Natsuki Taniguchi
Since the beginning
Works in Sapporo Japan

Kenji Siratori, author of Blood Electric, is a brilliant superhip writer of great intellectual hypermodern fiction. Born in 1975, he currently lives in Sapporo, Japan.
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DIE FORM - ExHuman

DIE FORM - ExHuman

"Die Form send back out a hybrid corpse mechanism era respiration-byte
with the abolition world-codemaniacs brain universe of a drug fetus."
Kenji Siratori, author of Blood Electric

. ExHuman - second part of the InHuman/ExHuman diptych -, exposes the
other face of DIE FORM where the thematic and sounds are more
directed towards abstraction, electronic and geometry. Always in
search of new experiments, the voices were the object of
hybridizations and futurist sonorities were mixed with traditional
analog sounds. Three new video-clips are also present on the DVD
included in the original edition in DinA5 hardcover book-format CD/
DVD. The booklet is composed of photograms and images staging bodies
and objects in settings with cubist accents.

ExHuman - second volet du diptyque InHuman/ExHuman -, expose l'autre
face de DIE FORM ou les sons et la thematique sont davantage orientes
vers l'abstraction, l'electronique et la geometrie. Toujours a la
recherche de nouvelles experimentations, les voix ont fait l'objet
d'hybridations et les sonorites futuristes ont ete mixees avec des
sons analogiques traditionnels. Trois nouveaux video-clips sont
egalement presents sur le DVD qui accompagne l'edition originale en
format livre-CD/DVD A5. Le livret est compose de photogrammes et
d'images mettant en scene corps et objets dans des decors aux accents

The new studio album appears as a luxurious CD/DVD set on TRISOL/
MatrixCube :


The Crystalline Effect "Blurred Edges"

The Crystalline Effect have made a new EP entitled "Blurred Edges".
A self-release out now, the EP contains 3 new tracks and 4 exclusive
remixes by renowned artists STARK, ALIEN PRODUKT and by The
Crystalline Effect themselves.
"Glass", the band's first album, was released in 2005 on Black Flames
Records giving the band great reviews worldwide.
Blurred Edges explores The Crystalline Effect at their most delicate,
quiet moments and also offers a dose of dancefloor-oriented tracks,
the EP ranging musically from Trip Hop to Trance.

"The Crystalline Effect aspirate the murder-protocol of the biocapturism
nerve cells reptilian HUB of a clone boy to the modem heart of the hybrid
corpse mechanism that turned on technojunkies' ill-treatment acid. The mass
of flesh-module to the paradise apparatus Blurred Edges of the human body
pill cruel emulator abolition world-codemaniacs that was processed the data
mutant of The Crystalline Effect's ultra machinery tragedy-ROM creature
system murder-gimmick of the soul/gram made of retro-ADAM. The Crystalline
Effect's Blurred Edges log in the living body junk feeling replicant who
compressed the acidhumanix infectious disease of the drug fetus of the trash
sense to the insanity medium of the hyperreal HIV scanners gene-dub of the
corpse city." - Kenji Siratori, author of Blood Electric

The Crystalline Effect - Blurred Edges
1. One Time In Life
2. Nothing Warms This Room
3. When The World Ends
4. Another Rainy Day (remix)
5. Why Do I Hate Myself (remix)
6. Poetry (Alien Produkt remix)
7. Gabriel (Stark remix)

Out now at

Stream "One Time In Life":


hypnoskull interview

You're into producing electronic music with hypnoskull ever since 1992. In
the past years you were often regarded as one of the innovating acts in the
scene of the new industrial movement. How do you feel about that ?

hypnoskull: That doesn't bother me at all. I don't care about this kind of
attention at all. It even turned out against me, as it lays the standards
for my productions very high. It's funny when I see that a lot of new
projects and bands seem to refer to my project and say that it has inspired
them a lot. I don't think about this too much as I'm stuck into my own daily

So you don't care at all ?

hypnoskull: No. Which does not mean that I don't like it sometimes. It is
just. funny.

Last year in summer (2005) the rumour went that you had played your last
show on the Noxious Art festival in Vesoul, France. Was it true ?

hypnoskull: No. I was just very pissed off that night, cause I drove all the
way up to Vesoul in a car without airco and it was freaking hot outside. It
was a hell of a drive. That made me say all these things probably. The
knowledge that I had to drive back the day after wasn't doing any good
either. In the meantime I did a few shows, smaller ones. I agreed with the
management that next time I have to do shows that are further away, I will
get a driver or go by plane. I am a very lazy traveler indeed. I hate
traveling in general. It's just not funny. I love different places and
continents and countries, very much, but this traveling thing. no. I often
tend to say very strange things about hypnoskull. It's because I both hate
it and love it at the same time. That particular night, I hated it so bad,
you cannot imagine. Fortunately the gigs are better then.

Some people were happy that you were not planning to play anymore.

hypnoskull: Too bad for them (laughter).

