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ABISYEIKAH   Jiyuumo Kattemo Onajida Nandemo Iikara Yacchimae!   2 x CDR   ()    12.98

Jiyuumo Kattemo Onajida Nandemo Iikara Yacchimae! IS CURRENTLY UNAVAILABLE FOR ORDER

We totally fell onto these guys by accident, discovering this handmade double-disc set after hooking up with Japanese noise label Dotsmart to grab some of their new JESUS OF NAZARETH CD. Self-described "bizarre hobby violent music group" ABISYEIKAH are an ultra enigmatic duo dealing in high-power psychedelic noisecore violence and insane/stoopid electronics/soundbite meltdowns. Jiyuumo Kattemo Onajida Nandemo Iikara Yacchimae! is a double CD-R set, with the first disc filled to the gills with 99 tracks of Japanese pop culture soundbite loops, stoned and stumbling casio-pop jams, hideous lo-fi noisecore with retarded vocals, like a FEAR OF GOD/ANAL CUNT hybrid fronted by Yamatsuka Eye, sliced with paint-peeling electronic noise and dance music...along with fucked up/drug damaged sludgy breakbeats and zonked techno, beyond-gutteral toilet-bowl-monster vocal psychedelia, beatboxing, squeaky electro-acoustic fuckery,childlike babbling, and loads more. Totally nuts. The second disc is even more abusive harsh noise mixed with mongoloid beats, chainsaw noisegrind eruptions, vomiting phone pranks, braindamaged rapping, and skull rupturing blast spread across 99 tracks. Insane shit, with nary a moments peace to be found in this 2 hour-plus scum marathon. The packaging is handmade and killer, a full color double-disc digisleeve gatefold thing with some crazed group pics.


ABSOLUT NULL PUNKT   Ultrasonic Action   CD   (Charnel Music)    9.98

Ultrasonic Action IS CURRENTLY UNAVAILABLE FOR ORDER

Punishing early-90's re-issue that collects the entire Ultrasonic LP and two tracks off of the Ultima Action LP from K.K. Null's pre-ZENI GEVA noise rock monster, originally released in the late 1980's and remastered onto one 68 minute disc. ABSOLUT NULL PUNKT's jams were recorded way back in 1986/1987 in Japan, and even after 20 years, this is still a SKULLCRUSHING series of death improv beatings. Consisting of a spare bass/drums/guitar trio (featuring drummer Seijiro Murayama, who was also the original drummer for Keiji Haino's Fushitsusha ), Ultrasonic Action delves into a combination of free improvised rock, caustic, feedback saturated punk slop, and plodding dirge that recalls early Swans, accompanied by primitive percussion and Null's terrifying death howls ...sort of an industrialized improv take on freeform sludge rock, but definitely much more fucked up than that delivered by Zeni Geva. Definitely paints a picture of what K.K. Null would go on to create with Zeni Geva and his other, later projects. Excellent, completely abrasive and ear shredding atonal rock destruction. Released on Zeni Geva's Nux Organization imprint.


ABSOLUT NULL PUNKT   Absolute Magnitude   CD   (Blossoming Noise)    10.98



2008's Absolute Magnitude is the latest album from the reunited Japanese noise/improv/industrial/rock duo Absolut Null Punkt, which features drummer Seijiro Murayama (who used to play in Fushitsusha back in the late 80's) and KK Null (from Zeni Geva, natch) teaming up for another go-round of blistering freeform noise blat. Some of the older ANP albums like Ultrasonic Action treaded closer to a kind of industrial thud-rock similar to that of Zeni Geva and Swans, but the recent ANP albums have gotten progressively more abstract and noisy, and WAY more psychedelic. Which is ace by me. Absolute Magnitude doesn't really have anything that I'd describe as a riff, and the duo certainly don't come near the crushing angular noise-metal of Zeni Geva, but Null's guitars do get pretty damn extreme on this disc, spewing out thick jets of howling, bleeping, soaring effects-blasted guitar noise that sound more like the sort of stuff you'd hear on one of his solo albums, only here it's backed by the propulsive drumming of Murayama, whose rhythms often slip into a killer hypnotic throb that turns some of this stuff into a sort of super-abstract computer-battle krautrock. On the other hand, the second track explodes into full-on chaos, Murayama bashing and skittering crazed anti-rhythms and clanging industrial percussion that smashes headon into Null's distorted, mangled spaceship FX. Gets pretty heavy, in fact.
The first track starts off with a six minute splatterfest of pounding, tear-down-the-walls improv drumming, dense squalls of harsh industrial noise rushing in from opposing directions, and bits of jacked-up synth squiggle and raygun photon blasts zipping around all over the place; all of that electronic blat and Null's thoroughly mangled guitar skronk suggests the crazy spaceship chaos-scapes of his noisier solo stuff, but melded with a furious, almost free-jazz-style percussive assault. But when it hits the midway point, everything drops out except for a smattering of random bleating electronic noises, and then the band rebuilds the track slowly into a throbbing, pulsating sci-fi krautrock jam, the drums pulsating beneath robotic synths and streaking high-end effects, and it gets pretty dense and hypnotic as the band rides this noisy, psychedelic groove to the end.
But track two is way more abstract, a sprawling soundscape littered with busy tribal free-drumming that percolates in a haze of damaged synth noise, wheezy digital glitch, Null's weirdly processed guitar that he somehow manages to turn into a screaming sax-like bleat, stretches of spatial percussion and random sounds, and Moog-y synth arpeggios. And the third track essentially combines all of the elements that came before into a massive thirty minute jam that takes you from Nullsonic brand starship bleep to super-distorted industrial/free improv dirge to furious blasts of way-out guitar skronk and hammering drumbeats, wandering in and out of more of those wicked overdriven synth/drums workouts with wild looping prog-style arpeggios that circle around Murayama's treated drumming.
Comes in a full color digipack.
Track Samples:
Sample : ABSOLUT NULL PUNKT-Absolute Magnitude
Sample : ABSOLUT NULL PUNKT-Absolute Magnitude



ANGEL'IN HEAVY SYRUP   IV   CD   (Monotremata)    14.98

IV IS CURRENTLY UNAVAILABLE FOR ORDER

Angel'in Heavy Syrup are four women from the land o' the rising sun who play like a bizarre cross between the Cocteau Twin s and the Butthole Surfers in the bathroom of a jazz lounge in Osaka. Sorta. Angel'in Heavy Syrup -- one of Japan's finest psychedelic rock bands ( and possibly one of the best bands of any kind in the world) -- return with a full-length album of all new material. The current lineup consists of vocalist/bassist Mineko Itakura and guitarist Mine Nakao, both of whom have appeared on all of the band's albums, and guitarist Fusao Toda, who joined the band in time for the second album. Naoko Otani provided drums on the album. This all-girl trio lays down some heavy duty, riffalicious, totally mesmerizing underground psychedelic rock bliss with GORGEOUS ethereal female vocals and a distinct Japanese delivery. Hands down, one of our ALL TIME favorite albums ever!!!! So, you wonder, what do they sound like? Well, that's a good question... describing them is easier said than done. Take the aforementioned psych bands of the flower-power era, mix in a large dose of folk juju, sprinkle on a smidge of free jazz, then season liberally with influences like the Butthole Surfers, John Coltrane, and various noise artists. Garnish with unexpected time changes, odd meters, impeccable technical skill (Fusao and Mine could play rings around nearly all the "hot" guitarists in American and European circles, and Mineko is not only an amazing bassist but one of finest singers in Japan) and lots of exotic-looking flowers.
Angel'in Heavy Syrup were formed in Osaka, Japan in 1990, and they are possibly the greatest band in the world. On their psychedelic side they are nfluenced by the likes of Gong, 50 Foot Hose, and Amon Duul, but they are definitely influenced by more recent, noisy contemporaries such as Hijokaidan and Masonna as well. Morita Doji, a Japanese pop-folk singer of the 70s and 80s, has also had a big impact upon them. Now defunct out-music label Monotremata Records (one of the great underrated labels of the last few years) graciously made this album domestically available in conjunction with the album's simultaneous release in Japan by legendary avant-garde label Alchemy Records. From the first blast of reverb-heavy psychedelic noise at the beginning of "First Love" to the fading burst of Echoplex that closes "Fate," the six lengthy songs on this album rank among the band's best work. All three of the musicians are in fine form here, with strong songs and stellar playing making this one of their best releases to date. To top it off, the deluxe packaging of the CD (with a sixteen-page booklet and artwork by Masahiko Ohno, guitarist of Solmania and Alchemy's lead designer) make this a highly attractive release - and for the first time, the band's lyrics are printed in English.


