Claire Cessna on Live Streaming in the COVID-19 pandemic

KITSCH MAGIK -  What's your project name and how long have you been active? 

Claire Cessna - I’m part of a truly ridiculous number of music & noise projects at the moment, but I guess the main three are Niku Daruma, SHAME HOLE, and burnt-feathers. Those have all been active since mid to late 2018. 

KITSCH MAGIK - Where are you from? How did the pandemic effect where you’re living right now? 

Claire Cessna - Pittsburgh Pennsylvania, a gaping pothole of a city but I love it with all my heart. I’ve hardly been out in weeks, so I guess I can’t speak too too much for the outside world, but from what I can tell it seems like half of it is in full apocalypse-preparation mode, while the other half is just trying to push forward continue life as normal. Huh, sounds a lot like my internal monologue lately.

KITSCH MAGIK - How are you doing during this pandemic? Has it made you more creative?
   
Claire Cessna - Well, I’ve definitely been conflicted. The quarantine, plus the uneasy state of the world in general, has been driving me pretty insane in a lot of ways. But at the same time, I consider myself and my family pretty lucky. We still have jobs and we’re doing the best we can to stay on stable footing. And the extra free time has absolutely made me more creative, OR at the very least it’s helped me force myself to be more creative! Although in the past few weeks I’ve surprisingly been spending more time drawing and writing and doing graphic design stuff, instead of just focusing on my usual noisy output. That’s not to say I’ve neglected noise, though. :)

 

KITSCH MAGIK - There has been a sudden peak of live streaming of performances since the COVID-19 pandemic started. Have you watched or played any? What was your experience if you did?

Claire Cessna -  There’s a facebook page called Harsh Noise Support Network that hosts livestream noise shows. Niku Daruma got to play one a few weeks back with Spreaders, JHK, and Many Blessings. It was so much fun! I’m also going to be doing a burnt-feathers set on my friend Teuthis Galore’s youtube show, “Variable Fields,” sometime in the near future. And of course I’ve been watching the shows, too. I love seeing people reach out and do creative stuff from hundreds or thousands of miles away from each other. It helps me remember that there’s still actually a world out there, haha. Keep the shows coming, everyone!!

KITSCH MAGIK - When did you notice people start to organize live streaming events? 

Claire Cessna - Almost immediately! It was amazing. I think I first saw the Harsh Noise Support Network page get posted like 2 days after I started self-quaranting? Or at least, that’s what I remember. Time has been moving so strangely.

KITSCH MAGIK - Why do you think it took a global pandemic for a shift like this to happen? You would think the noise community would have jumped onto this beforehand, right? 

Claire Cessna - I think a lot of people had so much other stuff to focus on. Nobody wanted to make time to watch a noise livestream, even people who enjoy noise. But something like this virus brings about such a radical shift in the way we live our lives, we have no choice but to reevaluate how we interact socially and creatively. When the old pathways get closed off, we find new ways! The internet is amazing for that. I hope the appreciation of livestreaming doesn’t die off whenever the venues do reopen again. But at the very least, this will make everyone appreciate the in-person shows more. 

  KITSCH MAGIK -Do you think that a need to live stream performances has helped the noise community in a way, compared to other genres?  

Claire Cessna - It’s making it easier for people to learn about what noise is, as a concept. The floodgates of exposure are opening. Obviously it’s just a lot more convenient to click a link than to go to a venue. Now, I know “harsh noise” and “ease of access” aren’t terms that typically belong together, but I support getting the word out to more people that could find real value in this kind of thing.

KITSCH MAGIK -  Do you think we are going to see more artists host live streaming events after this is over?

Claire Cessna - I hope so! Especially international acts that I’d probably never get to see otherwise. We should be using technology to our advantage here!

KITSCH MAGIK -   How do you think this will change the landscapes of heavy/noisey acts?

Claire Cessna - I think an increase in exposure will lead to a lot of new people coming up with new ideas for how to explore the vast expanse of sound. Noise is supposed to be unrestrained, but sometimes even noise acts (myself included!) will end up adhering to genre conventions that shouldn’t even be there. So, I’m hoping to see more new faces flooding in and shaking things up, and maybe the noise scene can take a big breath of fresh air.

KITSCH MAGIK -What is the first thing you are going to do after this whole thing is over?

Claire Cessna - I can see it going two ways. Either I’m gonna book way more shows than I can possibly handle and go on tour forever... or maybe I’ll just adjust to the reclusive lifestyle, get lost in a pile of synths and cassettes, and never be heard from again.

Lev Ziskind interview on Live Streaming in the COVID-19 pandemic

KITSCH MAGIK - What's your project name and how long have you been active? 
 

