†††† Dug up this synapse-shredding exercise in extreme psychedelic carnage that came out a while back from the mighty Government Alpha, one of the premier names in the Japanese noise underground. It's the nom de plume of Yasutoshi Yoshida, the prolific noise artist who's been producing a variety of sounds under the G.A. name since the early 90s. His brand of electronic noise is often loud, pummeling, and scorching, unleashing blasts of chaotic FX pedal mayhem, modulated drones and insane blip-glitch violence that form into storms of lysergic pandemonium that sometimes feels like the Japanese analog to Bastard Noise's planet-crushing chaos. They're definitely kindred souls, as the two bands have produced a number of splits and collaborative recordings together over the years.
†††† On this 2009 album Seventh Continent, Yoshida obsessively crafts seven tracks of that brutal psychedelic assault, emitting wave after wave of chirping tones and sweeping cosmic sinewaves, mesmeric pulsating bass notes and looped machine noise, swells of screaming feedback and clusters of screeching junknoise destruction. Chunks of looping noise are woven into trance-inducing rhythms, spooling out endlessly beneath Yoshida's raging chaos. Garbled tape noise is chewed up in monstrous mechanical rumblings, and on tracks like "Stupefaction", he erects walls of swirling, sun-blotting static that rival anything you'd hear from the HNW crowd. Like the demented, Dada-damaged collage art that accompanies the album, these noisescapes feel like the compressed, encapsulated sounds of a planet slipping into terminal disarray, the distilled sonic nonsense of a world being crushed beneath the weight of it's own uncontrollable technological evolution. A deafening anxiety assault from one of the undisputed masters of this sort of cut-up, brutarian junknoise and guitar-generated abuse, utterly surreal and savage, this is one of my favorite releases from Government Alpha from the past decade.
†††† Comes in a plastic clamshell case that also includes a double-sided cover and multiple full-color inserts, all featuring Yoshida's bizarre, brightly colored collage art.