Linekraft – Apocalypse Factory + Liberated Treatment Area Of Bedlamite CD/ MC Aussaat 2017
Linekraft is the solo project of Japanese artist Masahiko Okubo but rather than being of a ‘Japanoise’ type, this is raw noise from the industrial end of sonic expression. Appearing to be predominantly derived from rough and ripping junk metal sources, it is assumed the material has been further edited and mixed in a studio setting. Apocalypse Factory is the latest album and is the eleventh release since 2008.
The only material I have previously heard from the project is the Bouryoku Kikai CD from 2012 (reviewed here), with Apocalypse Factory being an effective continuation of a partly composed and partly improvised approach. Each of the seven albums tracks is between four and eight minutes in length, and providing ample variation within an experimental industrial noise style. Apocalypse Factory-1 is an early album standout with multitude of elements including pulsing loops, squelching noise and chaotic sonics which are highly detailed and engaging in its tonal layering (and elevates to nastier intent through the middle and late sections). For variation Polluted Body includes slightly off kilter programming and jumbled dialogue samples, while Public Bondage is another noteworthy piece which flits between wonky loops, burrowing noise and pounding industrial structures.
Liberated Treatment Area Of Bedlamite is 10 minute bonus cassette, limited to 50 copies and only available directly via the record label. Featuring a single track (repeated both sides of the tape), sonically it slightly deviates from the sound found on the parent album. With reference to the title, the word ‘Bedlamite’ is an archaic English word for a lunatic or insane person, and fits nicely with the sonics on offer. Musically speaking it is a sprawling, murky yet overblown mass of sound with semi-buried junk metal clatter, while a deep rhythmic pulse provides depth and cavernous/ windswept atmosphere.
Although Apocalypse Factory leans towards a rough and raw approach rather than a clean and composed sound, it is still not harsh noise by any stretch given it effectively sits at the mid-point between industrial and noise. Displaying a high degree of experimentation in its delivery of raw and energetic industrialized noise, from this description alone it is assumed you will already know if this is likely to be to your liking. But certainly Linekraft embody a sound and approach where you can literally hear both the obsession and commitment of the artist.
Le Syndicat Faction Vivante – Morceaux De Choix CD Aussaat 2017
By virtue of the project’s name the direct relationship with the long standing French project Le Syndicat should be clear. Likewise with some further sleuthing it reveals that Ruelgo (…currently the only permanent member of Le Syndicat), has been joined by Saphi of another French project Nocturne (…but even then it is still not clear as to whether this pairing is for this album only or on a more permanent basis, or whether his joining is the reason for the slight moniker variation).
To speak of its sound and style, personally I do not have a clear appreciation of Le Syndicat’s rather extensive back catalogue (…extending back to 1982), thus I can’t say how this new album generally compares. Yet from direct listening it can be deduced ‘Morceaux De Choix’ is rooted in a general amalgam of experimental, noise and industrial styles. The promo sheet further indicates that a particularly studio process referred to as ‘reflex piloting’ has been used in album’s production, which: “integrates the loss of control and the surprise of generative errors, creating new unexpected sound forms”. Noting this statement provides a brief explanation of the creative process of recording, it provides some clear cues as to how the album sounds. Equally the final results seem in part to emulate a style and approach derived from a much earlier era of experimental industrial noise music (…meaning the 1980’s from a time where sub-genres where far less defined).
With its mixed sonic approach, the tracks meander and swing wildly between moments of calm and chaos, where the overt layering of sound elements provides a high degree of complexity to the material. Selected tracks follow atonal rhythmic industrial approach (…formed around pounding and manipulated programmed beats); while other pieces feature fractured higher pitched ‘needling’ elements and panning stabs and slashes of distortion; and yet others employ fast paced and disorientating sonic cut-ups (…which embodies a sense of creative control, despite these looser and jagged tonal elements). As for the sound production, it has achieved a sharp and clear sonic palate, and with its forceful and clinical edge it at times articulates a type of ‘mad sonic professor’ vibe.
With 10 tracks spanning the best part of an hour, this is an interesting concept but based on my own sonic preferences which does not extend to being a ‘noise connoisseur’ I am not likely to return to on a regular basis, thus this release is best suited to those who lean towards an appreciation of controlled and occasionally frenzied dynamic noise (…with more fleeting industrial and experimental type sonic textures).