Over the last couple of years, techno has received an ongoing fuel-injection from the regular hordes of old noise-musicians, who have discovered the joy of a brutal 4/4-beat. Pure Schofield aka Container is one of the best examples on an exchange like that among the two genres, with a series of publications of explosive character to put it mildly, where rusty noise-surfaces meets decayed but hard moving rhythms.
With noisy side projects such as Form A Log and Japanese Karaoke Afterlife Experiment, Schofield primarily works with punk and stubborn American noise-music. However as Container, he has, over a rather short period of time, published his high-pitched destruction-funk to prominent companies such as Liberation Technologies, Spectrum Spools and Morphine, and all combined with frequent concerts, where brutally torn-into-pieces waves of decomposed, chopping techno is poured out into an overwhelming amount of physical and psychedelic noise.
If the term “noise-techno” has become a bit of a cliché, it is only due to artists like Container, who has raised the standard – it is the kind of music that seems easy to imitate on the surface, but difficult to redeem. Schofield is a master in soiled synth- surfaces, rolled out in hot steal, and rugged beats, which hides a rather sophisticated and pronounced funky feeling behind a controlling and collapsing sound-picture. Held together by an elastic and smouldering rhythmical skeleton, which makes Containers, almost independent music, the perfect soundtrack for Friday night’s gradually traditionally meltdown of a techno concert.