Okay, the industrial scene has mixed feelings about your sidesteps towards
breakcore and drum'n bass, what do you think about that ?

hypnoskull: Nothing. Just that it says all about the industrial scene. I
never thought in terms of genres or styles. I fit into my music what I like.
Breakcore and drum'n bass contain both very uplifting and energetic, raw
stylistic elements that I like. If someone doesn't like that, it's his or
her problem, not mine.

You could be one of the biggest stars of the new industrial movement if you
would adapt a bit more to your core audience, right ?

hypnoskull: I am a stubborn music producer, not a puppet-on-a-string of any
labelhead or a&r creep. If I would want fame, I'd produce shit for the
charts, certainly not narrow-minded industrial-only powernoise kinda
material. Which does not mean that I don't like powernoise or rhythmic
noise, on the contrary. It's just that I want to be who I am, so I do what I
want. It's just all about progression, and if that's the offer I have to
make for this freedom, I'm gladly making it.

Some people in the scene think you're far too serious about all the 'tough'
talk in your album-texts and liner notes.

hypnoskull: They don't know me and certainly don't read inbetween the lines.
It's just how the hypnoskull project works. It's simple music and it has a
seriously twisted yet hidden message inside each time.

What is that general message ?

hypnoskull: It's about how absurd the western society is. I'm just a
messenger, so I don't judge, I just see and feel what's going on out there.
So I don't have any real message, it's just important to me that people
realize that they have their own choices in life, that's just all. They have
to be aware and see the importance of their own lives. Actually, it's quite
some positive vibe when I think about it.

So they don't understand the point, maybe you should try to write it down
more clearly ?

hypnoskull: No, for Christ's sake, no. It's part of the hypnoskull game I'm
playing. I'm not telling stories to entertain my audience. They have to dig
for it themselves, or don't, as they want.

As we speak, you are recording your new album, could you tell more about it

hypnoskull: Yes. It's titled 'PANIK MEKANIK' and it will be straightforward
dancefloor hypnoskull stuff. In one or another strange way it will be very
retro-like. I mean, when programming the beats for this album, It turned out
to sound very. harsh yet danceable. Not too complex once again. It's subtle
yet very hard pounding and has serious noise attacks. I think the heaviest
ever on a hypnoskull rhythmic track.

Aha, so you are making a record for the scene !

hypnoskull: Fuck off, dude, I do my thing. Okay, they probably will go 'hey,
hypnoskull is going for the industrial scene at last', but it's just what is
happening right now.

Anyway, the smell of easy success is out there.

hypnoskull: Not for me, I'll leave that to some other acts and projects,
they're very good in that. Like I told, I just do my thing.

Who are these 'other' projects ? Come on, tell !

hypnoskull: That's what you want, isn't it ? Let me tell you this, in the
past I have managed to create some serious annoyment in this scene for
talking honestly about what I thought about some big other projects and
about why I thought they were into producing music. I don't feel like
talking any longer about them. Everybody knows who they are. And who am I to
diss these people again, I mean, if they feel allright with it, and their
audience adores them, who the hell am I to talk about them, right ?

Too bad. Seems like you lost your sharp tongue while getting older ? Is it
true you turned 33 last year ?

hypnoskull: Let me tell you this, I will never lose my sharp tongue, but it'
s indeed just a question of getting older and, ahum, 'wiser' I guess. I
still fight my own war, but just with the music and sounds. Like I told in
for example the album (G.O.D.)-once again, if they don't have the skills to
be my real enemy, they are no enemy. That makes the circle of possible
enemies very small, year after year.Was that sharp enough ? See the
difference in approach, right. Yes, I turned 33 this year. It's my magic
number, my lucky number 3, the magical 3-squared year." Thanks. Going
further on this, you are also often called 'arrogant'. "That's when I say
thank you. In this world full of spineless followers of trends and empty
consumers of mass-media-trash opinions, you are easily called 'arrogant'
when you sharply condemn this evolution. I always look who calls me
'arrogant'. The day one of my close friends would call me 'arrogant' I will
be warned. It always depends on who's talking, right ?

Okay, another one. Rumours go that you refuse 8 out of 10 possibilities to
perform live. Is that true ?

hypnoskull: Yes.

Why ? Other bands have to search for shows themselves and are happy that
they find gigs at all.

hypnoskull: I'm not 'another' band or project.

I mean, why are you refusing shows that much ?

hypnoskull: Several reasons. It's either too far and I have to travel by
plane for hours for one show only, or it's in a club I don't like, . many

You don't like playing live ?

hypnoskull: Sometimes I love it, sometimes it's a drag. I always pick and
choose shows. I also reduce equipment to the absolute minimum. I use a
digital harddisk tracker to play on stage, and I just mix stuff together in
a different way. Sometimes I bring some old trashy drummachine too and make
some fresh beats, whatever. The only thing for me that is important is that
it has to be intense. Nothing more sickening than playing in some goth-club
where everybody stands there and looks at me cause they don't understand it.
I need at least some 10 people in the crowd who go insane and in their way
annoy the rest of the audience. It's just amazing when shit like that
happens. It's that punk-vibe which is often not there these days. It became
too serious, and certain people just want to see and listen to electronic
music with this 'intelectual' gaze. That's also okay for me, and so are the
goths, but. I rather have some good old-fashioned moshing and pogo-shit
going on frontstage, that pushes me all the way, I can tell ya. Dancefloors
should be small warzones on my shows, but not hostile warzones, just a zone
where people who want to lose it all can go nuts all the way and back. I don
't promote that they beat each other up.

