Monday 26 December 2016

Japanese Crust vs The World (part 10): Acrostix / Contrast Attitude "Awave! / Now the world is from CHAOS to another more CHAOS..." split Lp, 2004

This record makes me a little nostalgic actually as it takes me back to an exciting time when I was proudly flying the "No war but the crust war" flag and trusted the label for top crust records with my life (as well as with indecent shipping costs sometimes, this goes without saying). Thinking about the 2002/05 crust period retrospectively is interesting. In the grand Crust Narrative, these few years are situated just before the so-called stenchcore revival of the mid-noughties which - although it admittedly did produce some good records - certainly changed the way crust music was being looked at, further sectioned the genre and turned what were essentially takes on the genre into the genre itself by giving it a new name: stenchcore. That it coincided with the rise of the internet culture from the mid-00's onwards should be no surprise and the growing codifications it implemented have become today's norms. But this Lp, along with the Effigy records of the early 00's, also made me realize something else, that Japanese crust (and indeed Japanese punk music on the whole) is, to a large extent, oblivious to the punk trends regularly sweeping across the rest of the world. They just seem to do their own thing in their own context and I highly doubt the short-lived 00's stenchcore revival had any significant influence on Japanese crust bands (Hellshock being arguably an exception in that respect, but then, if anything, they were themselves highly influenced, in terms of intent more than sound, by Japanese crust music), which accounts for the usually high quality level and the sound specificities of crust bands over there.

This record also makes me giggle a little as I am reminded of how people reacted to it at the time. They were all pretty unanimous (and, by and large, still are). Contrast Attitude's side absolutely ruled, but what was that cheesy heavy-metal band doing on the B-side of a hardcore/crust record? I would be a rich punk (understand "I could buy a decent brand of lager for a change") if I had had one euro each time I heard "I have never even listened to the full Acrostix side... That shows how much it sucks. I mean... who do they think I am? Some hard-rock fan with greasy hair? I only bought it for Contrast Attitude anyway because I <3 D-beat and that". Almost 13 years after its release, the general appreciation of the Lp has not really changed and you can be sure that Contrast Attitude will be raved about while Acrostix will be promptly discarded (to be fair, some people did get into "(A chain of) hatred" later on though). As for me, as much as I enjoyed CA, I always preferred the Acrostix side. Sure, they were not a hardcore-punk band at all on the Lp, but I loved the fact that, while they sounded familiar through the heavy Amebix/Axegrinder influences, they also sounded really different from what I knew at the time, with the epic layers of synth and the strong ballad vibe. It was crust music but it felt like they had picked one aspect of old-school crust - in this case the rocking melancholy vibe of "Drink and be merry", "Right to ride" or "The final war" - and assiduously worked on it in order to tell a different side of the Crust Story. And I bloody loved that idea. Of course, I now have a much more articulate idea of what the band originally was going for and where they coming from in their early days, but despite the more cerebral view I acquired, I still see these three Acrostix songs as genuine masterpieces and proper attempts at telling the story distinctively, from a different but complementary narrative position if you will. It is quite ironic and even sad that crust music became so generic and forceful shortly after.

Like Contrast Attitude (with whom they shared a member, bass player Sin), Acrostix were from Matsusaka, in the Mie prefecture. The band's birthdate is unclear but seeing that their first appearance on a record was in 2002, it is safe to assume that they formed not long before that. On the paronomasia front, "Acrostix" is actually a great name methinks. Beside the "-ix" suffix obviously nodding toward Amebix (and they did nod a lot), undeniably the band's primary influence, referring to the concept of the acrostic was a clever move and I see it as a comment on songwriting and how by changing the order of elements you can create something that is both new and yet rooted in a tradition. The constant retelling of a story that changes with each telling and narrator and yet retains its intrinsic meaningfulness. And it sounds great as well, but I am grateful they did not go for "Acrustix", it would have been too corny.

