Fukte* is the name of the noise project operated by Fabrizio De Bon, who lives in northeast Italy and has run his Toxic Industries label since 2009. He arrived at noise music through black metal, in particular through the various side projects of Mz.412 and its most famous member, Henrik Nordvargr Björkk. His first noise record was by Björkk solo project Hydra Head 9, which he bought on on a whim because he was intrigued by the cover. And while his initial impression was that he had wasted his money, he forced himself to listen a few times and eventually saw the light. He started recording noise experiments in 2004, at first using a “very cheap microphone” and an old copy of Fruity Loops. He eventually built his own contact mic and invested in distortion pedals and a proper mixer, preferring the analog sound for his noise.
He didn’t release any of his noise until 2009, when he put out his first release, a split-cassette with his pal, Escaton, that had motherboards glued to the front of the cassette cases, grinded to shape by De Bon himself. Over the decade he’s spent releasing music on his label, De Bon has earned a name for the distinctive packaging of his releases. He often utilizes broken computer parts in his packages, which he primarily sources from his work in I.T. In the past, his concepts have included repurposed circuit boards and releasing a three-inch CDR inside malfunctioning hard drive cases. Most of his elaborate packages have been issued on a sub-label called Very Toxic. Another sub-label, Irritant, is dedicated to Harsh Noise Wall music only, and limits all releases to 33 copies.
His 2016 release, The Threatening Aspects Of Technology, wasn’t just a packaging novelty. It was an album whose format was hard drives, namely old internal drives recycled from work.
In an interview over Skype, he told me the story of the audio itself, explaining that it was recorded during a rehearsal session. Trying to create a Harsh Noise Wall, he carefully tuned his gear to get the noise he wanted to hear. “I said OK, let’s try to set up the gear in a way I like,” De Bon explained. “After a couple hours of adjusting the noise, I found the sound that I was interested in. I said okay, let’s leave it to evolve for a couple minutes.
“After twenty minutes, I came back, then thought I’d stretch the experiment, change it a little bit, a slight movement of the knobs, or the position of the microphone. Then I thought why not go even farther than this. I decided to leave all night, then went to work. All this time, the sound was evolving itself.”
After two and a half days, he figured it was time to stop the recording, though it took two and a half hours for his computer to save the file. He has never listened to the whole thing, only having listened to a few parts to “follow the flow a little bit.”
He copied the files to the outdated hard drives, producing ten copies of this inaccessible release on its inaccessible format, which requires that the owner purchase the necessary cables to connect the hard drive to their computer. About half the copies were sold, and half were traded with other noise artists and labels. And while he figures that most people obtained their copies to “collect it as a weird piece of noise music,” he does know of one friend who endeavored to listen to the whole thing. That friend consulted with De Bon about what equipment he needed to hook it into his laptop, then bought it all on Amazon. He listened to the whole thing, in hours-long chunks, over the course of a few weeks.
De Bon was impressed by this, since even he had never listened to the whole thing, only listening to a few snippets to get a general sense of what it sounded like.
*De Bon wants you to know that Fukte is pronounced ˈfukˈtɛ (i.e. fook-teh), not the far more vulgarˈfʌkt (fuckt).