Visual and Conceptual Elements
Many noise rock groups have a confrontational performance style which mirrors the aggression of their music. This reaches back to The Who and Jimi Hendrix, who were famous for destroying their instruments on stage, and Iggy Pop, of the Stooges, and Darby Crash, of the Germs, who lacerated their bodies in a spectacle comparable to the performance art of Chris Burden and Vito Acconci. Acconci was also a significant inspiration for no wave. Some performers, such as Black Flag and the Birthday Party, for example, also physically assaulted audience members, on occasion.
1980s noise rock musicians tended to adopt a Spartan, utilitarian mode of dress following the hardcore punk ethos and in partial reaction against the more ostentatious elements of punk fashion. Steve Albini articulated an ethical stance that emphasized restraint, irony, and self-sufficiency. The Butthole Surfers were an exception in their desire to dress as bizarrely as possible. Several bands also made public reference to drug use, particularly LSD (Jimi Hendrix, the Butthole Surfers) and heroin (the Velvet Underground, Royal Trux). Many contemporary noise rock musicians, such as the Locust, Comparative Anatomy, and Lightning Bolt, have a very theatrical mode of presentation and wear costumes. Some bands incorporate visual displays, such as film or video art.
Read more about this topic: Noise Rock
Famous quotes containing the words visual, conceptual and/or elements:
“Nowadays people’s visual imagination is so much more sophisticated, so much more developed, particularly in young people, that now you can make an image which just slightly suggests something, they can make of it what they will.”
—Robert Doisneau (b. 1912)
“The dominant metaphor of conceptual relativism, that of differing points of view, seems to betray an underlying paradox. Different points of view make sense, but only if there is a common co-ordinate system on which to plot them; yet the existence of a common system belies the claim of dramatic incomparability.”
—Donald Davidson (b. 1917)
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)