If the first appearance of Acrostix, with the original version of "Filth chain" on the "Crust night 2002: the war begins for them!!" compilation cd on Tribal War Asia, did give a few hints about the band's identity, it still very much had an incomplete feel. Basically a raw rewriting of "Arise!", the song had some solid Effigy-like riffing (another important early influence) but lacked that groovy atmospheric vibe that made Acrostix stand out. The second effort, the self-titled four-songs demo recorded in late 2002, was more convincing, if still on the raw side of things. Keeping building on the Amebix gloomy rocking sound, especially with the omnipresent groovy bass lines and the raucous but distinguishable vocals, the songs were heavy but not in a punishing way as they relied more on vibe than sheer power. But it was on "The darkest 4" tape (a four-way split between Acrostix, Effigy, Disturd and Zoe) released in 2003, that Acrostix truly took off. Despite a rough production, the band made a choice that proved to be a game-changer and considerably improved the atmospheric quality of the songwriting: they added a synth. And not just a little of it, no, they completely went for it, ballistically. The synth provided that extra texture, a new meaningful layer that fitted and further developed the melancholy vibe of the amebixy numbers perfectly. The song "The day comes" paved the way for what was to be the apex of the early Acrostix period: "Awave!".

Now, before I go on with the Lp I am actually here to discuss, just a few words about synth-driven crust music, because that is exactly what we are dealing with here. Of course, Amebix did use the synth on some songs (on "Arise!" and especially "Monolith") and at the end of their existence, they even had a full-time synth-player on stage, George. Although the synth was undeniably crucial in establishing and enhancing that gloomy, monumental, otherworldly vibe that Amebix created, it was still mostly used as a textural layer, as a means to an end, rather than an actual instrument on par with the guitar or the bass, although some moments on "Monolith" were certainly synth-driven and pointed in that direction. It was in this interstice that Acrostix flourished, by taking the "Monolith" mood and vibe and adding a new structural voice with a more important role being given to the synth. Building on the Amebix synth-tradition, some bands had used it afterwards, often parsimoniously, like Axegrinder on their Lp, Saw Throat, Counterblast, Filth of Mankind in a very meaningful way and Morne (their 2008 demo being a masterwork on that level).

Of course, the "Monolith" period and the few songs recorded afterwards by Amebix remain Acrostix' primary pool of inspiration, however there has always been one scene, oft forgotten, heavily into synth and old-school mid-paced groovy crust: Greece. And that is exactly where I pinpoint the other main songwriting influence of Acrostix. A quick look at Acrostix' side of the Lp's cover gives the game away for me. It depicts a wolf howling to the sky. Now I am aware that it is not exactly the most original motif in the world of punk and metal (and to be honest, the cover is the one thing I do not really like on the Lp, well, along with the celtic cross on the "o" of Acrostix, it does not roll that well on a shirt in Europe, does it?), but I am definitely reminded of the cover of Χαοτικό Τέλος' "Μπροστά Στην Παράνοια" Lp from 1993 that has wolves howling in a moonlit forrest (flying crow included of course). Even more so since Χαοτικό Τέλος had possibly been the most synth-driven crust band so far and their 1991 tape "Πέρα Από Τα Τείχη Της Σιωπής" remains, to this day, the best example I can think of synth-driven "amegrinder" apocalyptic crust music. I may be reading too much into the wolf reference but Acrostix cannot not have been aware of Greek synthcrust (there is another subgenre for ya) and despite significant discrepancies between the sound of Acrostix and Χαοτικό Τέλος, I do not think I am mistaken to think that the former took some important cues from the latter and Greek crust as a whole in terms of arrangements and placements. Interestingly the release of the split with Contrast Attitude coincided with that of another synth-driven crust record (despite the rarity of this take on the genre) in the shape of Χειμερία Νάρκη's "Στη Σιωπή Της Αιώνιας Θλίψης" in late 2003 (yes, Hibernation if you prefer).

On the Lp, you will therefore find three songs of synth-driven mid-tempo dark and rocking heavy crust music with a distinctive Japanese feel in the guitar (that crunchy distorted sound being the trademark), groovy bass lines and half-sung/half/shouted vocals. As I mentioned several times, the late-Amebix influence is all over (literally with songs called "Awave!", "Eternal winter" or "The biginning of the end" and the "Amebirider" drawing that blends Amebix' face with the Hellbastard one, just in case it was not clear enough) and Acrostix do manage to recreate this deceptive simplicity, organic, earthy and atavistic with an incantatory quality, although they also add some punch and intensity thanks to a great production and an emphatic songwriting intentionality. The three songs blend with each other so I left them on a single track as it stresses their flowing atmospheric quality. The standout number here is the closing one, "Eternal winter" with an epic and ethereal intro where Sin the Baron (also on the bass, quite obviously...) sings for real (and I mean SING) before the song builds up into an intense, crunchy, catchy, gloomy crust anthem with simple yet amazingly effective bass lines and top tunes. That is melancholy crust and rocking bleakness you can actually dance to, unique and yet heavily referential. Japanese crust at its best. Following this split Lp, Acrostix took a different musical direction, adding a lot of punchy Japanese hardcore to their recipe, and, although very powerful, I never was quite as taken by their (synthless) later records, even if I must admit that I do like the "Truth turned gray with justice" Ep from 2008 and the sax-driven (yes, you read correctly) crust song on the B-side.

