VICMOD: Make Noise Interview

Since we're dragging ass over here with interviews, fellow blogger VICMOD is picking up our slack by interviewing the frontrunners manufacturers of the Eurorack format. The latest installment is Tony Rolando of Make Noise. Read it Here. I have one of his wogglebugs coming my way and have no doubt that it'll find a way into my production. Among the flurry of name droppings, he manages to hit mine up:

" Do you like Noise as a genre? Who are some of your favourite artists?

When I was 14, my friend went to California to visit his brother, who had a legendary record collection. He returned with cassette dubs of several albums, one of which he gave to me because, he said, “...it sucked.” The tape had Sonic Youth's “Confusion is Sex” on side A and their “EVOL” album on side B. To this day, I have never been so frightened by a piece of music as I was upon the initial plays of those two albums. My vision of what music could be, and the role of noise within music was forever changed. A couple years later, 1988 I think, I went to a record sale at the library in my town. I bought records like
crazy then, choosing most of them based on the cover art, just trying to find something new in a town that was consumed by classic rock format radio. Sure I came home with a lot of bummers like “Klaatu,” but on that day in 1988, I came home with Morton Subotnik's Silver Apples of the Moon and an even more amazing album called “Electronomusic” by John Pfeiffer! It took me many years to understand how those records were made, and I suppose that is also part of how I came to start Make Noise!

My favorite stage performance utilizing noise came from Keiji Haino. I was 18, visiting NYC for the first time. I read about a show hosted by Thurston Moore, at the Knitting Factory, it may have been one of the early No Fun festivals... This was when the ceiling in the bar was actually knitted! This man stepped on stage wearing all black leather, and playing an all black Gibson SG. He had on black shades too... He played that guitar the way Conan the Barbarian worked a sword! 10 years later I walked through the studio where EVOL was recorded and I screamed into the cavernous, concrete live room. It was awesome to hear the ambience of that album imparted on my own voice! I had just moved to NYC, I had no home, no job and no money. Not much changed for 2 years.

Recently I have enjoyed strange noise from Surachai, D/AA/D and Carlos Gioffoni. I am completely awestruck by Richard Devine's composition “Matvec Interior” from the album “Cautella.” It is noise as electro-acoustic brain massage therapy."

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