Interview: SeattleNoise.org

What is noise music?

There isn’t an easy way to define what noise music is. I like to think of it in terms of what people use to make music and sounds that are outside of “normal music”. There are even some people who don’t even consider what they do music. To me, there’s a sort of range of music that could be considered noise, but it can vary whether or not someone chooses to apply that label to what they perform or not. A lot of “free improv jazz” or experimental music from jazz performers may fall into this noise category, even though the people who make that music may not use the term noise.

Pathogens is a clear example of someone who makes noise. Typically people use guitar pedals and contact mics in unusual ways to extract interesting sounds.

Seattle Noise covers a broader spectrum of experimental music beyond noise music. How do you decide what makes the cut?

In 2018, I started attending shows at least once or twice a week, often with an intention of looking for whatever I found interesting and experimental. I follow my ear for the most part. For a long time I didn’t really know many people, but over time I have met more people both who are creating noise and other musicians who are connected to each other.

Each week I review show calendars for venues both for shows I personally want to attend that are not noise and also links to various people and promoters who organize shows that fall under the broad category of noise / experimental. People also send me shows via DM or email.

How long have you been running Seattle Noise, and what motivated you to create it?

I launched it in January 2023 as a way of sharing the shows I am personally interested in, but also to make suggestions for others who are trying to find events that are outside of mainstream events. Before COVID, when the Stranger was in print, they would select certain shows as “Stranger Suggests”. I consider Seattle Noise a super specific curated weekly show list, as in if you are interested in noise and experimental music, this is where it is happening.

Running a calendar show list is a challenge. I link to other folks who are also running a social media page or show list site on my Explore page. There are a number of reasons motivating me to publish every week, both for archival purposes but also to help promote shows to people who might not otherwise see them. Promoting music events can feel like you’re shouting into a void, never really sure if you are reaching the right people.

What’s a musician or artist in your scene that you’re particularly excited about right now?

I’m most interested in hearing new musicians who I haven’t heard before. But if I had to pick one, I would choose Friends of the Road, an experimental drone folk band heavy on strings, drone, and free improvisation. They played an incredible set this year at Cascadian Midsummer, a camping music festival held in Pe Ell, WA. There will be some winter shows coming up; the best way to keep in touch is on their label Drongo Tapes.

Have you learned anything surprising or interesting in the process of curating Seattle Noise?

I’ve seen other people do show lists but it’s easy to become burned out by doing it because social media is a thankless job and you never know if you are really reaching the right people. I’m reminded of a quote from Jorge Luis Borges: “What I’m really concerned about is reaching one person. And that person may be myself for all I know.”

This is who I think about when I make my weekly show suggestions. That one person could be me. I’m also interested in building community and connecting people.