The other side of the Lp, poetically entitled "Now the world is from CHAOS to another more CHAOS...", has four songs from Contrast Attitude who have a very different take on the whole thing and that often makes for great split records, right? Looking at the foldout cover, you can pretty much guess what CA are all about with the use of the Discharge font and "D-beat till death" being proudly stated... or can you? CA are not really a D-beat band and although they do make use of the beat and of some riffing, they are in no way as orthodox as Disclose or Final Bloodbath for instance and sound like a much more versatile bunch with one idea in mind: hardcore intensity. Not quite as monomaniacally systemized as Disclose, as crustily insane as Gloom nor as hyperbolically relentless as Framtid, CA are maybe somewhere in the middle. There is a noize element in the guitar but it is not exaggerated, it is fast and punishing without being manic, heavy and thrashy but not really metal, catchy and with a fist-raising intent but never going into Burning Spirit territory... CA are a balanced band if you think about it and the songs, without ever being truly memorable, are clearly effective and well written. The four songs on the split Lp have a great sound which highlights their modernity as I never felt the band tried to go for old-school or openly referential. The drumming is super tight, as usual, with a delightful pummeling crasher crust feel, the riffs are good and bring Diatribe or Broken Bones - more than Discharge - to mind, the yelled vocals are intense, direct and harsh but never forceful and on the whole there is an undeniable hardcore energy and spirit permeating the sound through smart hooks and tempo changes. The production may not be heavy enough on this particular recording but the songs remain top-shelf in their style and I can definitely imagine them being particularly great live (like a useless fool, I missed them when they toured in Europe a few years ago). CA have been going since 1998 and still deliver the goods which is something that I always admire.

The foldout is quite good-looking with an abundance of visual references to Discharge, Amebix or Antisect and you have got plenty of band pictures for added crustness. I am not such a sucker for the covers however as they are pixelated and have a real "early digital imaging" feel, and I guess they should have gone for the old-school DIY punk look of the inside. Oh well, it was another time. And good news, as this quite wonderful split Lp still goes for cheap today and can be obtained for a tenner. The gods of punk-rock are sometimes undecipherable.


Wednesday 21 December 2016

Japanese Crust vs The World (part 9): Defector "パンクシステムデストロイ (Punk system destroy)" Ep, 2003

As I mentioned at the start of the series, selecting records that could, taken diachronically as a story and synchronically as a whole, give a sense of what Japanese crust was all about felt like something akin to a Herculean task. Not unlike the Hydra of Lerna, you pick one record and then another crucial one just pops up from your memory. It is bloody endless but cuts had to be made and top bands like Crocodile Skink, Guillotine Terror or Argue Damnation were eventually left out (but I will come back for you, I promise). The five year gap between SDS' "Ameber" and the present record does not imply that there was no significant Japanese crust record released between 1998 and 2003, but let's say that I wanted to write meaningfully about the noughties because it was a very rich decade on that level and I had to start somewhere. So there, Defector it is.

Writing about Osaka's Defector just a month after my extravagant ravings about Gloom might sound a little pointless, if not redundant, and I do think that the various hyperbolic mumbles that are to follow should be read while keeping in mind Gloom's creative perspective (if you are too lazy to do more than three clicks, meaning you were probably born after 1992, here it is). There are bands wishing they were judged on their own actual production rather than that of the members' former bands. But I do not think that Defector belongs to that category of bands since, beside having former Gloom people, the band kept building openly on their predecessor's legacy.