ASTRO   Synthetic Spectra   CASSETTE   (Blossoming Noise)    7.98














ASTRO / CORNUCOPIA   Deep Wind   CD   (Quasi Pop)    14.98












Track Samples:
Sample : ASTRO / CORNUCOPIA-Deep Wind
Sample : ASTRO / CORNUCOPIA-Deep Wind



ASTROMERO   self-titled   2 x CD   (Troniks)    14.98



A double compact disc boxset of heavy analog synthesizer powerdrones and space noise. This collaborative project between Damion Romero of 90's "power-acoustic" outfit Speculum Fight and P-Tapes, and Hiroshi Hasegawa of Astro/C.C.C.C./Mortal Vision recorded between 1995 and 2005, and their entire output is all gathered together in this swank box set. Romero and Hasegawa collaborated live, in studio, and through the mail during this time, creating extended explorations into the psychedelic power of vintage analogue synthesizers. taking cues from the psychedelic black hole electronics of C.C.C.C., who were considered the Hawkwind of Japanese noise. But Astromero is definitely a force unto itself, as these guys create skullbending assaults of UFO liftoff and circuit hum, colored green and black in the purring shadow of a gigantic, monolithic refridgerator erected on earth by some eldritch race. Pulsing drones and crackling black-lightning rhythms throb in a manner reminiscent of Kluster, Faust, and Conrad Schnitzler. The first disc features studio/mail collaborative material,including guest spots from L.A. Free Music Society member/Keiji Haino collaborator Rick Potts and C.C.C.C. member and Mason Jones collaborator Miyuko Hino...and the second disc is compiled from two live synchronised performances in 2002 in Tokyo that ends in the gnashing jaws of an apocalyptic bass loop. Ten years of powerdrone/electro psych blast conceptualism capsuled in a molded metal tin with glossy color insert folder, and sealed with a printed label. It comes together as a killer, fully satisfying compendium of imaginative Japanese drone/noise and electronic psychedelia. Limited to only 500 copies.


ASTROMERO   Astromero 2   3 x CD   (Troniks)    19.98



Wow...this is a massive triple CD boxset that collects recordings of all four of Astromero's live performances from their 2006 U.S. tour, fully documenting their earth-shaking sets in Los Angeles, San Francisco, Oakland and Brooklyn. The duo of Hiroshi Hasegawa (also of legendary Japanese psych-noise band C.C.C.C. and South Saturn Delta) and Damion Romero (formerly of Speculum Fight and head of the P-Tapes label) have been far from prolific, with the self-titled double CD set on Troniks from 2005 collecting their only studio recordings, so this hefty set is a must for any fans of Astromero's crushing space-noise. The duo originally existed between 1995 and 2005 as an offshoot of Hasegawa's post-C.C.C.C. project Astro, where he further explored the transcendental power of distorted analog synthesizers. When Hasegawa teamed up with Romero in the early 90's, the two of them collaborated both through sending recordings back and forth through the mail and eventually meeting up in person. The result is some of the heaviest synthesizer-based freeform drone noise ever, a combination of the ultra-low-end synth throb heaviness that Romero had experimented with in his own work, and the sweeping cosmic electronics of Hasegawa's music that came out sounding like someone took only the crazy electronic sounds from Hawkwind's Space Ritual, made them one hundred times denser and heavier, and played back the psychedelic synth sounds at skull-shattering levels of volume and distortion.
It wasn't until 2006 that folks over here in the U.S. would finally get a chance to witness the power of Astromero. The four-date tour was centered around a performance at the No Fun Fest in Brooklyn, NY in March of 2006, and a trio of West Coast dates were included in the itinerary. This set captures every one of these performances, with the first disc featuring the Los Angeles and San Francisco sets, the second disc featuring two seperate shows that took place in Oakland, California, and the third disc capturing the monolithic performance at No Fun. Each performance typically runs from 20-40 minutes, and erupts with huge showers of heavily distorted synth buzz and crunching, crushing low-end frequencies that sometimes reach Earth 2 levels of ambient heaviness, over top of which the two musicians unleash all manner of squiggly analogue signals and swooping oscillator noise, deep-space blips and bleeps, sounds that could be swarms of intergalactic battle angels singing in choir, and fluctuating sinewaves that make my heart shudder. Every one of these performances is epic and unbelievably loud, and totally improvised, and in spite of that fact this never sounds like the kind of chaotic earblow skree that people usually associate with Japanese noise. Astromero are on a totally different level, forging crushing, almost overwhelming but totally engaging slabs of trippy, psychedelic formlessness. Highly recommended to anyone into Astro and/or C.C.C.C. and psychedelic, brain-melting cosmic drone noise.
Troniks packaged this three-CD set in a huge jewel box with a cool, minimal design on the outside that focuses on the set's track listing and Astromero's logo, and on the inside it has photos of interstellar oceans of stars burning through the night sky, and an eight-page booklet with track notes, show details, and photos from each of the performances.
Track Samples:
Sample : ASTROMERO-Astromero 2
Sample : ASTROMERO-Astromero 2



AUBE   Howling Obsession [Revised]   CD   (Manifold)    10.98



    Released in 2002 by Manifold Records, Aube's Howling Obsession is one of the more menacing recordings to come from Akifumi Nakajima's long-running experimental noise project. Like most Aube releases, this focuses on a single sound source that Nakajima proceeds to manipulate and expand into a wider array of sounds, here crafting a black soundworld using only a small speaker to generate his noises, the black cone of his speaker transformed into a gateway into a dark chromium universe. The four main studio tracks that make up Howling Obsession were originally intended for a cassette release on an ill-fated US label that never materialized, and were revised and re-mastered for this proper release through Manifold, supplemented by a sprawling live track.
    Nakajima produces some stunning droneworks on Howling Obsession using just that single speaker; the title track is an intense piece of deadzone soundscapery, an eighteen minute sprawl that starts out with just the muted buzz of an electrical current, a deep, almost subliminal pulse felt more than heard as it slowly fades into view. It slowly expands into a mesmeric static tone-prayer, gradually joined by layers of piercing high-frequency feedback that swell in volume, somewhat comparable to the minimalist nihilistic noise experiments of Italian artist N., but more meditative, focusing on the soft fluttering movement of the speakerbuzz as he gently manipulates his sound across the length of the track. It's disrupted by Nakajima's volleys of scrapes and rattling noises, created by running the speaker noise through a variety of effects processing, drawing back to the sound of distant thunder before surging back into a storm of chittering distortion, an insectile swarm of crackling noise that proceeds to spread out into a textural field of black static somewhat akin to some of The Rita's more subdued recordings. The other three studio tracks that follow range from brief feedback mantras that stretch rhythmic noises across a black void ("Replicate") and surreal soundscapes populated with malformed mechanical loops, spurts of acrid distortion and searingly abrasive locustblast electronics that reach Bastard Noise-style levels of sonic violence ("M.O.L."), to the ghostly, over-modulated chrome-wet drones and asthmatic industrial throb that dominates "Ex-Terminal". All in all, it's some of the bleakest material I've heard from Aube, and rather captivating.
    You can hear some elements of the previous tracks in his live performance of "Howling Obsession" from 1997 that closes the disc. At first this twenty-four minute performance goes much darker and creepier, a hushed dronescape of delicate feedback streaks burning out against the black aural backdrop, deep speaker rumblings rising and falling across the length of the track, punctuated by some seriously tinnitus-inducing high end feedback. But later on, the set develops into a more pugilistic din of harsh noise, erupting into blasts of garbled 8-bit chipviolence. An intense enough experience just listening to this track on the album, I can only imagine what it was like to be there in the flesh as Nakajima coaxed these monstrous sounds from his equipment.
Track Samples:
Sample : AUBE-Howling Obsession [Revised]
Sample : AUBE-Howling Obsession [Revised]
Sample : AUBE-Howling Obsession [Revised]



AUBE   Blau+Rot   7" VINYL   (Auf Abwegen)    9.98

Blau+Rot IS CURRENTLY UNAVAILABLE FOR ORDER

The Japanese sound designer Aube (Akifumi Nakajima) has become legendary for this extensive body of work that centers around extremely detailed noise tapestries that are created by manipulating and mutating a single sound element; past releases have seen him using everything from recordings of water to a single voice to the sound of pages being torn from the Bible, and each work is a dense, detailed collage of sound that might range from sublime drone to brutally harsh slabs of noise. This two song EP was released by AufAbwegen for Aube's Spring 2007 tour of Europe, and both of the six-minute pieces presented here are created from an old Roland SH-12 percussive synthesizer. The first track "Blau" is a sizzling aquatic dronescape, filled with bubbling electronic noises and metallic drones. The other side, "Rot", is more aggressive though, opening with harsh squelchy blats of distortion and an increasingly chaotic stream of squiggly, glitchy electronics. On clear vinyl in a full color sleeve, and limited to 500 copies.