You don't like the 'intelligent, kinda laptop scene' ?

hypnoskull: I didn't tell that. I just like it more when people dance wild
and go insane on my stuff. It's made for that sole purpose, you know.

The last few years you have presented collaborations on your albums. Is
there a collaboration with another project on your new album too ?

hypnoskull: Not with another musical project this time, but one with a
Japanese underground writer of harsh experimental cyberpunk SF-stuff. His
name's Kenji Siratori from Hokkaido, and he wrote quite a lot of books.
David Bowie is a fan of one book, Blood Electric. Siratori contacted me and
wanted to work together, so I did. It will be funny. Everyone coming up with
this crazy Japanese writer, and everybody probably thinking they're special.
That's why I like this guy. His working ethic is based upon spitting insane
amounts of creativity around by using the net, books, collaborations. I like
that. I was very glad to have him on one track.

If it's a writer, it's probably a spoken word track ?

hypnoskull: No, he wrote, read and recorded 6 minutes of weird cyberpunk
lyrics, which I sampled, processed, cut, and used into a pure danceable
track. The result is strange, but very hypnoskull.

Do you think hypnoskull can go on and on in the near future ?

hypnoskull: Yes, what's the point ?

I mean, will the inspiration stay to create album after album ?

hypnoskull: I could easily release one album every three months, so yes, I
don't think that will be a problem.The question is, will there still be a
label willing to put it out in the future, but that's not my concern at all.
If this would happen, I put all the new stuff free online on my website.

Latest effort : "(G.O.D.) - once again" full album for belgain label spectre
records : In the pipeline : "PANIK MEKANIK" full album for
german label ant-zen records : More info on hypnoskull : or through escape 3 organisation, the project's
management at or


Kenji Siratori "BIZARRE"

Kenji Siratori "BIZARRE" CD

Label: hypermodern
Music style: electro / industrial


There are innumerable musicians who have taken to writing, but few examples
of writers who have taken to music. Kenji Siratori's BIZARRE CD is injected
with influences from Merzbow, Foetus, Meat Beat Manifesto, Frontline
Assembly....sampling technology and programmed music is closer to his
writing style. Kenji Siratori samples the transgressive genomics strategy
circuit of a chemical=anthropoid. Industrial quickening of the abolition
world is notified in his writing. Life=noise of a drug fetus corrodes the
brain universe that tera of dogs were ill-treated on biocapturism. He
praises Foetus's work. Foetus transplants the drug fetus army to a nerve
cell. Kenji Siratori is J.G. Thirlwell's literary apprentice. His ear
scratches William Burroughs's psychedelic placenta.



(debug.): Primary Techno Noir

(debug.): Primary Techno Noir
edited by Kenji Siratori
contributors: Eugene Thacker, Simon Logan, Jason Lubyk, Gregory Esplin, Reza Negarestani.
ISBN: 0-595-33182-3

PRIMARY TECHNO NOIR::SET UP::technojunkies' hunting for the grotesque WEB=insanity medium of the human body pill cruel emulator gene-dub of the soul/gram made of retro-ADAM to the ecstasy system of the acidHUMANIX infection archive genomics strategy circuit that jointed the mass of flesh-module::the data of a chemical=anthropoid super-genomewarable abolition world-codemaniacs murder game of the trash sensor drug embryo that biocaptures to the emotional replicant disillusionment-modules of the hyperreal HIV=scanners that dashes clone-dive her digital=vamp cold-blooded disease animals is ejected to neuromatic...."the nerve cells that were processed the data=mutant of her abolition world-codemaniacs emotional replicant that omits the brain universe of the hyperreal HIV=scanner form murder-gimmick of a chemical=anthropoid to biocapturism genomics battle to a hybrid cadaver mechanism nightmare-script@tera=of=the murder-protocol of the acidHUMANIX infection archive_body encoder that clone-dives dogs different of a trash sensor drug embryo vital-to the DNA bomb mass of flesh-module that was controlled technojunkies' rave on gene-dub hyperlinks the cadaver feti=streaming circuit of the reptilian=HUB_modem=heart--.

The carnography of flesh has been imbued with Dust Soaps, mapped by nano-syntheses of dust with xenochemical hydro-currents and whatever flowing in the universe and mobilized by the anthropophagic artificial intelligence of dust epidemics. This is neither a slogan for glorifying the retrojection of flesh into monotheism and its Genesis basins nor a compliment for flesh and its carnal politics; it is just hinting at how flesh already is a reeking catacomb of dust compositions, drenched by their bacterial deluges and tides for nano-pest engineering, also suggesting how dust brutally carves niches into this catacomb, then depositing all data it has scavenged from bacterial milieus, inorganic planes, interstellar dimensions and oceanic wastelands in them.