Every Saturday, we’ll be posting a new illustration by David Lester. The Mecca Normal guitarist is visually documenting people, places and events from his band’s 29-year run, with text by vocalist Jean Smith.
Noting that you don’t fit the stereotype of International Noise Conference participants, how did you become involved?
I’ve never been one for rhythm and counting. I find it weird that some sounds are called notes and therefore “OK” and other sounds are “bad.”
What about noise appeals to you as a performer?
I like responding during, not after. Not even slightly after. Playing this way is like having a great conversation where both people can talk at the same time without the gumminess of words—or notes and time signatures. Mutually agreed on patterns—song structures—can be very satisfying. Like a slice of your favorite pizza. Noise is more like climbing into a huge stainless-steel mixing bowl and slithering around in cake batter while trying to avoid the whirling rotors of the mixer. It is hardly a matter of trying to appear to be cool or capable. Noise is like the sex that I always hoped I’d have, but have not been able to locate because mainstream men in their 50s seem to be more about manipulating, imitating and disappearing.
How should listeners approach the International Noise Conference?
Ideally, in my approach, a litany of simultaneous ignitions override and expel orchestrated antics—which should result in acute listening amongst performers. This lack of pre-configuration puts the audience at the helm of their own experience. Rather than being presented with something built with repetition, it’s more like being exposed to pure, unregulated energy. Listeners may fare better if they abandon anticipating predictable structures—or any structure at all.
None of this is to say that the trio is sexual in nature or that we even like cake (or power).
“Crimson Dragnet,” from Sitting On Snaps (Matador, 1995; Smarten UP!, 2009) (download):
