “Merzbow’s music make a form so complex it no longer is a form, and makes it out of junk.” I loved reading this because the whole time we were making the piece I asked myself what it sounded like? Does this make sense? Will it sound good? Does this work? Once I reasoned with the idea that there is essentially ‘nothing’ I have to think about when making the piece, I really started to like it! My point is that noise music is very random and allows you to put a lot of ‘nothing’ into something and end up getting a nice reward in return.
Playlist
Earshot- “Wait”
Filter- “Cold (Anthem for the Damned)
Tool- “Right In To”
Chevelle- “I Get It”
Dream Theater- “Finally Free”