Lev Ziskind - My noise/art/structural music project is called Full Contact Audio. The project started as me making diy guitar effects, then I started making noisemakers as well. Very quickly I started planning to play shows, but the pandemic halted that. In total, I’ve been doing the noise stuff for about 2 years. 

KITSCH MAGIK - Where are you from? How did the pandemic effect where your living right now? 

Lev Ziskind - I am from and live in Philadelphia, PA. We are under shelter in place orders, so many of the shops I frequent to get parts for my art pieces/noisemakers are either closed or I’m nervous to go to a big box store because of the potential amount of people. I see a mass of people not working and that seems to lead to a lot of people going outside en masse. I think a lot of people are looking for something to do and aren’t finding that in the house.

KITSCH MAGIK - How are you doing during this pandemic? Has it made you more creative? 

Lev Ziskind - I have chronic acute depression and it has reared it’s head in certain ways. I count myself lucky to have learned healthy coping mechanisms and that I have a truly supportive group of people around me. Part of the coping mechanisms I apply are to pour myself into a project. This has really helped in this time. Right before the pandemic I started a new art series, and this has allowed me the time to dive in and develop the idea. However, like I said before, unfortunately a lot of the stores where I buy materials are closed. This has both slowed the actually creation of things, but has also helped me to see new uses in things that I already have.

KITSCH MAGIK - There has been a sudden peek of live streaming of performances since the COVID-19 pandemic started. Have you watched or played any? What was your experience if you did? 

Lev Ziskind - At the time I’m writing this, I’ve played three lifestream shows and have two more planned. I’ve watched as many as I can to keep the normalcy of going to shows in my mind. I have also been organizing lifestream shows myself. My experience has been purely good and positive. Every one of these shows that I have booked have run smoothly and successfully, and every other show I’ve played has been equally enjoyable and rewarding. So far I’ve met new people, seen new musics, and have even played a show with someone in Arizona without leaving my bedroom. Being a touring musician it’s the most rewarding thing to meet new people in new places, but to do the same without leaving my house in a truly magical experience.

KITSCH MAGIK - When did you notice people start to organize live streaming events?
  

Lev Ziskind - To be honest, I didn’t notice. The week before Philly officially went into shutdown mode, I live streamed maybe ten minutes of me playing a new noise maker that I created. Within two days we got the order to shut down and I immediately thought about how to keep people from being bored. As well, like I said before, I had been planning to start playing shows as a live noise artist and that didn’t happen. I was really focused on getting the new music and art I was creating out that I just hit up a few friends and set up a show. It went so well, I set up another one, then another one, then another one. By then enough people had seen the ones I had set up and people started to set up their own. So far I have played a live steam show every week, at least once. Again, I don't want to make it seem like I think I’m the first to do this. I just didn’t see anyone do it when I was doing it. But I’m sure that this is bigger than what I’ve done. And I think it’s  necessary that this is bigger than just me in philly.

KITSCH MAGIK -  Why do you think it took a global pandemic for a shift like this to happen? You would think the noise community would have jumped onto this beforehand, right? 

Lev Ziskind - I think that had someone had this idea before it would be just as popular. But necessity is the mother of invention and I don’t think that anyone has needed to do this. The experience of going to a show has always been an important part of the show itself and your experience of the music. Now that we can’t go to shows however, the fact that it’s possible to still see live performances while being in the comfort of your own home is incredibly appealing. I absolutely think the noise community would have glommed onto this if it had happened. I know how much it can be to transport musical gear and noise gear specifically, so the ability to set it up in a comfortable place where you might be able to leave it and come back later is equally as appealing as ‘going to a show’ while sitting on your couch.

KITSCH MAGIK - Do you think that a need to live stream performances has helped the noise community in a way, compared to other genres?   

Lev Ziskind - I think that the live stream performances would help any genre significantly for the reasons of accessibility. I think that his opens up a possibility to ‘go to a show’, not have to pay a door fee, and check out the music for however long you want at whatever volume you want to see if you like it. However, because of noise music’s identifiably harsh sounds and aesthetics I think this helped specifically for the noise community. The idea of paying 8-15$ for some shows to not like one, two, three, or even all of the bands that played that night is daunting and has turned people off in my experience of working at venues. However, a free show that you can watch on your phone for however long you want to seems more appealing when you consider that imposing nature of trying something new for the first time. I see these shows as a changing point for many musical genres; now more bands might live stream a show from their practice space, or solo acoustic acts will stream new songs from their bedroom.

KITSCH MAGIK - Do you think we are going to see more artists host live streaming events after this is over?

