Hiroshi Hasegawa / Leid-Linie – Hiroshi Hasegawa / Leid-Linie


Hiroshi Hasegawa / Leid-Linie – Hiroshi Hasegawa / Leid-Linie CD Cipher Productions 2016

For any long term readers of noise receptor journal, it is abundantly clear that straight up harsh noise is not a big part of what I listen to and write about, so please excuse any technical faux pas on my part (…and on with the review).

Hiroshi Hasegawa (he of other recognized Japanese noise projects Astro and C.C.C.C.) leads off this split album and features a single 21 minute piece psychedelic noise maelstrom.  Although clearly to be filed under ‘noise’, this is far from being HNW, given it is far more complex and dynamic in approach.  Elements of screeching/ creaking junk metal, children’s’ voices, church bells and straight up static are fed into a sonic blender and treated with a heavy dose of echo and reverb to creating wildly varied sound.  An immersive quality is generated from is wildly lurching sound which cuts from moments of relative calm to sections representing an all-out noise assault.  Sonically the mix is extremely loud and crystalline, including lots of micro tonal detailing, cut up textures, whipping static and rabid vocals towards tracks end, but also retains a sense of direction and purpose in its execution (I am not sure if ‘psychedelic noise’ is the correct reference here, but it certainly jumps to mind for me personally during more than one moment).

As for Leid-Linie’s half (a solo project of Sascha Mandler), it features 4 tracks spanning 17 minutes in total, with the recordings spanning from 2009 to 2013.  In general the approach remains to feature rabid, spitting textures, high speed cut ups and high tones static which spew forth as a cascade of harsh static, but like the first half these are juxtaposed with calm retrained moment to generate a complete sense of depth and dynamics.  Some of the underlying elements have a grim and caustic ‘post-industrial’ tinged sonic aesthetic, which means Leid-Linie’s side is less ‘psychedelic noise’ than Hiroshi Hasegawa’s offering, although the final track from 2013, with its panning high speed cut ups and pulsing structures does certainly push close to that sound.

Although I doubt that harsh noise will ever become a main focus of my listening habits, I can certainly appreciate there is a degree of unbridled ‘elation’ when choosing to fully immersing oneself, and for that reason alone this album has been an enjoyable experience.

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