Professional Documents
Culture Documents
DIY Worldwide
DIY Worldwide
Last September, I went to a noise festival high volumes. The performer on the floor abraded
unapologetically organized on the anniversary of the cinderblock with the handsaw while the other
9/11 in my home neighborhood of East Austin. It manipulated the output from the contact mic,
hosted a logistical clusterfuck of a bill featuring over blasting low end that was simultaneously deep
50 acts from across America set to play during the and abrasive. As the performer with the handsaw
course of one night, impressively curated to include, thrashed around with it in her bare hands with her
just to name a few, B L A C K I E, Guerilla Toss, legs exposed, she opened up a considerable stream
SSLEEPERHOLD, Dreamcrusher, Future Blondes, of blood that spread out in splotches where she was
Xander Harris, and Sobering. Midway through sitting.
the show, a two-piece act set up: one member was This spectacle transpired at a place called
perched above a briefcase full of pedals on a table Club 1808, a bar with an open kitchen, owned by a
and the other set up a cinder block and pulled out a black family that had been in the neighborhood since
handsaw with a contact mic fastened to it, the cord the start of Austins population boom about twenty
disappearing back into her band mates pedal board. years ago. That they opened their family-run bar
This duo goes by Roy Wrenat the time, out to Austins prolific noise booker Johnathan Cash
on tour from their respective homes in Richmond is totally incidental: it was not because they sought
and Baltimoreand they proceeded with a short, the self-immolating catharsis of noise music that
improvised exploration of piercing textures at they hosted Johnnys shows again and again. The
6 ADHOC 1/4
truth is that Johnnys shows have a strong following Though the cohabitation between the noise
MAX PARROTT
When said owners turned on the lights after the show down.
Roy Wrens set and were confronted with a puddle The ethics of the situation are a jumbled mess.
of blood on their floor, they were understandably It could equally be argued that hate speechhere
dismayed. The woman in charge of the kitchen in the form of a racial sluris on one hand, an ill-
sprinted over with screaming protests and bleach in judged taboo worthy of investigation, and on the
hand. In that moment, tensions flared. Johnathan other, not the appropriate domain of an artist from
Cash told me later, The owner was not concerned the class that typically propagates that speech. This
about anyones safety, he just came up to me and was is certainly not a new conversation in the realm of
like Johnny, if a cop were to come in here I would noise performance. Anyone who has tried to wrap
be in trouble. What Joan Didion said in The their head around the misogynist provocations of
White Album about her Hollywood neighborhood Brainbombs or Whitehouse gets trapped in a similar
in the late 60s was true about this scene at 1808: rock-and-hard-place scenario between dissecting
It was anticipation of imminent but not exactly satirical intentions and defending hate speech.
immediate destruction that lent the neighborhood its Value judgements aside, its undeniable that such
particular character. The landscape of 1808s block conversations will cease to exist in Austin without
is a tight grid of working class-inhabited one-story spaces like 1808 where art can defy etiquette.
bungalows, separated from the downtown high-rises Following its closing, Jonathan Cash expressed his
by Interstate 35. The desirability of this side of town plans to scale down the amount shows he books
among University of Texas grads and other millennial under the ATX Noise banner over the next few
transplants has ballooned in the last fifteen years, months.
inflating the property values of these would-be blue Beyond the more niche realm of abrasive art,
collar homes at an alarmingly fast rate. the past six months found Austins prominent DIY
7 ADHOC 2/4
venues closing their doors. Sect One held shows every That SSLEEPERHOLDs techno-futurism can
MAX PARROTT
expectations of a typical bar venue. The deeper distinct from the power-electronics-centric fare of
an artist delves into shock like Roy Wren or crude Sux By Sux West, but theyre quite different from
perceptions like Lisa Crystal Carver, the harder it each other: Total Abuse tends to write aggressive
becomes for them to get booked by a bar looking for dirges skewered by feedback while Spray Paint has
cordial, milquetoast entertainment aimed at drawing developed a dissonant tuning system that defines
in passers by from the street in order to sell a few their erratic style of composition. What the bands
more drinks. share are lyrics centered on a cast of societal outliers
Aesthetically, most noise shows in Austin ranging from murderers, addicts, perverts, and
tend to be esoteric. While Johnathan Cashs ethos sadists, all folks unable to resign themselves to
for putting bills together values an outr spirit in the social contract. The popularity of the social
opposition to a specific set of rules about how to misfit narrative stems from the association between
approach music making, one of the acts on Holodeck countercultural self-development and the tendency
Recordss roster, SSLEEPERHOLD, is a distillation of counter-cultural types to decline into degeneracy.
of the rage and relief therapy Ive come to crave Both the decision to make outr music ones life
from an ATX Noise show. With the project, Jos work and the forms of nihilism that these two bands
Cota marries the sinister refinement of midi- tend to document are linked by the impulse to flout
sequenced synth hardware with the noisy clattering conventions.
of tape manipulation. Live, Cota EQs his snares high The age of SlackerRichard Linklaters
and dirty enough to give the sensation of a smack to portrait of Austin as a city without a professional
the back of the head, blasting them over driving bass orderhas passed. The rapidly rising cost of living,
arpeggios that snarl and contort in timbre, at once the unprecedented population growth, the growing
heavily mechanized and immersed in chaotic noise. density of corporate interests, and a booming
8 ADHOC 3/4
tech sector are all forces that are incongruous of many corporate-funded South By South West
MAX PARROTT
There is a p o i n t w h e re t h e
urban dan c e o f exo t i c fo o d
trucks and fa s h i o n a b l e
cocktails c e a s e s t o
express in d i v i d u a l i t y, a n d
begins to re f l e c t u s a s
targets of m a r ke t i n g a n d
b u siness s t r a t e g y.
10 ADHOC 4/4