Lev Ziskind - I really do. I know many musician friends who play folk/acoustic/country have been doing live stream shows because they only need one acoustic guitar. Same with a jazz musician I know. Many of my musician friends have been giving music lessons via video call, and have even giving some public live streamed lessons where people can ask a question live and have it answered. I see a rise in musicians taking their own space (which is a larger discussion about race, gender, and identity politics in music and art, but I digress) and these live streams only shows musicians doing exactly that. Even if its not a full on four band show, I can see this continuing. Why wait for a show to be booked, or a venue to respond to you, when you can go on your phone and go live to everyone who follows you.

KITSCH MAGIK - How do you think this will change the landscapes of heavy/noisey acts?

Lev Ziskind - I believe that this has the potential to break down the apprehension some people might have about listening to noise. Now they can listen for as long as they want and decide without paying for a ticket to the show if they like it or not. I don’t think this will specifically affect other music acts and genres as much only because I feel like there is a bigger dislike/misunderstanding over noise music.

KITSCH MAGIK - What is the first thing you are going to do after this whole thing is over?

Lev Ziskind - I’m going to go back to work hahaha. But seriously it will be good to be able to go back to normal life. I am currently unable to get materials for art projects and noisemakers in the quantity I used to be able to. As soon as I am able to I will begin producing a lot more art pieces and noisemakers. As well, I’m going to play more shows than I did before. I have an itching to play live again. However I can also see myself continuing to do a lot of live stream shows. I will continue to keep setting them up until people stop wanting them.

Ezekiel Crow interview on Live Streaming in the COVID-19 pandemic

Sean of yuckmouf was one of the first people I interviewed When the whole COVID-19 started to happen. Ive expanded on the questions I'm asking as of right now and doing live zoom streams on this subject. 


please visit KITSCH MAGIK YouTube page for videos!

 https://www.youtube.com/channel/UCSpRau1fEZZWczx2pM5kkBw


 Check out Sean's projects here!

https://yuckmouf.bandcamp.com/

https://ezekielcrow.bandcamp.com/

https://wormtoothmusic.bandcamp.com/

KITSCH MAGIK -What's your project name and how long have you been active?

Sean Bar Rat - Ezekiel Crow is the name I use for solo work, and I also do noise/vocals in yuckmouf., The Mystery Eater, and Wormtooth.



KITSCH MAGIK -How are you doing during this pandemic? Has it made you more creative?

 Sean Bar Rat - I’m doing okay, insofar as I’m still symptom-free and able to work from home. The distance from other people has pulled some good poetry out of me (I think). On Saturday, I’ll be tracking theremin from home for at least 4 different artists, a process I’m looking forward to. 

KITSCH MAGIK - There has been a sudden peek of live streaming of performances since the COVID-19 pandemic started. Have you watched or played any? What was your experience if you did?


Sean Bar Rat -  Yes, The Mystery Eater played a streaming show put together by Lev Ziskind, who plays guitar in Witching and does noise as Full Contact Audio, alongside 18 Slashes and Hallucinogenic Bulb. It went really smoothly. One advantage is that the artist has virtually infinite time to set up their space, both visually and in terms of hardware. 

  On Monday, March 16th, after I found out work would be closing its doors. Darsombra, a psych band from Baltimore, had a vinyl dj night scheduled at Ottobar, which they streamed from their living room instead. While records played, they’d dance, play with their cats and pull out various props they had around the house.

Like a lot of people, I had been feeling anxiety and terror all day, and that totally turned my whole mood around. Darsombra’s been keeping the streams coming, as have Brook Pridemore and Rachel Brooke. Those are the three artists I’ve been watching the most, and would recommend them to anyone.

KITSCH MAGIK -Why do you think it took a global pandemic for a shift like this to happen? You would think the noise community would have jumped onto this beforehand, right?

Sean Bar Rat - It sort of seems obvious in retrospect, doesn’t it? This hadn’t occurred to me either, so I don’t have much to add besides agreeing with the premise.



KITSCH MAGIK - Do you think that a need to live stream performances has helped the noise community in a way, compared to other genres?  

 Sean Bar Rat - Well, I think country and other solo-acoustic artists are also benefiting for the same reasons. With noise though, it’s a niche enough thing that some artists might find more viewers streaming than they would in DIY venues, on a show-by-show basis. In this way, as well as the relative logistical ease, noise is a genre uniquely suited to this moment.

KITSCH MAGIK -Do you think that a need to live stream performances has helped the noise community in a way, compared to other genres? Do you think we are going to see more artists host live streaming events after this is over?



Sean Bar Rat -  I think it’s going to be a mixed economy of streams and in-person events. We’ve all come to enjoy certain aspects of this way of interacting with live music, but I don’t think it’s an either/or thing. The demand for streams doesn’t negate the demand for meatspace events. I think a balance will eventually be struck here.