9/5/2023 0 Comments Devour songs![]() ![]() Or, my personal favorite, Christian Marclay’s 1985 Record Without a Cover, which is just that: an LP of improvisational sound collage intentionally shipped without protective packaging so that any physical damage done to it would augment the recorded piece, which would ultimately make every copy a unique listening experience. Take for instance Tristan Perich’s 2016 masterstroke Noise Patterns, which was released as a pitch-black circuit board inside a gutted CD jewel case, listenable via sideloaded headphone jack. I understand why many noise artists choose to handle their oeuvre like this, the same way I understand why it’s the norm for vaporwave artists’ output to become buried underneath hours of forgotten online recordings from other vaporwave artists the same way I understand how, as Tim Hecker pointed out when discussing the inspiration for his 2011 album Ravedeath, 1972, the Kazakhstan government combats piracy by bulldozing millions of CDRs and DVDs into mountains of literal “digital garbage.” Noise is a genre whose mission statement of pointless chaos, traceable to the societal commentary and aesthetic theories of the Futurists and Dadaists during the early 1900s, is informed not just by the way it sounds, but by the ways its practitioners “create” it and their decisions (or lack thereof) in showcasing it to consumers. Other than Prurient or Merzbow, I can’t think of many noise musicians whose new albums feel like events in the world of independent music rather than churned-out ephemera written, recorded, and uploaded to Bandcamp over a brooding afternoon’s muse. In an endless sea of amateur noise music releases, often distributed on obsolete mediums like cassettes, Margaret Chardiet’s records as Pharmakon are a treat.
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