Is there a difference between noise and math rock? There shouldn’t be but over time these two genres have become increasingly separate and dissimilar. With borderline pop groups such as Maps and Atlases and Battles spearheading the current math scene and bands like Wolf Eyes or Lightning Bolt defining the other end of the spectrum, the evolution has produced a marked dichotomy of sound. The music still, technically, is not so different. Both genres are still characterized by virtuosic and whimsical performance but there is something surprisingly obvious in its ambiguity that is separating these scenes today and which is still difficult to pinpoint exactly. Math rock has retained the playfulness of its origins. Noise music has ditched whimsy in favor of often dark and contemplative pretension. It’s safe to say that today, in 2011, thirty years after the advent and initial conflation of these two scenes, that both of these genres have pretty well pigeon holed themselves… which is something their predecessors never would have allowed.
There was a time however when the two existed as one. It was Osaka, Japan, in the late 80’s and early 90’s, when everything that was cool in the entire history of rock and roll culminated in one final genre expanding big bang. This was the final moment in the great story of rock in which musicians were able to create things that were literally never before heard. Not that there hasn’t been great original music produced since, modern music is equally important as any classic, it’s just that everything that came afterwards has been appropriation and mutation of previously explored musical construct and texture. Take the Black Lips or the White Stripes etc… need I say more?
But before I completely lose you in reverie, let me get back to my point which is that this is some really important music that I’m about to post up here. Japanese pop music, god love it, has not made much of a dent in the west outside of the bizarre and mystifying universe of anime themes. It’s not visible in our top 40 charts. Conversely, American and European pop is huge in Japan and basically all over the known world. I’m not going to go into why this is but I am going to point out a bit of irony. In 1992, in America, Japanese noise/math rock had an explosion of acceptance as popular artists such as Nirvana touted bands such as The Boredoms, Ruins, Melt Banana amongst others to an increasingly accepting fan base of young Lollapaloozians. Nirvana took the Boredoms with them for what was to be undoubtedly one of the most exciting tours the world has ever known.
..footage from said tour.
This music is the closest any Japanese artists have come to commercial success in the west and for good reason. What they are doing here is absolutely awesome in its context and is indicative of a point and time in music history that will never be repeated.
A rare seven inch that I was lucky enough to track down at Reckless. The entire performance, over 10 songs in under 10 minutes was completely transcribed note for note in the sleeve. Absolutely priceless.
This one’s a tough listen. It is also a compositional and creative masterpiece from top to bottom. I don’t know what else to say about it except for that you should have it and you should listen to the entire thing as much as possible.
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