You could always write a PhD thesis on the intersection between noise music, industrialization and politics in the 20th century.
My preferred takeaway is that the unique thing about the 20th century is that “war is hell” became part of the Official Narrative, and not just a thing that the man in the street knew but couldn’t safely talk about. This doesn’t in any way mitigate or excuse any of the horrible things that happened in the 20th century, but I think it is a valid basis for optimism moving forward.
That was only a gentle poke from me, not some injunction in any way.
Off topic chat
Talking about the 1940’s is (and I hope will stay for a long time) very loaded with meaning.
When someone refers to this period of time, of course WW2 and the atrocities perpetrated come to mind.
Unless you want your work to be specifically related to these very dark times (and it should be a good reason, IMO), it’s best to refer to a less loaded period of time.
In other words, if industrialization or factory noises are the sole reference the author has in mind, and not nazism, stalinism, the Shoah, war economy or any of these trouble times aspects, they would be well inspired to choose another period of time.
The main idea of the theme is the sounds of a dark and dusty but beautiful old (vintage) factory with impressive powerful machines which I find fascinating. Also there’s an additional deeper theme of alchemy and inner transformation that I haven’t introduced that much yet. This is all fiction and I’m surprised that anyone would fixate on the chosen period. But LyingDalai did and I am listening.
The sounds also remind me of the Steampunk science fiction genre inspired by 19th century steam powered machinery which is a much earlier period. So to be safe I’ll remove the time period and just refer to an old factory.
I made another track for my album “The Factory”. It’s called Forceful and it’s made with the Machinedrum as the only sound source. It’s going through the Hologram Microcosm for some granular effects and reverb. Recorded in a single take and edited in Ableton Live.
Ah thank you so much for the support acidk! Yes you’re right, it’s quite dystopian but I love the powerful sounds the Machinedrum can do with a lot of Control All It really feels like a modular in this way except that everything can be saved.
I’ll be performing with my Soarer Industries project at Dystopian #26 at Lygten Station in Copenhagen on Friday the 17th of January at 20:30.
So if you’re in Copenhagen come and listen to my industrial drone beats performed on the Elektron Machinedrum. There will also be four other artists performing.
I find it fascinating you’re treating this album as a work in progress and add/change tracks. Would you mind sharing a bit why you do that and how it’s benefitting your music making? It’s appealing to me because I’d like to release things faster, but at the same time am afraid I wouldn’t end up with a coherent release I like.
Sure. This project started first of all because I love making these experimental industrial soundscapes on the Machinedrum. I initially thought of it as noise music and didn’t want to bother with mixing and mastering since it wouldn’t really make sense. Like the points you mentioned I wanted to release something rather quick without letting myself be stopped by the usual long and tedious process of making a full length album where everything is right.
I found it could be worth improving the mixing and expand on the musicality of the tracks since it’s not really noise music as Nauts here also pointed out. And since it hasn’t met with much success, possibly because it’s a niche genre and isn’t visible to the right audience, there’s no harm in trying to improve it. Unless you already have an album out with many listeners I think it’s good if you can refine your music even if it means changing something and that’s easy to do on Bandcamp.
It really feels like a modular in this way except that everything can be saved.
