LINEKRAFTLinekraft by: Mikko Aspa, translated by Takahiko Yokoyama
2010-2011
What is the main differences of Mothra and Linekraft?
-When I started Linekraft, my first aim is to do more recordings than Mothra. For Mothra, live performance has first priority and sound sorce is just the documantation what Mothra is/was at that moment. While working with Mothra I wanted to record well-constructed mu- sic. Now I spend more time for recordings.
As I perform alone on the stage, I represent myself ( way of think- ing, my personality) quite well.
Linekraft blends in some "traditional" japanese noise ele- ments, but also refers towards european industrial sounds. What is the history of your project and how did you come to conclusion of starting Linekraft?
-For my music career, I want to do things like industrial music in 80s i.e. E.Neubauten, Swans and SPK. Not so called Japanoise. Until now I have met great Japanese noise musicians,listened to their music and attended their performances. They have great influence on me. I think Mothra really sounds like 80s bands, but Linekraft is under the influence of Japanese noise music. In Japan there are great noise acts like, MSBR(MAGMAX), PAIN JERK, GOVERNMENT ALPHA, INCAPACITANTS, DISSECTING TABLE, GRIM, HANATARASH, Hijokaidan, SOLMANIA. They all have an impact on me. By the way, my first live experience of noise music is Masonna.
You seem obsessed in using metal objects, hammering the physical sound etc. What is the interest in sounds of metal junk?
-I think my first impression is an E.Neubauten's video tape. It was like tearing down buildings. Quite surprising to me. I started using metal purcussions before Mothra and continued to use them in Mo- thra. The more I used metals in my music, the more difficult it is for me to use METAL in my music with impressive way. I talked a lot with members and thought how to use it in our music. "Using metal with impressive way" is my obsession. I am completely obsessed with metal and think hitting metals with my whole strength is important for my live action. So I put all my energy (both physical and spiritual ) and hit metals. But, on the other hand, I am interested in Vivenza who uses metals with very cold atmosphere.
I remember some years ago we discussed and you told that you don't want to use any pre-recorded sound on stage, but only real time physical noise. Why is this? What is your feel- ing towards playback and computer use etc?
-My impression for European Power electronics/industrial bands is, it is important for them to make structured sounds/music. Using recorded sounds is good way to do that. Moreover it is very difficult
to play them live I suppose. So it is OK to use them on stage. I think they are different from Japanese way that is basically improvised. Personally I think it is dull to see noise live performanceone only one guy looking into PC monitor and clicking mouse and that's it. I wont say using PC is wrong in this genre. It is how people use it. I use both (recorded and imporvised) sounds in my performance. I think I was rather new to noise music when I talked to you.That is why I gave you that immatured comment.
In live gig I saw Linekraft collaborating with Government Alpha and at one point happened noise created by contact microphones connected into body, and feedback & noises resulted of movements of body. You have interest in tran- formation between human and machine?
-Yes. Surely, I am interested in such a thing and want to express my interest through my gesture. If it is possible, I would change my arms and legs to machinery. It gives me more possibility to represent my wish. For someone it seems to be insane, I assume. I have an interest in 80's cyberpunk and its future story.
What you think of cult movies from Japan like TETSUO? Do you see any similarity to your themes & interests in Linekraft?
-Yes, I have seen it before. Really impressive one. I felt his tremen- dous obsession with metal. Rather than giving/having some mes- sage, it is just a movie for METAL,METAL,METAL,AND METAL. He loves metal so much that metamorphosed his humanity into metal. I have seen another his stuff "Bullet Ballet". It features some mad guys. One punk guy says in this movie, "What will we do tomorrow? I bring a nailed like hell baseball bat with me". I like this line. Both movies give influence on LINEKRAFT.
Often I have heard western industrial/power electronics people criticize japanese bands for lack of content in the material, where interest is mainly in making sound, and not in expressing something more. Do you feel noise should ex- press something specific or perhaps only channel energy?
-I express my individual thought/humanity in my pieces. I want to make "the sound that represents some specific humanity". That means MY humanity. This is only my guess, but I think Japanese tend to have the tendency to regard silence as virtue. So if they had some thought they want to say, they show it just in sounds rather than making it clearly listenable.
There has been kind of "uprise" or "new wave" or more PE/ industrial sounding japanese bands some years ago. What is your opinion on Der Menz, Inconoclasm, Eretha, Noi- seuse,...?
