Noise Is Fun!, by Carnival De Carnitas

Noise Is Fun!

by Carnival De Carnitas

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1.	Intro 00:40	info	buy track
2.	Edelweiss 01:13	info	buy track
3.	Breathe 01:06	info	buy track
4.	Sink 01:38	info	buy track
5.	Sheer 02:13	info	buy track
6.	Communication 00:55	info	buy track
7.	Transmission 01:26	info	buy track
8.	#! 04:35	info	buy track
9.	Ambient 01 side 01 46:06	info	buy track
10.	Ambient 01 side 02 45:55	info	buy track
11.	Ambient 02 Side 01 44:36	info	buy track
12.	Ambient 02 Side 02 28:39	info	buy track
13.	Ambient 03 side 01 46:01	info	buy track
14.	Ambient 03 side 2 31:05	info	buy track
15.	Ambient 04 side 01 45:48	info	buy track
16.	Ambient 04 side 02 45:48	info	buy track
17.	Live on WHPK 01992 January 01, first set 13:56	info	buy track
18.	Live on WHPK 01992 January 01, second set 11:22	info	buy track
19.	Live at the Hothouse '94? '93? 10:16	info	buy track
20.	Happy!! 25:51	info	buy track
21.	Practice says the tape 47:53	info	buy track
22.	In Between Tracks 40:38	info	buy track
23.	H-Gun mixes says the tape 13:36	info	buy track

about

Once upon a time there was a noise band featuring Bridgette Wilson and !N!
Not much of their musick remains. Here is what we have found over the years. Each individual track has its own history on its page, if we remember it...
Tracks 1-7 are from the various artists CD

The NOW Sound Of Chicago's HOT Wicker park

released in 01994, documenting the diverse musical styles happening in the Chicago neighborhood at the time.

Track 08 is from H-Gun labs comp CD, Antimatter.

Postscript 02022 October:

while digging through old cassettes to see if we had anything from a dear friend, we discovered several CDC artifacts we did not know existed. You can now hear

Ambient 1
Ambient 2
Ambient 3
Ambient 4
Happy!!
&
Live on WHPK

in all their early 90s glory!
The Ambient releases were cassettes in handmade wood boxes, editions of 23.
Live on WHPK, was never released, to the best of our knowledge. CDC performed and a friend recorded it on the radio for them. Who knows who else heard it. How fucking weird to find it thirty years later!

Also, here is the text of the only interview/review that we know of:

Carnival De Carnitas Capitalizes on Art of Noise
By Eric Puls October 15, 1993 Publication: Chicago Sun-Times
Page: 6 Word Count: 425

Demo-Listen reviews recent do-it-yourself releases by Chicago area
bands.

So you say you've heard of the power trio. Well, meet the power tool duo.
"My primary drill," says !N!, "is a Skil 3/8-inch 6225 VSR. But the chuck on it is destroyed so no bits will stay in. Lately, I've had to use back up drills." !N!, ageless, and his collaborator Bridgette Wilson, 25, do noise. They forge soundscapes, recording and performing under the name Carnival De Carnitas ("It means nothing, De Carnitas was just a cool word we saw in a shop on Western," says !N!).
!N! wields a power drill and Wilson augments the sound with a homemade string instrument plucked and scraped by a "plectrum," a piece of threaded rod.

"This isn't pop music," says an unironic !N!. "We are influenced by Stockhausen and John Cage and Ingram Marshall. Fred Frith, Einsturzende Neubauten, and early Severed Heads are about as `rock' as we get."

Carnival De Carnitas' demo cassette brazenly bears this out.
"Peyote"/"Happy" are two 30-minute blasts of unyielding sonic ooze, marked by turbulent whirring and ghastly feedback. Clearly, not everyone's cup of tea. "Running into people who like noise music isn't an everyday occurrence," admits !N!. "Bridgette and I met due to our common interest in film and video. We were grousing about the expense of those interests when she perked up and commented on the Illusion Of Safety tape that was playing. We found we both dug noise and decided to make our own. Bridgette lived in a loft and behind it was a yard filled with abandoned metal parts and motors and filing cabinets filled with transistors. We began assembling our own instruments and then plugged in the electricity."

The two year-old group is now manipulating more dulcet tones, however, as well.
"We're going to play a show that is dominated by my winding up of several music boxes and small mechanized toys. They'll reverberate off of a surface that is contact mic'ed and that sound will be enhanced by Bridgette and a viola or two. It's very quiet music."

Carnival De Carnitas plays the Czar Bar, 1814 W. Division, on Oct. 21 in a show billed as "The Wall of Noise."
A new single, "Crash!"/"Burn!" will be available in November on the Terminal Projects Group label.
Contact the group at 1573 N. Milwaukee, No. 422, Chicago 60622.

Date: October 15, 1993
Page: 6
Copyright 1993, 1996 Chicago Sun-Times, Inc.

Perhaps a curious note, perhaps not:

To the best of !N!'s recollection at the time when the interview was published, none of the quotes were actually things he said. His recollection is that they were all bullshit paraphrasing to lower word count. (Admittedly, he can be an abstract, indirect speaker, probably a short column in the local entertainment section nightmare.) He was particularly irritated, as he and Bridgette knew exactly what Carnitas were. They were in a Mexican restaurant in Little Village enjoying some from the big movie popcorn style carnitas cooking/warming machine when they decided to name the band Carnival De Carnitas. The name reflected their belief that it was time for noise to move past its adolescence of outrage and transgression; to recognize and celebrate the inherent fun in the creation of noise. They intentionally adopted carnivalesque, playful imagery, wanting their work to help push noise away from the misanthropic (and often misogynistic), violent, apocalypticism that so often noise presented. Anyway, the name was very intentional and !N! was very irritated.

!N! was so angry that he swore never to do another interview. And he hasn't. Now he reads this with us, and we told him he sort of is that pompous, and he acknowledges that perhaps he did say those things in that way and was really just pissed because of his deep self-loathing. He hopes that is not the case, though.

credits

released February 17, 1992

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The Museum of Viral Memory Eugene, Oregon

A lifetime in noise & experimental stitched to the last 100 years of electroacoustic, ecoacoustic, concrete magique

Improv jazz come unpinned from time

Conceptual music built from field recordings

Sound art for dreaming, drifting, disappearing

Ritual magick, slow to cast; slow to coalesce

Invocations unintended for human ears

Music in geologic time

Aureality for the non-conscious mind ... more

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