Striations, active in the underground Noise scene for nearly a decade, is Oakland’s Mike Finklea. He has performed twice on KFJC, on one of those occasions hosted by yours truly. This 2019 CD on LA’s Oxen label compiles two cassette releases: 2018’s ‘Trauma Code,’ originally on the Gutter Bloat label, and ‘K.P.’ (‘Killer’s Party’) his 2017 effort for Oxen. In the liner notes, Finklea writes that these recordings are “of an exploratory nature,” significant because his usual M.O. involves obsessive control over the structured chaos of memorised compositons. This is indeed more free-form and improvisatory in sound than other works, conforming more to the Harsh Noise stylings of artists like Macronympha and K2. That said, these pieces are at least more Power Electronics than Harsh Noise in that they focus on sustained tension rather than sludgy textural fetishism. “None of this material is what I WANT Striations to sound like.” The liner also includes special thanks “to all hazmat and first responders.”
‘Trauma Code’ (t.s 1+2), mastered by Miscreant’s Sam Torres, is inspired by car accidents. Each 25-minute track passes through balanced phases of relative restraint and full-blown sonic assault. Baleful low-end drones, abject metal-scraping, earsplitting feedback. T.1 begins with synth piece possibly sampled from the score of a 70s or 80s film. Later there’s a sample of a medical examiner calling for the clearing of highway shoulders to reduce crash fatalities. It’s a public health problem, she says. I certainly found myself driving more carefully when playing this in my car. T.2 continues the exploration of scrap metal, hissing static and uncomfortably high frequencies. There is a ‘Red Asphalt’-like sample from a crash scene where it sounds like some girls are trapped in a burning car. In a possible pun on “auto fatality,” the second sample on this side is another medical examiner(?) discussing the most extreme/unusual suicide cases he’s encountered. “Someone who takes on a speeding locomotive at 70MPH is not one of those people you’d expect to be calling for help.“ According to the artist, second and third instalments in the ‘Trauma Code’ series are in the works.
‘K.P.’ (t.s 3+4), recorded by M. Chami (Crown of Cerberus, Koufar), concerns the death of Junko Furuta, whose 1989 murder at the hands of 4 Yakuza-connected classmates scandalized Japan. Imprisoned for 40 days, she was raped hundreds of times and tortured until unrecognisable before finally dying of her extensive injuries. Close to 100 people had knowledge of her imprisonment, but due either to complicity or fear of retribution, none reported it to police. Her body was eventually discovered encased in concrete. Although perhaps more synth-driven, both of these 15-minute pieces continue in an aesthetic vein similar to ‘Trauma Code’: nonlinear, screeching, throbbing electronic/concrete noise. Maybe some distorted vocals. No samples on these ones, but plenty of implicit violence all the same.
‘Collection 1’ is a ghoulish encounter with the biological truth of death, up close and personal. Hear, see, feel, smell, taste the end.