I first heard Defector in 2005. Of course, I had seen their name on distros but the "noize" tag kinda frightened me (even more so because it was written with a "z" instead of an "s", thus suggesting that it would be even noisier than that Gloom Lp or that Confuse live side I had so much trouble listening to... and can you really blame me?) and I did not really care to give them a shot. Until the summer of 2005 when I stayed in Dublin for a couple of weeks with my best mate. I have great memories of those crazy days but I guess this is not really the place and you will have to wait for my autobiography for details. We were staying at some friends' house in a neighbourhood called Phibsboro, where a good few punks lived. And painted on a derelict wall in the hood there was a slogan that I bloody enjoyed: "Punk system destroy". Of course, it was a tongue-in-cheek thing (you know, Irish humour and that) but I loved it. It sounded both silly and witty. So I asked where the slogan came from and learnt that it was the name of a Defector Ep, which was then promptly played at the house. I cannot say I liked it though because Defector's (noize not) music is not really one that you can really grasp fully when drinking and chatting with mates, but I still made a mental note that said, roughly, "it's alright that, a bit shambolic and fuzzy but I'll remember to give it a proper go". Truth be told, I really needed to understand Gloom first in order to get what Defector were up to but I eventually did, although it did take me a few years to achieve (but really, you just cannot focus on everything).

Defector formed after Gloom's final split (there were three of them apparently), following the release of "Mentally achronistic". The band had Jhonio on the bass and Habi on the drums (both of whom had always been in Gloom), Jorge on vocals and two guitar players, Taki (Gloom's first guitar player) and Toyo. The name "Defector" was itself taken from the 16-second Gloom song I love so much (from "Recomendation of perdition") and I suppose both bands can be said to play a similar genre. So that's a lot of Gloom in one single band. Do Defector sound like Gloom? Absolutely and definitely not. Although you do find the same structural basis, Defector were far more noise-oriented as the title of their first Ep, "Ultra noize violence" (there's a new subgenre for ya), can attest. They were noizier but not necessarily noisier than Gloom, noizy but not noisy. Am I being cryptic? Let's put it that way. Defector, like Gloom, saw the noise aspect of punk music as a creative statement and an aesthetic trope. As it was rightly pointed out to me about my review of "Recomendation of perdition", Gloom's assertion that "All answer it chaos!" was also a comment on the mid/late 90's trend of cleaner production, sound and texture in crust punk and hardcore. The chaos they referred to was precisely their intent to go back to a hardcore essence where noise and rawness prevail. Although there is no denying that the noisiness of mid-90's Gloom and Defector were completely intentional and denoted some crafty and tight musicianship, as opposed to a lot of 80's bands whose noisiness had a lot to do with limited skills and/or shitty gears (though the noise intentionality should certainly not be discarded either), these Osaka bands embraced and advocated the noisy textures of Confuse, Gai and the likes. This is how I read Defector's use of the word "noize", as the stance of "noise as a creative choice".

However, Defector did not use "noize" in the same way as Gloom and not to the same effect either. In fact, you can almost grasp Defector's perspective just by looking at the cover and the insert of "Punk system destroy" since they are ripe with information. In 2003, Defector's message was the following: "It's just like a law / Punk system destroy / Fuck regulations, fuck it!! / Burn away your explanation!! Kill the regulation punks!!". Now, that sounds a bit harsh, innit? You could probably read it in the same light as Gloom's, meaning that it could be a critique of the drive for a better, more polished sound displayed by the hardcore world then. I would argue that it also had a lot to do with the growing musical restrictions and closed-mindedness, not only in terms of sound but also of genre, that the band felt. This Defector's Ep (more so than the first one) could be listened to as a purposefully noizy and versatile work that endeavoured to be free from the constraints generated from punk trends and limited expectations. It is like a big proverbial "fuck off!" if you will. Of course, it is also "just" a good crasher crust (or noize violence or however you want to call it) and even as such, it is a worthy one. But then, well, we do have two guitars, don't we?