AUBE   Purification To Numbness   CDR   (RRRecords)    7.98



Japanese sound artist Akifumi Nakajima has become well known in the avant-noise scene for his manipulated soundscapes created under the name Aube. Since the early 90's, Aube has focused it's aesthetic on taking a specific sound source, often recordings of water or electric lights and similiar mundane sources, and reshaping the sounds into an unrecognizeable ambient soundscape. Aube's more recent output has tended to lean towards calmer, more meditative realms of sculpted sound, but if you dig back into his earliest work, you'll find recordings of impossibly dense, chaotic noise that is just as brain-melting as what his peers in Masonna, Merzbow, C.C.C.C., Pain Jerk and Incapacitants were doing. The Purification To Numbness full length was recorded in 1994 and was released as part of the Pure series on RRRecords, and breaks away from the processed recordings of water that Aube was beginning to experiment with around this time. Instead, the three massive tracks that comprise the album ("Elementary Particle", "Purification To Numbness", "Ele-Mentally-Particle") are monolithic, twenty-plus minute meltdowns of psychedelic industrial noise. Some of this is comparable to the psych/space blastnoise of C.C.C.C. as Aube erects a similiarly massive wall of roaring distortion that is splattered with an endless onslaught of trippy electronic fx and weird almost musical loops spiralling into the mouth of the storm, but then there are the swarms of honking brass-like tones that descend like armies of free jazz players, frothing at the mouth and doing battle with an enemy armada of spaceships from Galaga. It's quite a trip. Admittedly, there are a bunch of Aube recordings that I haven't laid my ears on yet so my working knowledge of his output is somewhat limited, but geezus if this isn't the most brutal, coked-up galactic noise assault that I've ever heard from Aube, and that third track especially is some kind of immolating jazz/electronic black hole. Fans of hard-edged Japanese noise gotta hear this. Packaged in a plastic sleeve with xerox-damaged paper covers in the messy RRRecords stylee.
Track Samples:
Sample : AUBE-Purification To Numbness
Sample : AUBE-Purification To Numbness



AUBE   Metalive 1997+1998   CD   (Neurec)    13.99



     A rare 2005 release from one of Japan's most respected experimental sound artists, Aube's Metalive showcases a pair of complete live sets along with a shorter excerpt from a third performance, packing this disc out with over sixty-five minutes of evocative, expressionistic noise. Using the amplified and mutated sounds of banal, everyday objects, Aube creates massive, often terrifying noisescapes that become incredibly dense and overpowering. Visceral and textural, his stuff is some of the best stuff to come out of the Japanese noise underground.
     The first full live set on this disc is from a 1997 performance in Germany that finds Aube slowly building a vast dronescape, starting off with the barest of peripheral hum, but then stretching and layering this minimalist pulse with streaks of flinty feedback and soft electronic tones. He gradually incorporates clusters of clattering metallic noise and high-pitched sinewaves into the soundfield, allowing mesmeric, almost subliminal rhythms to form from the feedback process, rumbling rattling loops materializing from within roiling waves of black static, building to a tense, almost threatening atmosphere that charges the air across the second half of the track as ghostly thumps and sinister distorted throb continues to slip in and out of focus. Impressive and ominous work.
     The other full set comes from a 1998 performance at Yamamura Salon in Ashiya, Japan; much like the previous track, Nakajima starts this off with a soft, minimal hum that becomes the springboard for a larger and more layered noisescape. Rhythmic fluttering and soft pulses of muted feedback slowly spread out across the set, rising and falling in intensity as it gives way to a series of bathyspheric sonar-like pings and luminous drones. More minimal and mesmerizing, the set is flecked with lots of interesting tonal artifacts and hushed rhythmic movement, even slipping into sections of spare, almost technoid throb and miniature symphonies of clanging metal.
     That looping, rhythmic feel carries over to the final eight minute track, recorded in Germany in 1998; fragile, vaguely sinister sounding loops whirr in the darkness beneath gently wavering feedback drones on this one, finishing off the disc with it's eeriest piece of music, a somewhat spooky dronescape that's further layered with more forceful metallic rattlings and a prayer-bowl like resonance that in the end graces the performance with a strange, vaguely ritualistic atmosphere.
     Issued in a limited edition of one thousand copies, Metalive comes in a clamshell case with full color artwork.
Track Samples:
Sample : AUBE-Metalive 1997+1998
Sample : AUBE-Metalive 1997+1998
Sample : AUBE-Metalive 1997+1998



BASTARD NOISE + GUILTY CONNECTOR   Decimation Cycle   7" VINYL   (Utsu Tapes)    8.99



   Decimation Cycle is another older Bastard Noise 7" that recently resurfaced through one of our suppliers, apparently unearthed from somewhere in the depths of Eric Wood's closet. I never had the chance to pick this up when it first came out way back in 2002 on Japanese label Utsu Tapes (run by Guilty Connector's Kohei Nakagawa), and it's been out of print from the label for years, so BN-freaks who've been hunting for this record should probably move quick if they want to get their hands on this. The two-song EP was part of an ongoing line of collaborations between Man Is The Bastard offshoot Bastard Noise and Japanese noise outfit Guilty Connector, a partnership born of a similar sonic aesthetic and attitude that has resulted in a number of recordings; this is definitely one of the more aggressive collabs that the team produced, both sides radiating some pretty vicious electronic hatred.
    Each track is a roughly five minute long maelstrom of frenzied oscillator abuse and extreme electronic noise, roaring distorted static and caustic high-end skree all bleeding together into a mind-melting blast of abstract sonic violence. This definitely finds itself firmly footed in Bastard Noise's signature brand of psychedelic locust-blast electronics and lysergic effects-chaos on the first track "In The Face Of So Vast A Threat", which relentlessly scratches at your cranium with its torrent of sputtering, shrieking noise. But on the second side, the title track shifts into a much more evil sound, with Wood shrieking his horrific visions of apocalyptic extinction over a low, chirping noisescape, this creepy atmosphere punctuated with sudden blasts of extreme glitch, crazed synth squelch and waves of rumbling low-end frequencies that transform this track into a kind of toxic, monstrous power electronics.


BASTARD NOISE / GOVERNMENT ALPHA/HIROSHI HASEGAWA   Uncertainty Principle   7" VINYL   (Small Doses)    7.50



   Though it looks like it might be awhile before we get another album of the sort of crushing, alien prog that Bastard Noise has been doing lately in full band mode, we can still count on BN mastermind Eric Wood to keep feeding us his more straightforward electronic assaults, which almost always blast my skull away. Even better is when we get some new Bastard Noise stuff where he's teamed up with legends of Japanese noise; this recent 7" threatens deafness with not only an a-side that has Wood teamed up with Hiroshi Hasegawa of cosmic noise gods C.C.C.C., but also a punishing blast of galactic horror from his collaboration with the mighty Government Alpha, delivering two sides of pro-Earth, anti-human technological devastation.
    BN's track with Hiroshi Hasegawa sweeps across the first side with a skull-melting blast of electronic noise, the squealing, violent frequencies cut-up amid snippets of absolutely desolate ambient drift and garbled circuitry. Crank this side up to maximum volume, and it's fucking terrifying, those stray motes of deep-space drift and half-glimpsed melody that surface throughout the track only serving to exacerbate the nightmarish vibe. When Wood eventually unleashes his inhuman screams later in the track, it's a choir of agonized shrieks and monstrous guttural rumblings that rise over waves of distorted feedback and whirring, insectile electronics. It's one of the most nightmarish sounding things I've heard from Bastard Noise lately, like some fragmented S.O.S. transmission beamed back to us from the bowels of Hell.
    The Government Alpha collaboration "A Diabolical Journey" offers a slightly more subdued dose of cosmic death. Wood continues to bellow and belch his misanthropic fumes, but those glottal, death metal-esque detonations are smeared over a more ambient expanse of sound, swells of minimal drift rising and falling between bits of almost orchestral drone and peals of distant metallic agony. It's like some strange cinematic version of a power electronics assault, the harsher sounds melted down and poured across distant gleaming vistas, the track only beginning to squirm out into more tortured forms towards the end as the artists finally unleash the full fury of their oscillators and effects units, bathing the final moments of the record in a horrific, irradiated glow.
    Comes in some really nice (if slightly labor-intensive) packaging, the olive-green vinyl packaged inside of a sealed, printed vellum envelope.