-They do very well. It is really encouraging for me to see they (in- fluenced by european guys, I suppose) are coming into the "scene". They all seem to elaborate studio recordings. That is different from other Japanese noise guys who play noise with improvised way. I think it is challenging and good.
Perhaps highest profile release yet is collaboration/split cd with Government Alpha. How do you feel of this release? Does it cover well your style?
-From last year I have talked with him about live collaboration. He also suggestes collaboration recording with GA. I am not familiar with collaboration style, so it is good chance for me and I have to be thankful for him. It takes one year of making this split cd. 1st song Death Behind and 4th Cancer are the newest ones. They represent our one year concentration and hard work. Also my planned intention to new era.
Is the recent split tape on american label first Linekraft on western label? What is your feelings of this release?
-I also released a tape on Canadian small label, Wintage Tapes. I don't have any other releases done at western world. I put two live materials in this cassete. Sound quality is rough and so good, but I think it gives you what Linekraft like in live performance.
Wintage Tapes WRT-71 "Tann Itsu Kikai"
What can you say about older Linekraft releases?
-I have released so far...
*2008 Threeplugs Records PLUG-005 LINEKRAFT "The Man Who Was Plugged In" CDR
1st CDR of Linekraft. Metal plate is bolted to the case. I tried various way to make this CDR. Maybe harsh noise oriented. Sold out.
*2009 XERXES FOCD001 V/A Frequency of Decomposition Vol.1 CD One piece for Government Alpha compilation. Piece with sounds of gasoline engine.
*2010 XERXES ESCD0012 Government Alpha+Linekraft "Gloomy Rust" CD
*2010 WintageTapes WRT-71 Linekraft "TANN ITSU KIKAI" (TAPE)
Often I have seen you have t-shirts of patches referring to hc/punk. What is importance of this kind of musical inter- ests for Linekraft? Have you played in punk bands?
-In the year 2000 ( when I started Mothra ), I joined Hardcore punk band ARMENIA as a basist. We made one album and played some gigs. It sounds like Metal Crust, under influence of Discharge, Ame- bix and Antisect. Coldness/grimness of these bands influenced me a lot.
How do you see political motivations of many western punk bands work from Japanese perspective? Socialism, anar- chism, pacifism, vegetarian etc.? Do you think it's suitable to mix similar themes into noise/industrial sound? Suitable to mix punk & noise bands for same gigs?
-I think punk music and noise has some common aspect. Of course music itself is different. It stems from musicians' mind. Punk guys go outward, noise guys go inward. I am interested in punk music/spirit as anti-totalitarianism and its rejection of dominant control from out- side world. I don't think all the people must belong to some ISM. I think they all want to go forward with their guts. So if some noise musician represents his thought with his music ( with more vague way than punk guys ), it is quite interesting thing to let them play at the same gig.
You are a active as organizer of live shows. Sometimes peo- ple think Japanese "scene" is big, due many world famous groups, but in reality noise seems very small phenomena. Does it seem strange worldwide known bands local gigs would only attract 20-30 people in one of biggest cities in world?
-I dont know about Finland, but generally underground music scene in Japan is very small. Yes, we have a lot of famous noise bands here. But not many listeners. At the same time, it is my lack of ability to make people come and see, to advertise with more effective way. I think we have to put more energy to bring more listeners to the venue. There is more needs around.
You have been part of organising several european artists and bands to Japan. Can you tell more about this? Do you intend to continue organising live shows also in future?
-In 2006 Screloma ( Solo project of MR.Takahashi/Mothra) present- ed live performance with Rasthof Dachau, Atrox and Stahlwerk 9. I helped him make some flyers. We don't have any experience with European bands. Because of this we could not bring big audience. APR.16th 2006. with Rasthof Dachau, Atrox, Stahlwerk 9, Arakat- suma, Screloma.
Later in 2007, Mothra presented Destruction Chaos #14 (under this name, I still hold an event ) with Sektion B and Antracot.
Oct.27th 2007. Destruction Chaos 14. with Sektion B, Antracot, Mo- thra, Incapacitants, Government Alpha.
I plan to have some more events with non Japanese bands as Linekraft.
Sometime in the past, you published some catalogue/mini- zine. Can you tell about that project?
-Around 2005 I made a simple leaflet to promote our live
event.It ended with Vol.4. Contents is live ad., biography of bands, some cd reviews. Quite simple one.
