he's a big fan of Italo Disco, and has no truck with the 'noise scene'. I like that. I like the clean-cut, nice clothes image too.
Bennett has a blog called "Afro Noise." On it he recently mentioned a track made by norman william long, a good friend of mine who is an extraordinary sound artist and with whom I've been collaborating and playing shows lately doing live electronics as a duo. Norm's also a fascinating turtablist and DJ, we've DJ'd the same venue off and on for a couple of years, anyway,I love these guys. Saw them for the second time last week, at the Brudenell in Leeds. It was by far the loudest thing I've ever heard, very powerful indeed. The new stuff is good, uses a lot of African instruments and is kinda rhythmic - a definite departure from their early screechy feedback sound.
All that 'get down on your knees, worship my cock' etc S & M chat, minimal lyrics, is the old stuff...they've been off that for quite a while now. Recent stuff has been VERY lyrically dense, alluding to Scientology questioning, NLP and all sorts of stuff...there's a lot to take in, really.
I'm really surprised you don't like em given your taste gek, I just think they rock, it's kinda quite simple. Nothing shocks me so I'm not after that in them, I just like the tones they put together on record. Live they're very funny - Martin's right about the panto stuff. I loved it when they got together with Albini and did all that stuff, even down to the cover artwork which I never normally give a toss about, it was just rock.
You referred to this idea before and I was wondering where Simon says/writes this? I'm not doubting it, just curious. Personally, I don't know much at all about the meaning of "noise" in a UK context (and I've not seen the Wire issue with WH in it) but the suggestion that noise must "offend" doesn't really seem to square with music currently being made under the name "noise" in the northeast USIndeed to reprise the Reynolds idea perhaps noise becomes interesting only when it takes for granted the idea of pleasing an audience, rather than in some real or imagined sense offending some "other".
In "Blissed Out"... Simon Reynolds made the pertinent point that the notion of noise music as being somehow subversive or disturbing was pretty ludicrous when one considered how few listeners would actually stick around to be disturbed...