Comment décrieriez-vous ce bruit ? How would you describe this « noise »?
Quietschfidel was composed as a Harsh Noise soundtrack to Subrealic’s silent video Millennium Loops. It’s supposed to stand in direct contrast to the visuals, which show people attending street festivals and dancing to music that is obviously very different from the sound that can be heard. I wanted to ask the question: “What would be different in society, social structures, fashion if these people where dancing to this Noise Music?”
Le bruit est-il une notion pertinente dans votre travail sonore ou musical ? Pourquoi ? The noise is there a relevant concept in your sound or musical work? Why?
The general consensus seems to be that Noise Music as a genre is mostly about live performance and improvising, of breaking, or at least existing outside of, conventional musical forms, practices and sensibilities. I’m interested in using the unlimited sonic palette that noise offers in a somewhat more deterministic way, using it to bring a free, liberated, unbiased range of possibilities to more traditional composing techniques. I’m hoping this will enable me to tell original stories, to inspire imaginations in a way that opens possibilities of engagement with listeners and their ideas.
Pensez-vous que l’avenir de la musique se trouve dans les bruits ? Do you think the future of music is in noise?
There’s certainly future musical potential in noise. The experience of noise is relative and subjective; its definition is dependent on culture, period, locality and taste and therefore changes over time. What may have been called noise by a farmer in the past may be experienced as background hum by a city dweller today. But it’s my opinion that some sounds will always be noise and should remain so. The fact that Noise Music can be fun doesn’t mean that it’ll someday be normal to hear it in a lift or the cosmetics section of a department store. When considering childrens’ birthday parties I hope that I’m not wrong.