"Been catching up with the reports from this year’s No Fun Fest, both from participants and attendees, and the feeling I get is that it was a pretty divisive weekend, split between the more musically adventurous noise satellites and the more fundamental power electronics hardcore. I even heard some dopes listing Chris Corsano, Sonic Youth, Bardo Pond and Jazzfinger as among the ‘worst’ of the weekend, which is kinda hard to believe and contradicts most of the enlightened eye-witness reports I’ve received. But in a way it’s no surprise. There has long been an anti-musicianship schtick amongst the more cornball noise artists (not to say a depressing anti-success mindset) and anyone who can actually play anything – or even use an instrument to do anything else other than ‘subjugate’ their audience - always tends to get their backs up. In a scene that would appear to reject accepted standards of musicianship - either way – the lowest form of noise dolt always seems to feel threatened by the ‘musician’, which only goes to show their lack of true faith in their own process, not to say the narrow-mindedness of supposedly experimental, forward-thinking artists.

It’s funny (or sorry, it’s not) but this year’s No Fun seems to dovetail with a feeling I’ve had recently, variously signaled, that Noise, as a creatively accelerated period of flux, is pretty much over, with the more interesting musicians withdrawing or progressing into more individual non-generic modes while the latest nth generation literalists combine with the last-ditch recuperation of mindless bottom-of-the-barrel garbage (I mean, Grey Wolves?!? What next, deluxe 4 LP retrospectives from fuggin Nocturnal Emissions? Uh, wait a minute…) in order to retreat back to the same self-congratulatory ghetto that power electronics has been festering in for the past few decades. You only need to put the feelers out and take the temperature of the current UK Noise scene to see what a conservative and artistically redundant prospect it has become, with Noise's prior urge to interrogation degenerating into vile racist idiocy complete with a support system that provides a platform for this kind of mindless trash. Of course there are still a few interesting artists working in noise-qua-noise but it really has become the ultimate loser with a chip on his shoulder schtick. I was always fan of noise music but never a fan of the culture.

So, yeah, I think from now on we’re gonna see a retreat into fundamental noise-isms and the re-establishment of Noise as a ghetto genre on the one hand while on the other a progressive artistic advance out of Noise by the more ambitious artists while it continues to infect new forms. Oh yeah, and loads of new sub-par generic doom/death metal groups featuring noise artists, the other friendless adolescent fundamentalist’s genre of choice.

No Fun 2009 exposed a fault-line that has long run through contemporary noise, one that divides radical and conservative factions, only in the reverse world of noise the conservatives tend to be the ones most associated with a fixed set of ‘extremities’ while the radicals are the ones more willing to incorporate ‘traditional’ modes. I think Carlos Giffoni has consistently programmed interesting festivals that combine classic noise moves with wildcard satellites but it looks like sections of the audience are simply not out for adventure. So let it die."

moze na tom byt nieco, ale ked to vztiahneme spat k telepathe: je tu rec od odkloneni od nihilnojzu k niecomu 'popovejsiemu'. ok, telepathe apod. su vsak na druhom konci spektra imho, odklon od konvencneho popu k trosku nezvycajnejsiemu zvuku. je to experimental len vramci pitchfork univerza, co sa zda byt iny hudobny svet, ako obyva no fun a next.