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Like any other product-making activity, art is in a constant quest for the new, the vanquard, the radical. In a society where the aesthetics are primarily satisfied through the advertisements, the art-consumer or art producer has to pretend a touch of originality, of “breaking-ground” in order to continue with no prangs of conscience with her role. Art has created an illusionary, well protected environment for this reason: within its transparent walls the artist is free to commit the most extreme acts. As long as it is limited in the semantic environment of art, everything is wellcome. Shit, blood, torturing, disembowelment of animals, fucking, are already trivial thanx to the performance artist of 60s — the artist of today has to shock the blunted senses of the market in order to gain his living.
As an immediate consequence most of the artistic movements which tried to critisize/abolish art have become a triviality in the modern art market. One could hope that things would be different for the most liberating, the most connected with the underground movement and the quest for freedom, form of expression: music. Sadly enough she would be wrong.
Noise music — at least in the sense of the late 70s early 80s scene- started as the most extreme form of creation: a direct attack to the mainstream aesthetics and moreover a questioning of the formal roles which imprison both the creator and the listener in standard roles. Now a bit more than 20 years later, noise music is the perfect soundtrack for art exhibitons, the atonal, the un-melodic, the field-recorded, the abstract have become a must for any art student and what’s worse, even the audience of most noise/experimental music events resembles that of a gallery. People to whom the only connection with any sense of radical is their artistic taste, seem to prefer to get bored in noise events than galleries or wherever else boring people with artistic tastes choose to carry about their phoney, decaying selves. And maybe some of them will even shake hands with us, with no prior protection, spreading out their deadly diseases until it’s too late for all of us.
In the last 50 years when the wide spreading of the technology of recording and reproducing made music available to virtually anybody and initiated music as the most liberating and revolutionary form of creation, most of the extreme music movements (like punk rock, psychedelic rock, hardcore etc) influenced and developped bonds with the revolutionary movements of their times. Today, picking up randomly 100 releases from different “pioneers” in the avant-garde/extreme music you could be lucky — as a matter of fact you could consider yourself lucky if you wouldn’t be already bored to death by the complete abscence of meaning which characterises most of the experimental forms of creation but that’s another story- if you found 1-2 with a connection with some political/ underground activity.
In times when the the omni presence of leviathan and its anti-life agents tends to be a global fact, feeding the enemy (cops, judges, art-critics, managers, decision-makers etc) can be lethal. Surrealism, dada and even situationism are cointained in art history books. Extreme, noise, freak music should invent the tools in order to shape a relation with the art world which will satisfy the two key words: avoid or destroy. Or else ..