don haugen

Noise Fest 2018 preview: art of noise

Eugene-based festival extends a century-long experimental music tradition

By DANIEL HEILA

Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. — John Cage.

On Saturday, Eugene’s WOW Hall will tremble, throb, and reverberate with the tweeter-searing, woofer-warping sounds of Noise Fest 2018. The festival, which resurrects itself every year or so, is a day of genre-stretching, noise-based performances that run the gamut from glitch (technology pushed to its limits) to noise pop, No Wave to industrial and post-digital “organized sound” (Edgar Varèse’s definition of his music).

The festival is the brainchild of designer, artist, and noise musician Don Haugen, who started it in the early 2000s when he was associated with the newly formed Downtown Initiative for the Visual Arts (DIVA). The large gallery space at DIVA (now a Buy 2 convenience store) was the scene of endlessly creative expressions of noise in all its guises, including virtual silence, violent caterwauling, circuit-bent sweetness, and rich feedback decomposition.

klowd and Don Haugen at Noise Fest.

A couple of memorable acts from the first festival come to mind: Portland artist Daniel Menche’s foundation-shaking, additive, minimalistic performance, using only a contact mic at his throat, a few foot-pedal effects, and a giant speaker cabinet. Menche ended his set by doing a backward flip onto his bank of foot pedals which he then beat into silence with his fists (he happened to have a fractured collarbone at the time). And IDX1274, a dude dressed in work clothes and a snap back, who dropped an active microphone onto a steel plate and then attacked it with a power grinder.

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