Monday, 31 August 2009

B-MACHINA > The Japanese bootlegs....

Titles: Various (see text)
Format: A series of bootleg CDr in A4 stapled paper (containing lyrics by Kenji Siratori) and with picture discs mirroring cover-art, released on the Hyper Modern label (Japan) variously in 2008 and 2009.
Edition: Hand-numbered editions of only (allegedly) 30 per release

The phrase for today is "righteous indignation" and, for once, it's not Nazgul who is voicing the sentiment in this Blog but our hero Hugin!

The Japanese label Hyper-Modern is known to past readers of this Blog as a label that has, on occasion, slipped out the odd bootleg release without due credit or reward going to the artist. The example that Nazgul is immediately thinking of is with the CDr pressing of the previously tape-only "D.N.A." release by B-Machina, which even Hugin himself (until recently) had not seen a copy of.

Of course, the whole concept of bootlegs is one mired in argument and counter-argument, which loosely can be boiled down to 2 opposite premises: Firstly, in favour, is the fact that bootleg recordings offer the fan the chance to hear rare studio, demo or live material that would never otherwise emerge onto the market. The second position, against bootlegs, is that the quality of such material is often poor and the artist can be poorly represented through it and will certainly not receive any money or royalties as a result.

The Hyper-Modern situation, however, is a step further beyond not crediting the artist accordingly. In the case of these 7 albums - all bought by Nazgul online for around £10 apiece, and each featuring about 60-70 minutes of 'music' - there is absolutely no association with Bonemachine / B-Machina at all. What has apparently happened (although short of speaking with Kenji this can't be confirmed) is that a bunch of his 'gabba' lyrics have been overlain across some pretty mediocre background 'industrial' noise effects, and then the B-Machina name attached quite fraudulently to the outcome. It's not just Alex's bands that have been so affected, as the source I bought from had heaps of such releases allegedly with other projects or bands, the veracity of which I seriously doubt.

Nazgul brought these releases to Alex's attention some while back, and copied some of the content onto a USB stick to send to him. The 'official word' from Austria is that this is pure rip-off material. That's the clean version! Alex did offer the following words, which I'm sure he won't mind me repeating:

"Ufff - [I've] never done music or anything else with these releases - this is a fucking rip-off, he only uses my name to produce such a stupid kind of shit - aaaarrrrgggghhhh! Now I'm a bit angry! Kenji sux!"

Which is an entirely understandable feeling, as clearly Bonemachine did have successful official collaborations with Kenji over a number of releases, which will find their place in this Blog in due course, so for this betrayal of trust to take place must be massively frustrating, to say the least.

For these 7 releases (and doubtless there may be more, Nazgul has a bad feeling about it) the basic motivation can only be profiteering from Kenji / Hyper Modern, and one hopes that in due course some form of appropriate comeback (legally or otherwise) will befall them....

For the record, the 7 albums shown in the photos above are:
  • Raijin (#17 of 30)
  • Human Anatomy (#15 of 30)
  • Dead Scream (#14 of 30)
  • Cadaver Alchemy (#12 of 30)
  • Jigoku (#23 of 30)
  • Infinite Decadence (#18 of 30) and
  • Data Sodomy (#24 of 30)

Should you see any of these releases for sale online, or other titles in the 'series', then I would strongly urge you to suggest to the seller that he might like to roll them up really tightly and insert vertically straight up his ****!

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