BASTARD NOISE / PAIN JERK   Imminent Economic Collapse   7" VINYL   (Alternative Tentacles)    11.99



     Recently nabbed a bunch of old, rare, out-of-print Bastard Noise / Man Is The Bastard-related stuff, all of it new, but apparently hidden away in one of the darker corners of one of our distributor's warehouse. One of 'em is this long-gone 7" that came out on legendary punk label Alternative Tentacles back in 1999; featuring one track each from Man is The Bastard's electronic noise offshoot Bastard Noise, and Japanese harsh electronics terrorizer Pain Jerk, as well as a collaboration between the two on the b-side, this is probably one of the most abrasive things that ever came out on ol' Alt Tentacles. It's pretty ferocious, Pain Jerk kicking things off with a brutal blast of psychedelic electronic noise on "Face Down In A Pool Of Piss" that unleashes some serious distortion-pedal abuse, and then followed by the stretches of subdued insectile chitter and mesmeric celestial pulses that make up Bastard Noise's "I.M.F. Secrets" that rounds out the rest of the side.
     The main draw, though, is the collaboration track "Imminent Economic Collapse". Here, the two noise artists deliver a longer, more mind-melting dose of trippy analogue synth noise and violent frequency sweeps, all set against grinding electronic drones and churning clouds of grainy shortwave static. Anyone familiar with both artists will be able to pick out their various signature moves in this chaos, but they mesh together really well, which would be just one of several collaborative experiments that the two projects would engage in over the years. And it's pretty goddamn heavy, too, once BN's Eric Wood finally starts bellowing his barbaric caveman grunts over the track's onslaught of apeshit oscillators and rapid mechanical judder. Brutal. As with all of these other rare Bastard Noise records we picked up, quantities are extremely limited.


BEGOTTENED   self-titled   CD   (Nostalgia Blackrain)    15.99



Prepare for a descent into death-dub delirium! Just seeing that this new Japanese band featured the duo of Chew (vocalist for legendary sludge metallers Corrupted) and Kohei Nakagawa (the guy behind the longrunning extreme noise outfit Guilty Connector) was enough to make me want to pick up this self-titled debut, but this ended up being even better than expected. These six songs are formed out of an immensely bleak brand of slow-motion, industrial-tinged heaviness, focused around spare, echoing drums that creep and shuffle through a vast, dark expanse, that almost dubby percussion moving beneath encroaching waves of crushing detuned drone and streaked with bits of trippy electrnic noise. The opener "Brainwashing" alost resembles an especially doom-laden Scorn track, or perhaps something from Necro Deathmort, all slow-mo snare hits and erchoing kick drum, draped in murk and reverb, the sound of a doom metal drummer playing solo in some isolated cave chamber. AS the album moves through each subsequent track, however (the whole album seems to be essentially a single piece of music), the sound grows more frenzied and noisy, those drums becoming lost in gales of shrieking electronics and crushing low-end diostortion, and halfway in all you can make out are the violently crashing cymbals swept up in a hurricane of noise. The second half re-emerges into a much more psychedelic space, though, as swarms of frenzied tape delay effects and garbled glitchy electronics take over, joined by even slower and mor stretched out drumming, shrieking feedback and controlled blasts of distortion, contrasting space and stillness with those bursts of abrasive sound and echoing percusive skitter to lead the rest of the album into a spaced-out, utterly desolate sprawl of ashen doom-dub, desaturated isolationist ambience and ghostly electro-acoustic creepiness, a whirring, clanking, echoing nightmare that at times resembles some doom outfit channeling Lee Perry in the shadows of the world of Eraserhead.


BIRUSHANAH   Akai Yama   CD   (Level Plane)    9.98

Akai Yama IS CURRENTLY UNAVAILABLE FOR ORDER

If the Birushanah album Touta hadn't been an older title that we just happened to pick up for the first time from the Japanese label run by one of the band's members, it would have been a shoe-in for our Featured Release this week. As soon as I heard that album, this Japanese band immediately became one of my new favorite bands, seemingly custom-made for my lust for demented metal with their bizarre, exotic fusion of traditional Japanese music and planet-crushing industrial avant doom. When it rains it pours, and I just found out that Level Plane just released a brand new album from Birushanah this month titled Akai Yama, and it's even more freaked out and brutally percussive and bizarre as their previous album, a devestating slab of insanely complex polyrhythmic math doom with awesome psychotic vocals and THREE DRUMMERS and contorted angular riffage that will fold your frontal lobe over onto itself. An unchallenged album of the week and one of thee best heavy albums of the year, no doubt!
Hailing from Osaka, Japan, Birushanah started in 2002 and featured members of the Aussie deathsludge band Dad They Broke Me, and would also later have former Corrupted/Tetsuo bassist Shibata in their ranks. When you listen to Birushanah, you can hear the raw matter of their doom/sludge roots, but as the band evolved and brought in metal percussion and Japanese percussion alongside the regular drums and incorporated traditional Japanese scales in their music, the band's sound has become more and more alien sounding. And yeah, I said that Birushanah have three drummers, or percussionists to be more precise; they have one guy playing a regular drumkit, hammering away at pummeling slow motion beats and the occasional blastbeat, while two other guys bash on makeshift metal and traditional Japanese drums in unison with the drummer. This creates an extremely dense and chaotic percussive force on Akai Yama as all three percussionsist bash away at the same time, playing super complex polyrhythms and seriously bizarre time signatures that have an industrial feel due to the metal textures. There are two bassists, both of which play traditional Japanese scales on their instruments, and the atonal scales combined with the dual battery of having two bass guitars thickens up the sound MASSIVELY. This album features three tracks, but the first is a short two minute introduction piece of Gagaku-like Japanese classical ambience. After that, the band lurches into two massive 17-20 minute tracks, totalling over 40 minutes of music. Each track is made up of different passages, moving through long intricate compositions of pounding tribal psychedelic sludge, with yowling vocals and demented male singing, melodic basslines slipping in and out of strange rhythmic grooves, more subdued passages of foly Japanese acoustic music, glimpses of koto (the traditional Japanese stringed instrument) in the crushing mathy sludge metal. Devestatingly heavy and nauseatingly angular heaviosity that honestly sounds like Corrupted fused to Zeni Geva, early Swans, and Japanese classical, as weird and unlikely as that combination sounds. The album artwork is perfect too, capturing the astral strangeness of Birushanah's sound with psychedelic space paintings layered with geodisic structures and swrling abstract shapes. This one is on my list for one of the best metal albums of the year. Highly recommended.


BIRUSHANAH   Touta   CD   (S.M.D.)    11.98

Touta IS CURRENTLY UNAVAILABLE FOR ORDER

Pulvering sludge metal from Japan combined with traditional Japanese instruments and music? That sounded like a combo that needed to be checked out, and I'm glad I did - this CD from 2002 is one of the more interesting psych-metal imports that I've gotten in at the Blast recently, a two song, twenty minute mini-album released by the amazing Japanese label S.M.D. (who I worked with last year in regards to their Japanese release of the Grey Daturas Dead In The Woods album), who have also hooked us up with the crushing Shinsho album from Ryokuchi. Birushanah originally started in Osaka in 2002 with bassist Sougyo and members of the Aussie sludgecore band Dad They Broke Me who were staying in Japan at the time; the members of DTBM would leave the band shortly after, but not before recording this two song debut that also featured Corrupted's Shibata on fretless bass.
The two songs on Touta ("Shoketsu" and "Ikei") are certainly something different. The opener "Shoketsu" starts off with a lone bass guitar playing a heavy dark Japanese-sounding melody using that sort of traditional, atonal scale, and it becomes joined by deep wordless chanting, minimal percussion and the deep buzz of a didgeridoo. But then five minutes in, that hymnlike processional suddenly explodes into crushing, sludgy dirge metal, a huge hypnotic riff, angular and convoluted grinding over and over above two percussionists, one playing a regular drumkit and pounding out a steady stream of pummeling, complex beats, the other playing some kind of found-junk-metal percussive set and smashing out these clanking steel-pipe rhythms a la Trephine in tandem with the drummer! Monstrously heavy and chaotic, it's like hearing a mathier Neurosis if the members were actually Japanese warrior-monks. Then comes "Ikei", and once again it begins with a more traditional style of music, an awesome droning Japanese psych jam, the digeridoo again buzzing away but now it's joined by all kinds of Japanese percussion and Japanese folk instruments, super catchy and trippy but HUGE sounding, coming to an ecstatic close as every instrument in the room gets cranked to eleven in a mass of sound, and then the band suddenly lurches forward into a grisly stuttering stop and go riff, manic drumming kicking up a storm as the detuned guitars and fretless bass lock horns in twisted sludgy riffage, weaving back and forth over an increasinly weirder song strucure. Then they start breaking off into these frenzied math metal breakdowns that remind me of Dazzling Killmen, and alternate those chaotic fretboard freakouts with brutal angular sludge with more of that awesome junk metal percussion and grinding drumming pushing everything forward in vicious starts.
Birushanah's brand of psychedelic math sludge is pretty damn amazing, and definitely VERY crushing, and with their being a new album coming soon from the band on Level Plane and apparently some US touring in the works, I'm betting that these guys are going to get huge. Pretty essential for anyone that is an equal fan of Zeni Geva and Neurosis!