Two guitars in Japanese crust is very unusual, to say the least, and seeing that Defector were made up of rather experienced punks, it must have meant something. While the drumming and bass parts are not that different from Gloom's in terms of intent (understand, they are insanely tight and effective), the guitar work is something else. While Toyo deals with the blown-out, distorted, fuzzy guitar texture and piercing feedbacks, Taki is responsible for the monstrous crunchy metallic crust riffing. And, despite the obvious difficulty to make the two guitars work together, especially when they seem to go in different directions, they do work perfectly but nevertheless tensely, they managed to complement each other but are still somehow frictional. You have that extremely distorted sound that is used almost as a layer of noize on the one hand and then groovy old-school crust riffs on the top of it and the crux of the Ep lies in the conflicting yet pregnant songwriting relation between both. I am not a particularly good musician, but I am pretty sure that cannot be easy to do right and tastefully. The two songs on the B side ("No control" and "Lunatic annihilation") demonstrate fantastically a very unusual blend of Confuse/State Children texture with SDS/Effigy metallic crunch. But if the blend is so successful, it is also because of the songwriting vibe of Defector and what they intended to create as an atmosphere. While I argued that Gloom were going for a representation of the brutal insanity of modern life, Defector picked another side of insanity, one that is clearly deranged and emerges from a desire for the loss of strict meanings. Defector's music sometimes does not just represent insanity, it just sounds insane and demented. It stems from the unexpected changes and moments in the songs (the opening of the "Lunatic annihilation" sounds like a madman's dream), the drooling ferocity of the songwriting and also the constant presence of that distorted guitar that gives the impression that the songs were recorded over an old tape and that some of what you hear belongs to completely different songs. It was a conscious creative effort from the band (quite postmodernist actually) to convey the sense of a dislocation of meaning that still produces liberating artistic cohesion. Fuck regulations, right?

On a strict musical level, this is a crust hardcore tornado you are facing. The Japanese Bristol sound is here, the Doom/ENT/Sore Throat tradition too, some Hellbastard/SDS metal riffs, I hear some Anti-Cimex worship here and there and Discharge also plays a central role (there are several visual references to them on the cover)... This is a very intense, aggressive, over-the-top, noizy punk as fuck record but also one that I think is very interesting to listen to carefully. A proper "Noize not music" effort is always more than just that and in this case, it is certainly more subtle than the primitive "5 mobs 2 cord thrash" suggests, like an articulate primitiveness. Similarly to Gloom's "Recomendation of perdition", you can find dead crusties on "Punk system destroy", this time impaled rather than hung and the slightly deranged cheesy montage with the band members indicates that fun was had indeed. "Punk system destroy" was released on Crust War in 2003 and the band also appeared on the label's 2005 compilation Lp "混沌難聴大虐殺 Konton Damaging Ear Massacre" alongside Framtid or Poikkeus. Interestingly, the two guitar players kept doing what they did, with "Metal penis" Taki playing in Zoe and "Noise penis" Toyo fronting ZyanosE a few years later.                      


Monday 19 December 2016

Japanese Crust vs The World (part 8): SDS "Ameber" 12'' Ep, 1998

I wish to express my sincerest apologies for the short break I had to take (I wish I had an alright excuse but it is mostly because I am a disorganized lazy bum) and truly hope that no breath was held. But let's not dwell on this and let's get back to Japanese crust, shall we?

Today I am extremely pleased to rave, once again, about a band that has become a regular guest on Terminal Sound Nuisance (they deserve to have their own parking space at that point), the mighty SDS. Since it feels pointless to make the introductions, I refer you to earlier posts (Future stays in darkness fogCrust and anguished life and Meaningful consolidation) if you want to know more (and why wouldn't you really?) about the band's pre-"Ameber" period. Probably more than any other act, SDS embodies the essence of Japanese crust, although the band never defined itself as "crust". This is not as paradoxical as it might seem since they belonged to the first generation and, under the moniker Sic Death Slaughter, appeared on the "Suck my dick" compilation tape as early as 1987, which not only made them contemporaries of the UK crust explosion but, more importantly, located the band in a timeframe when the term "crust" was not yet consolidated as a genre-signifier. Basically, SDS, like many early crust bands, witnessed the retroactive use of the concept of "crust" applied to their work, even though their influences were to be found in protocrust bands like Discharge, Amebix and, above all, Antisect. A much more relevant way to look at SDS would be to see them as a "UK sound band" (the notion was discussed in the introduction to the series) since the recreation of the classic British hardcore punk sound - understood here more as a specific sound and vibe rather than a strict geographical space - was always at the core of the band's songwriting. This peculiar drive in the broader Japanese punk context of the late 80's made SDS a somewhat unique band, despite their overt referentiality which should not be mistaken as a lack of originality in this specific context. While the Bristol sound had been very popular for the largest part of the 80's, SDS were the pivotal ones who, also thanks to the earlier impetus of Crow, significantly shaped the love for the UK sound of Discharge, Discharge-loving bands (not to be confused with "Discharge-influenced bands", as it is all a matter of degree and template) and the Discharge-fueled metal-punk breed that they generated that would prevail in the 90's and spawn a new genre in Japan.

