A major wash of out-zone goop from Japanese sound artist and pump organ builder Yosuke Fujita, “Noiseem” loops his well-worn organ drones and water experiments into the textural domain of musique concréte and early electronics. Properly submerged material: like Kali Malone or Tomoko Sauvage doused in processes inspired by Canadian pioneer Hugh Le Caine, 0PN or Tangerine Dream’s Edgar Froese.

Fujita has been fixated on water’s primal artistic potential for years, using amplified water tanks to infuse bubbling, washing textures into his modified organ drones. ‘Noiseem’ is assembled from ambitious performances in Tokyo and London, and showcases Fujita’s aqueous obsession in microscopic detail. While many of his previous full-lengths have centered the pipe organ, here it’s water that drives the album’s pulse. Split into two extended compositions, ‘Noiseem’ begins with ‘AWA’ as tiny bubbles fizz into boiling steam while synthetic detritus transports our mind into the Radiophonic era. The bubbling rattle is familiar – but repurposed by Fujita it takes on new life.

It’s a piece of music that forces us to consider a natural world far from zeroes and ones: instead we’re confronted with air that breathes into a pipe organ and flowing water that fuels our body and surrounds us. Later, on ‘UZU’, the fragile humanity of these dual ingredients is made even more explicit when Fujita adds angular, wordless vocals.

This time the performance evaporates from bubbling liquid into gaseous clouds as a rubbery voicebox wail is introduced. Organ tones appear before Fujita’s unprocessed voice drips staccato notes on top, taking us into a sort of analogue-synthetic fantasy reminiscent of Kara-Lis Coverdale’s ‘Aftertouches’ or clasic 0PN. It’s deceptively simple music that feels joyful without lapsing into Hallmark territory or new-age spike traps. It references the timeless, sacred quality of Ellen Arkbro or Kali Malone’s long-form organ work, but now offset by Fujita’s fascination with water in different forms. Fans of Edgar Froese’s liquid solo debut “Aqua” or Hugh Le Caine’s mind-bending 50s synth masterpiece “Dripsody” should grab this without delay.