BORBETOMAGUS / HIJOKAIDAN   Both Noises End Burning   CD   (Les Disques Victo)    17.98

Both Noises End Burning IS CURRENTLY UNAVAILABLE FOR ORDER










Track Samples:
Sample : BORBETOMAGUS / HIJOKAIDAN-Both Noises End Burning



BORIS with MERZBOW   Sun Baked Snow Cave   2 x LP   (Hydra Head)    27.98

Sun Baked Snow Cave IS CURRENTLY UNAVAILABLE FOR ORDER

We've got one (1) copy of this now out-of-print 2xLP in stock. Here's the original review from the CD release:
This latest collaboration between Japanese drone/sludge/rockers BORIS and legendary noise artist Masami Akita (MERZBOW) follows their previous matchups Megatone and 04092001, and returns to the drone-heavy fields explored on Megatone and BORIS’ Flood. Languidly strummed acoustic guitars open the album, gauzy and delicate as single notes are plucked and hung on a wide open expanse of sound. Eventually far-off rumbles and approaching electronic flashes begin to appear around ten minutes in. At twenty minutes into the track, the roar of massively downtuned guitar crashes in, as Merzbow beams in crackling electronic shrapnel and glitchy noise over the amorphous swells of noisy powerdrone. The final half of the record crawls out of the heavy swirl and drifts into black with ghostly blots of computer noise and feedback, as the album’s opening guitar movements re-appear as the coda. Packaged in a killer casewrapped gatefold jacket virtually identical to the original CD packaging, super striking, Stephen O'Malley's hyper-abstract album artwork printed in blue, black and white metallic inks. Limited to one thousand two hundred copies.


C.C.C.C.   Early Works   4 x CD   (No Fun Productions)    45.00

Early Works IS CURRENTLY UNAVAILABLE FOR ORDER










C.C.C.C.   Chaos Is The Cosmos   CD   (Cold Spring)    12.98



OK, so I just wrote up Experience The Concreteness from C.C.C.C. side-project South Saturn Delta for last month's New Additions list, and went on and on at length how that was an even more brutal manifestation of the space-noise overdrive of C.C.C.C., Hiroshi Hasegawa's churning synthesizer furnace amplified into even more ear shredding levels of cosmic blast. Well, after listening to the latest C.C.C.C. album this past week, I'm thinking that I might need to eat my words - on Chaos Is The Cosmos, the prestigious Japanese noise cult returns with their first new album since 1996's Flash and it's as skull-shreddingly intense and crushing as any Japanese noise album I've heard in the past decade. Focal members Hiroshi Hasegawa (also of Astro, YBO2, South Saturn Delta) and wife Mayuko Hino (a former bondage-porn actress) are joined by Fumio Kosakai (Hijokaidan, Incapacitants) and Ryuichi Nagakubo (Tangerine Dream Syndicate) for a single 43-minute track that was recorded live in the mid-1990's, and the experience of being subjugated to C.C.C.C.'s brutal psychedelic overload hasn't lost an iota of it's power in the past ten years.
The group begins in the red. The sound is already fully formed as soon as you hit "play" - a gigantic maelstrom of screaming guitar noise writhing with deafening synthesizers and electronics sweeps over you, drowning you in layer upon layer of Hawkwind-like space effects, roaring subsonic drones, buzzing synthesizers, sickening synthesizer squelches that burst forth like alien saxophones squonking across the cosmos, squalls of tortured psych-guitar that scream and screech and scrape, melodic guitar solos that suddenly morph into demonic atonal nightmares, brutal klaxon blasts and cement-mixer grind. Where artists like Merzbow and Masonna and Incapacitants seek to destroy through high-end skree and abrasive white noise, C.C.C.C. forges a constantly changing vortex of loud, freaked-out improvisation that takes on mind-altering qualities. Towards the middle, the noisescape takes a terrifying turn as weird electronic blastbeat rhythms and Mayuko Hino's vocals enter the picture, and she moves from sections of distressed, panicky spoken word to jarring screams of fear and hysteria that tear through the storm of mega-effects. This only lasts for a few minutes though, and the last half of the track returns fully to the roiling cosmic noise.
This is a top notch release, one of the strongest from the old guard of Japanese noise I've heard in ages - C.C.C.C. fans have been waiting for ages for something new, and this definitely doesn't disappoint. Highly recommended to anyone into brutal psychedelic space noise.
Track Samples:
Sample : C.C.C.C.-Chaos Is The Cosmos



CHAOS OF THE NIGHT   Live At KFJC   CD   (Endorphine Factory)    9.98



Back in 1994, the San Francisco radio station KFJC hosted a one-off performance from a noise supergroup that centered around the intoxicating Mayuko Hino, former S&M actress and member of legendary Japanese psych-noise outfit C.C.C.C. Armed with sheet metal and contact mics and her imposing voice, Chaos Of The Night teamed Mayuko together with Mason Jones (Subarachnoid Space/Trance) on guitar, Elden M. (Allegory Chapel Ltd.) on sampler, and Monte Cazazza (of Industrial Records fame) on bass for a monstrous thirty-four minute jam that seriously holds it's own with the most pulverizing C.C.C.C. recordings, documented here on this disc from K.K. Null's esteemed (and sadly long-defunct) Endorphine Factory label. From the start, the artists blast a densely layered supernova of feedback and distortion that is filled with a constantly shifting kaleidoscope of warbling melodies, crushing distorted low-end, howling psych guitar screaming in primal ecstasy, and sweeping oscillating tones. Really massive, especially towards the last third when Mayuko's wailing vocals start to appear and the distortion seems to kick it up a notch for the last ten minutes as the piece erupts into pure chaotic bliss.
After that, we are treated to two shorter tracks that feature Mayuko partnered with just Mason Jones and Elden M., respectively. "Conscious" is a similiarly brutal wash of distortion and planet-wrecking psych guitar noise, and Mason unleashes a powerful wah-apocalypse over waves of whooshing feedback and ultra high end amplifier howl. Like the epic first jam, this is pure C.C.C.C. territory, the connection made concrete by having C.C.C.C. mastermind Hiroshi Hasegawa mixing the whole thing, and it ends in a crushing maelstrom of crunching guitar noise and Mayuko, heard from a far distance, screaming gibberish into the pit. The disc closes with "Refine", which by previous standards sounds almost "reserved" at times, with single manipulated sinewaves and oscillator fluctations breaking out into a solo, but these brief moments are obliterated by walls of meaty distorted crunch that ooze and pulsate inward while Elden M. streaks sped-up cassette noise into trippy swirls and trails through the massive buzzscape.
Released through the U.S. arm of Endorphine Factory, this brain-splattering slab of heavy psychedelic noise has been a tough one to come by in the years following it's 1995 release, but we've nabbed the last copies of this monster along with a handful of other Endorphine Factory titles - fans of C.C.C.C., extreme Japanese noise, Total, and psychedelic amplifier chaos should be putting their ears on this ASAP. The booklet contains insightful liner notes about the project that were written by Seymour Glass from Bananafish Magazine. Also notable is the surreal photo-collage from Monte Cazazza and Michelle Handelman titled Inside Herself that graces the cover, depicting a woman whose entire body has morphed into a huge vagina, out of which two hands are emerging to climb forth, Gozu-style.
Track Samples:
Sample : CHAOS OF THE NIGHT-Live At KFJC
Sample : CHAOS OF THE NIGHT-Live At KFJC



CONTAGIOUS ORGASM   From The Irresponsible Country Sounds   CD   (Troniks)    7.98



Nagoya,Japan's Hiroshi Hashimoto has been active as CONTAGIOUS ORGASM since 1986, working with a haunting mix of disjointed samples, anachronistic collages, and early-Coil industrialisms. We always thought of CONTAGIOUS ORGASM as sort of a Japanese counterpart to the UK's NURSE WITH WOUND, although CO's top-notch collage editing and cutup is very much in a league of it's own.From The Irresponsible Country Sounds is as varied as any of Hiroshi's best work, with two tracks over twenty three minutes offering creepy and very pretty collage bliss. Cinematic and vaguely Eastern guitar(?) melodies are at the center of each track, joined with an array of disjointed rhythms,horror soundtrack ambience,field recordings,tape manipulation,cooing cartoon voices,drum machines,and random bursts of unidentifiable sound and static interference. Elegantly assembled, perfectly arranged sound narratives that are enjoyably hypnotic. Packaged in a color CD wallet.