As mentioned in them fancy sentences above, SDS were a unique band and their originality lied as much in the music itself as in the concept underlying the music. They took what they saw as "the UK sound" and used it as a meaningful clay in order to create cohesive works that are much more intricate and subtle than a mere superficial glance would suggest. And this is why I have always loved SDS records, they all have a creative direction while simultaneously echoing with each other through the UK sound chamber. That and because they are about as intense as a charging rhino. I chose "Ameber" for two reasons. The first one is cheesy. "Ameber" was the first SDS record I bought as the cd version could still be located on some distros when I got it (that'd be in 2004 methinks). But I also wanted to write about it because I feel it is the SDS record that is the least discussed (if at all) and the most misconceived. And I just won't have that. Not on my watch.

"Ameber" was recorded in Nagoya, in June, 1998 and released on MCR Company in September on vinyl and in December on cd (it was actually the label's 100th release). "Ameber" was the follow-up to the "Scum system kill" 1996 Ep that marked the start of the band's "Punk metal bastard" era which revolved around insanity, musically and aesthetically. With a twelve-year long existence, SDS had already been around for a while when "Scum system kill" came out and for any crust band to survive, they have to evolve and add new things to their recipe (Misery is a prime example of that). To a relevant extent, the last four SDS records can be seen from a narrative perspective, each of them a retelling of a similar madness story but from a different point of view in time. "Ameber" is about shapelessness and polymorphism. Far from being just a nod toward Amebix, the name "Ameber" (meaning the parasitic amoeba) actually pointed to the many forms or indeed, to the absence of form, that evil and alienation can take. The cover is purposefully unsettling as the band aimed at breaking from the traditional black and white visual on the vinyl version. If the name "SDS" wasn't written at the top of the cover, I would think it was some sort of heavy psychedelic space-rock record. The idea behind the drawing was one of a threat without definite boundaries and matter and, given the very futuristic design, I would tend to think that it also expressed the coming of an alienating and discarnate digital age that causes a directionless insanity (a theme that would appear again on 2000's "Digital evil in your life"). The trope of a threatening shapelessness can be found in several instances in "Ameber", notably with the ominously blurred drawings of a soldier and of the circular design. Interestingly, the cd version introduced a new cover that looked very different but expressed a similar idea. Even though the threat has the shape of a monster made of electricity, it is still immaterial, fluid and subject to change, just like a modern amoeba that would be the child of the swamp technology feeding on dead matter rather than the product of a natural process.

Out from the cyber void

If the music of "Ameber" was meant to reflect this idea of a madness-inducing, shapeless technological society, it does not imply that it is without direction or focus, quite the contrary. It is one tight and powerful storm of a record. It is certainly SDS' most atmospheric and versatile work. The four songs are blended with each other through the use of creepy, psychedelic noises and ambient textures which confers "Ameber" a sense of narrative wholeness and storytelling. Although the songs themselves are pummeling fast-paced numbers, the different layers of sounds that tie them together, the changes in vocal tones (from gruff possession to evilly high-pitched), the presence of heavy epic mid-tempo transitions and the looped, stretched guitar riffs gives "Ameber" a strange and deranged organic quality. Antisect's "In darkness" era is of course an important reference point here, especially in the emphatic riffing and in the structural fluidity of the record, Anti-System also comes to mind and I distinctively hear some Zygote (for the heavy psychedelic vibe) and Amebix as well (for the incantatory mood) but it is clearly, first and foremost, SDS creatively at work. The bass lines are insanely groovy as they provide the backbone to and enhance the deceptively simple guitar riffs the impact of which relies on their circularity; the drumming is focused and super tight; there are some over-the-top aggressive guitar solos and the vocals are aptly insane-sounding and convey that sense of techno dementia. It is like Antisect had been caught in an electric storm and were battling in cyberspace. There is a relentlessness, an inevitability in the songwriting as the songs crash like waves. In its precise play between form and content, "Ameber" is almost a concept album, although I dislike the term, there is a sense of an organicity conflicting with technology and about to clash with it (as song titles like "Brain invader" and "Cyber god" suggest), on the brink of losing the battle, which is actually a recurring motif in crust if you think about it. "Digital evil in your life" would finish the story of this tension by offering a savage glimpse into an actual insanity that has finally come.

Mega hyper super thanks to Kenichi who took the time to answer my questions for this post and gave me some interesting insight into "Ameber".