DARUIN   From Cheap Days   CDR   (Neus-318)    5.00

From Cheap Days IS CURRENTLY UNAVAILABLE FOR ORDER

More intense Japanese hard-drive carnage from Neus-318! I discovered this Japanese CDR label a few months ago, and while much of their catalog is made up of kooky abstract computer noise and glitch collages, some of their stuff is straight up skullripping digital noise that leans towards the psychedelic ends of the Japanese noise scene. I scoured their catalog and picked up their most aggro, brain wasting releases for Crucial Blast, which Japanese noise fans should definitely check out.
If there's a flagship artist on the Neus-318 label, it's Daruin. Kazuya Ishigami's solo laptop noise project has released close to half a dozen discs on the Japanese CDR imprint, and all of them rank as some of the most abrasive and aggressive titles in the label's catalog. Daruin isn't just pure brutal noise, though; there's alot of textured ambience and mysterious sonic events that appear in his abstract electronic soundscapes that he creates out of distressed computer noise, digital feedback and found sounds. On this full length disc from 2000, Daruin crafts seven tracks that violent storms of electronic glitch and high speed bleeps, to expanses of dark, heavy subterranean ambience and eerie cave drift, to swarms of temple bells whipped into dense frenzies of sound, bizarre mutant vocal experiments that stretch the human throat into monstrous dimension-shifting wails, and swirls of percussion blurred into incandescent sheets of metallic shimmer. These noisescapes all sound like they are being transmitted back to us from some far-off planet, and at times approach the dense techno/bleep sculptures of KK Null. Out of all of the discs that we just picked up from the label, this is the most varied and psychedelic release from both Daruin and Neus-318.
Track Samples:
Sample : DARUIN-From Cheap Days
Sample : DARUIN-From Cheap Days
Sample : DARUIN-From Cheap Days



DARUIN / GRKZGL   Drain   CDR   (Neus-318)    5.98

Drain IS CURRENTLY UNAVAILABLE FOR ORDER

More intense Japanese hard-drive carnage from Neus-318! I discovered this Japanese CDR label a few months ago, and while much of their catalog is made up of kooky abstract computer noise and glitch collages, some of their stuff is straight up skullripping digital noise that leans towards the psychedelic ends of the Japanese noise scene. I scoured their catalog and picked up their most aggro, brain wasting releases for Crucial Blast, which Japanese noise fans should definitely check out.
Drain sees the laptop glitch-drone artist Daruin teaming up with another Japanese noise project called Grkzgl that's new to me. Each artist has an epic twenty-minute track, and both use heavy ambient sounds and manipulated computer noise to create an ominous buzzscape that together make for the heaviest release out of all of the Neus-318 discs that we've picked up. Daruin opens the disc with mastermind Kazuya Ishigama sculpting a dark cloud of deep, rumbling drone, distorted and super heavy and somewhat Sunn O)))-esque that drifts in tectonic time as microscopic chiming tones move backwards in time around it. As ritual bells and subliminal rumblings join in, the piece slowly builds in volume until the underlying drone that appeared at first becomes warped by overmodulated fx. The sound is stretched out, pulled apart, streaked with looping metallic scrapes and draped with gossamer layers of black ambience, then evolves again into a blast of crystalline chimes before softening out into a field of dark abstract ambience that closes the track. I hear little bits of KK NUll and Sunn O))) and dark ambient and tactile electro-acoustic sound sculpture all swirling together here, and it's a fantastic piece of grim, creepy abstract drift. I'd definitely like to hear more of this type of sound from Daruin!
On the second track, Grkzgl strips the ambience down even further, taking away almost any extraneous sound at first and leaving only a massive slow-moving, slithering sinewave drone. This drone is all low end, a glacial reverberating buzz like the sound of a piece of large electronic equipment humming in the middle of the night, that electrical hum then distorted and shaped into a buzzing and hypnotic rumble, super minimal and spare but rib-rattling when heard at high volume. As Grkzgl's blackened hum uncoils, it's joined by tiny flashes of dark shimmer and chirping feedback tones that circle the drone and recede back into the void, but on the second half of the piece it changes shape and turns into a flattened field of muted pulses and fluttering feedback tones. Super abstract and minimal, the first half reminds me of the minimal amp-buzz scultpures of Not.
Packaged in a full color paper sleeve that comes in a plastic wallet.
Track Samples:
Sample : DARUIN / GRKZGL-Drain
Sample : DARUIN / GRKZGL-Drain



DEEPSPEED   Spacecaps   CDR   (Neus-318)    5.00

Spacecaps IS CURRENTLY UNAVAILABLE FOR ORDER

More intense Japanese hard-drive carnage from Neus-318! I discovered this Japanese CDR label a few months ago, and while much of their catalog is made up of kooky abstract computer noise and glitch collages, some of their stuff is straight up skullripping digital noise that leans towards the psychedelic ends of the Japanese noise scene. I scoured their catalog and picked up their most aggro, brain wasting releases for Crucial Blast, which Japanese noise fans should definitely check out.
Deepspeed is another project from DJ Gackt, who I first heard on his Neus-318 CDR released under the name Bastarbation. That project focused on short, brutal blasts of digital noise that usually came in 10 second bursts, and it reminded me of a digital hard-drive version of classic noisecore, like a completely synthesized version of 7 Minutes Of Nausea or Anal Cunt transmogrified into vicious electronic glitches and white noise. This disc from Deepspeed is something totally different, though. The thirty-seven minute single track on Spacecaps is an intense full on analog synthesizer noisescape that goes through constant changes throughout its run time, an avalanche of malfunctioning computer blips and Atari 2600 noise, sweeping synth drones and spacey bass pulses, like being lodged deep inside of the guts of a spaceship as it zips through space at light speed, surrounded by a plethora of bleeps, bloops, oscillating frequency attacks and machine noise. Gackt's approach to epic synth noise actually puts him in the same realm as the psych-minded synth and FX box shapeshifters in CCCC, Astro, Solmania, and even KK Null's robotic guitar noise. There's nothing relaxing here, that's for sure. As with most of the Neus-318 cdrs, this disc is packaged in a simple felt-backed cd sleeve with a yellow glossy cover that sports some weird porno/cartoon imagery.
Track Samples:
Sample : DEEPSPEED-Spacecaps



DISLOCATION   Coyote's Call   LP   (Fusetron)    10.98



After being introduced to them on the Herz Aus G.R.O.S.S. compilation from RRRecords, I've been on the hunt for Dislocation's older releases, some of which turned out to still be in print. Their 1996 Lp Coyote's Call is one of the few US releases of Dislocation's music, a compilation of live and studio improvisations that was issued on the Fusetron label that we were able to pick up for the shop. Often compared to Borbertomagus, I've thought of Dislocation as more of a collision between the Ayler/Brotzmann school of free jazz and early 90's Japanese harsh noise in the vein of CCCC or some of K2's less devastating recordings. The improvisational saxophone playing is fused with low-fi guitar rumble and electronic noise, and the band frequently moves into skull-caving levels of intensity out of their smoldering industrial soundscapes.
Coyote's Call starts off with pretty warbling cosmic tones, then drifts into a sparse arrangement of Yoshinori Yanagawa's improv sax bleat and scrape, blurts of low-end guitar noise and electronic squeal, the sax much "jazzier" than a group like Borbetomagus and not as full-on assaultive, but still quite noisy and chaotic. The slow-burn blowing and cracked electronics eventually surge into rumbling fragmented noisescapes that really erupt when the guitar is suddenly cranked to ten and the sax takes off on a frantic blowout over the hissing, howling distortion and sputtering amp noise and juddering electronic rhythms. As it moves into the second section, the band continues to introduce more and more distortion and noise, junk metal clattering everywhere, blasting looped electronics that resemble damaged drum machine rhythms, growing more frenzied and violent as it goes on, the sax climbing into higher register scales, screaming over the industrial rumble, shortwave hum and electronic fx.
The b-side picks right up from there, continuing on with the onslaught of heavy amp/guitar generated noise, effects, feedback and manic blowing and by the end becomes a dense, cacophonic din of free jazz howl that stretches on for some time before returning to the blissed-out cosmic tones from the beginning of the record.
Like their Carve Another Notch album that is also on this week's list, this is another fantastic album of volcanic, post-apocalyptic improv from Dislocation, and highly recommended.


DISLOCATION   Carve Another Notch   CD   (Scatter)    18.98



This rare early 90s release (1994 to be exact) from Japanese industrial free-jazz/drone/noise collective Dislocation was the very first release on the now long-gone UK label Scatter, which also issued titles from Derek Bailey, The Thirteen Ghosts and Steve Noble during their brief run. One of the few outfits that was able to channel the sort of industrial jazz-noise obliteration that Borbetomagus pioneered, Dislocation explored a form of dark, apocalyptic improvisation that, on Carve Another Notch, vaguely resembles something akin to hearing Coltrane blowing away high above a scorched, nuked out metropolis that is slowly crumbling beneath an irradiated blood-red sky.
The album features two shorter tracks and the nearly hour long monolithic title track, starting with part one of "Between The Windows Of The Sea", a feast of scrape and howl, the sax blurting and honking above detuned scrabbly guitar and electronic noise and violent fx-pedal maneuvers. It's like a lot of Japanese noise from this era, energetic and apocalyptic, but with the addition of saxophone giving it a unique sound, sort of like Masonna crossed with grating free jazz sax. The second part features more melodic, Coltrane-esque blowing while the backing sounds grow more abrasive and sinister. Huge slabs of sheet metal are dragged slowly across a concrete floor while chiming cymbals and metallic clatter dances in the background, and the air dances with fluttering speaker buzz, flute-like tones, and bizarre squawking bird-like vocalizations.
Then it moves into the sprawling title track. It begins with high pitched sine waves darting around the shadowy, eerie sax lines, and grinding, rumbling sounds and random rattling percussion drifting up from below. The sound slowly grows more abrasive as the noisier elements creep out of the depths, warped tapes and orchestral sounds twitch and heave, a guitar is banged and clawed at, the sax disappearing for long stretches while the band wanders through fractured improv noisescapes and bursts of mangled shredding. The quieter moments delve into stretches of droning Middle Eastern-tinged ambience and bleak, washed out doomed ambience, and towards the end, strains of Japanese pop blare out of a tiny transistor radio and echo through an immense space before being swallowed by massive growling electronics.
Track Samples:
Sample : DISLOCATION-Carve Another Notch
Sample : DISLOCATION-Carve Another Notch



DISSECTING TABLE   Chaos Attractor   CD   (R.O.N.F. Records)    8.98



It's been awhile since I've heard anything new from the Japanese industrial/doom/noise outfit Dissecting Table. Since the early 90's, DT's Ichiro Tsuji has produced some of the heaviest, most pulverizing industrial noise albums to come out of the underground Japanese noise scene, with an almost metallic, doom-laden heaviness appearing at times that turned his music into something closer to the likes of Human Quena Orchestra, Halo, early Godflesh/Pitchshifter, and other tectonic mecha-sludge specialists. Chaos Attractor definitely falls under this banner with a single forty-eight minute track that does indeed get very fucking heavy in it's second half, and fans of those aforementioned bands who like hearing a heavy dose of harsh electronic noise injected into their industrial doomcrush are going to love it...
Chaos Attractor starts with several minutes of squirming, fluctuating processed feedback and oscillator waves shot through with bursts of distorted moan and percussive noise, then explodes suddenly into total chaos, a wall of brutal psychedelic noise made up of harsh high end feedback flux and pounding distorto synth assault and screaming high end signals with a pummeling steady rhythmic throb at the center of it all. Scraping, howling anti-melodies surface out of the din, surrounded by writhing fast-paced whipstrikes of venomous electrical buzz, and after a while, it all starts to sound like a symphony of damaged turntables, power drills, revving motorcycle engines, and death metal distortion pedals all cranked to the hilt. The music settles down around the 12 min mark into a whirling, still very sonically active stretch of cavernous machine rumble and ambience, but then suddenly, almost immediately, it shifts into a bizarre form of ultra-distorted industrial doom. A grinding and insanely distorted metallic riff over heavy drums forging a lurching, lopsided anti-groove, a steady stop-start stomp that drives the blown out ultra-distorto noise-doom. The vocals that come in are even more over the top, a ranting voice run through so many effects that it becomes a desperate sounding robotic warble, absolutely unintelligible, like the main character from Tetsuo: The Iron Man forced to front some monstrous industrial doom metal outfit, the sound drenched in ever increasing levels of drill noise and fx and feedback.
After about ten minutes of that, it returns to the maniacal electronic chaos, this time sounding like an army of Galaga machines on the rampage. The sound moves in and out of more spacious phased fx noisescapes and stretches of intergalactic battle ambience a la some of KK Null's more crazed material, cacophonies of total electronic mayhem like factories staffed with huge cybernetic insect creatures, bizarre mashups of the psychedelic electronics and those weird mumbled/muffled screams and freeform metal guitar zonk, ultra distorted death metal growls appearing as it descends into violent storms of cosmic fx, and finally returning to the massively over-distorted noise doom in the last minute of the track, before it abruptly slams to a close.
Comes in a full color wallet, and limited to five hundred copies.
Track Samples:
Sample : DISSECTING TABLE-Chaos Attractor
Sample : DISSECTING TABLE-Chaos Attractor



DOT [.] / SU19B   Drowned Into Swamp   CD   (R.S.R.)    14.98



As if isn't enough to have your skull caved in by the punishing sludgecore of Dot [.}, they've gotten together with powerviolence maniacs SU19B for a tag team assault of over-the-top heaviness called Drowned Into Swamp. Fans of extreme Japanese grind/sludge won't need much prodding, as these two bands are some of the heaviest outfits in the Japanese extreme metal underground.
The sound of a bell being struck repeatedly as some deep Tuvan-style throat singing materializes is how Dot [.] open their side; the creepy chant ritual of "Karma" is quickly joined by a MASSIVE pounding drum beat and howling feedback, and after a minute or so a simple, monstrous downtuned sludge riff drops in and the band erupts into crushing heaviosity, the deep gasping vocals pushed through severe distortion as the band grinds out the impossibly crushing tribal deathsludge. This jam goes on for more than thirteen minutes, sometimes slowing down to a time-stopping crawl but mostly sticking with a huge syrupy groove. The other track "Dirt" starts off with a galloping thrash riff that summons up some primo Celtic Frost style heaviness, then halfway through changes gears and slides into a noxious bass-heavy dirge a la Cavity or Eyehategod, a massive bloozy slow-mo riff that winds through endless droning feedback and disturbing samples, the guitars, bass and vocals blown out and distorted and in the red. It almost sounds like Dot [.] has been listening to their countrymates in Birushanah and have picked up some of that band's avant-tribal weirdness. It’s ridiculously brutal.
On their half of the split, SU19B have a couple of surprises up their sleeve. Instead of the disc simply launching into their brand of hyperfast Crossed Out/Neanderthal-inspired powerviolence, the first track opens with gleaming metallic ambience, distant percussive sounds and buzzing raga drones that shift and shimmer for more than a minute until a sinister atonal guitar appears; but then the band crashes in suddenly, slow and crushing, an angular riff that splits off into a spacey instrumental interlude every couple of minutes. The rest of the track continues to slowly crawl through this trippy, psychedelic crush before the band finally blasts off into chaotic grinding speed at the very end. The next track "Pressurewave" is a short drone interlude that suddenly explodes at the end into ultra-heavy grindcore slathered in electronic noise, which leads right into "Civilized Worm". This last track starts off with a garbled blast of electronic noise from none other than Guilty Connector, who drags out clanging sheet-metal reverberations, crushing fast=paced distortion, shrieking vocals, weird backwards effects, short stretches of just minimal creaks and pops, and chaotic oscillator freakout for seven minutes before fading into a subdued noisescape of grit and vinyl crackle. Out of this crackling, droning ambience, guitar feedback gradually emerges, later joined by a pounding tribal drumbeat, and eventually SU19B crashes back in completely with a monstrous doomsludge jam laced with deep guttural death metal sneers, electronic noise and dense feedback, almost like Coffins if they were drenched in industrial noise and malfunctioning amplifier noise. If you flip out over the likes of Eyehategod, Corrupted, Weedeater, Grief, and Coffins, you're going to love this. Comes in a garishly designed full color package with insane photo-collage artwork; limited to five hundred copies.
Track Samples:
Sample : DOT [.] / SU19B-Drowned Into Swamp
Sample : DOT [.] / SU19B-Drowned Into Swamp
Sample : DOT [.] / SU19B-Drowned Into Swamp



E.G.KAIDAN : ESPLENDOR GEOMÉTRICO + HIJOKAIDAN   E.G.Kaidan (Live In Tokyo 24 November 2013)   LP   (Geometrik)    24.99



     Your pulse could potentially re-arrange itself upon exposure to this collaboration between Japanese noise titans Hijokaidan and Spanish industrial outfit Esplendor Geométrico, taken from a performance in Tokyo from November 2013. Pretty powerful stuff here, forged around the group's use of heavy, repetitious rhythms, but still as harsh and chaotic as you'd expect coming from Hijokaidan.
     The performance is divided into eight parts, starting off with a rolling, energetic breakbeat that emerges amid the terrifying garbled shrieks of Hijokaidan vocalist Junko. Blasts of corrosive electronics and feedback, and eerie droning string-like sounds materialize alongside that frayed groove, and it gets off to an intense start, an almost Boredoms-esque blast of percussive tribal trance and squealing, ear-damaging noise, both abrasive and surprisingly musical. As the group continues through the set, the music dies off or dissolves into more subdued interludes where it's just Junko yapping her head off maniacally, or a squall of what sounds like a horribly tortured electric guitar spewing its amplified guts out across the floor. Eventually that pounding, aggressive rhythm will rear its head again, shifting form into a brutal technoid thud or a blown-out breakbeat, or a heavily distorted industrial loop; it can actually get somewhat danceable, though probably only to terminally irradiated mutants.
     They wind all sorts of frenzied noise around these pummeling, thunderous rhythms, continuing to mangle electric guitars into clots of gruesome skronk as Jojo Hiroshige makes his guitar sound like oil tankers being rent apart, or horrifying air raid sirens, or steel girders groaning beneath the weight of collapsing buildings, alongside synaptic-shock eruptions of piecing electronics. And man, Junko really goes for it, delivering an almost non-stop barrage of high-pitched screams and weird gibberish over the performance that ascends to terrifying heights of vocal madness. The intensity cranks up the further in it gets, turning pretty ferocious in the second half of the performance, evolving into a cacophony of bellowing demonic vocals, vicious freeform guitar skree and heavy tribal rhythms that are seared by controlled bursts of electronic noise. In all, though, this is a heavy, exuberantly brutal performance that highlights the strengths of both groups. Definitely recommended if you're a big Hijokaidan fan, but those into Cut Hands and Boredoms would probably dig this as well.
     Released in a limited, numbered edition of five hundred copies.


ELMA   Reciprocity   CDR   (Neus-318)    5.00

Reciprocity IS CURRENTLY UNAVAILABLE FOR ORDER

More all-devouring Japanese harsh noise cut-up, this time from the Tottori-based project Elma. Reciprocity is a 2-track private press CD-r from the intriguing Neus-318 label that we just stumbled across, who have released a sizeable catalog of skull scrambling digital noise carnage and computer drone. Elma definitely falls on the noisier end of that spectrum, with each of the 20+ minute tracks on this disc spewing out a richly detailed vortex of squiggly distortion and granular laser blasts that's as harsh and brutal as any of Merzbow's loudest laptop work. Elma's noise constructs move from dense walls of distortion to dynamic flanger attacks stabbing fields of silence. A solid blast of psychedelic noise punishment that fans of Merzbow, Incapacitants, and the neo-blast of Groyxo will dig. Comes in a jewel case with color cover.


FULL OF HELL + MERZBOW   Sister Fawn   LP   (A389 Records)    19.99



      That second disc that appeared with the skull-shredding collaboration between Baltimore grindbeasts Full Of Hell and Japanese noise legend Merzbow has finally made its way to vinyl. That double disc album that originally came out on Profound Lore was one of the fiercest fusions of extreme electronic noise and metallic chaos to come out that year; the Sister Fawn recording that followed the album proper was an interesting shift in sound, transforming the frenzied grindcore into something much more abstract.
      While the Sister Fawn disc was initially presented as something more of a companion piece, it actually holds up wuite nicely as an album all on its own. In fact, I gotta admit I thought this material is even cooler than the first half of their collaboration. Over the course of these five tracks, much of Full Of Hell's screeching grindmetal becomes absorbed into a cacophonous wall of industrial violence, their metallic aggression subsumed into Merzbow's swirling, screeching nebula. The tracks are longer, venturing into pummeling industrial junk-metal rhythms and howling feedback manipulation, blasts of crushing power electronics and more of that abject Swans-esque dirge that appeared on the first half. And squalls of apocalyptic jazz-infected noise erupt across tracks like "Crumbling Ore", delivering an acrid blast of sound that approaches Borbetomagus-like levels of intensity. The grindcore elements are still in here though, particularly on songs like the noise-damaged blast-assault of "Merzdrone" that welds a seemingly endless blastbeat to Merzbow's scorching electronics and shrill skulldrill distortion. The result is ferociously and psychedelic.
      Issued in a one-time pressing of one thousand copies on black vinyl.


FULL OF HELL + MERZBOW   self-titled   LP   (A389 Records)    19.99



    Back in print, now on 180 gram black vinyl.
    Even though the band is from right down the road from C-Blast HQ, it wasn't until quite recently that I started to listen to these guys in earnest, starting with a rather blistering set I saw them perform in DC with Column Of Heaven around a year ago. The 7"s I'd picked up from the band were pretty cool, but after seeing them live I realized they didn't do justice to the strength of their sonic attack; in the live setting, their mix of brutal hardcore and cyclonic grind flayed the flesh right off of my bones. When the band's collaboration with Japanese noise pioneer Merzbow was announced shortly thereafter, this vicious album turned into one of my more anticipated new releases of '14.It's one of the best noise/metal collabs I've heard since Masami Akita himself teamed up with those maniacs in Gore Beyond Necropsy, with a ferocious sound that comes much closer to capturing the live savagery of the band.
    The album is a short one at just twenty-three minutes long, but it hurtles at top speed through eleven tracks of blasting ferocity. Songs race by in a blur of ultra-violent blastbeats and discordant hardcore riffs, the multiple vocalists swapping back and forth between the frantic, bestial screeching and deeper, gruffer bellowing and a weird disaffected moan, the music blending equal parts spazztoid staccato powerviolence with blurts of massive dissonant sludge and full-on grindcore. Occasionally this will slow down into turbulent assaults of jagged noise-rock or pulverizing dirge, and Merzbow's presence is felt throughout, not only in the swells of jittery electronics and squealing high-pitched feedback that bubble up in the spaces between songs, transforming entire tracks like "Raise Thee, Great Wall, Bloody And Terrible" into outbursts of virtual power electronics, but also as an omnipresent texture in the midst of the band's raging grind. A layer of electronic filth and corrosion that smolders beneath the instruments, creating an edgy aural abrasion lurking in every corner of the album. Towards the end, things slow down to a seriously epic crawl, starting with "High Fells" as it drags itself through vast furrows of droning heaviness somewhere in between the industrial plod of early Swans and the barbaric trance of Neurosis, crushing riffs churning over noisy percussion as the vocals rise in wraithlike chant and vein-popping screams, while volleys of jazzy horns streak overhead. And on ""Ljudet Av Gud", most of that instrumentation is swept away, leaving just a creaking noisescape of distant electro-acoustic sounds slowly overcome by the rhythmic boom of hammers on empty oil tanks, building into a desolate industrial dirge that takes over the entire track. Building to the cathartic release of closer "Fawn Heads And Unjoy", the final blast of dissonant, delirious grind violence is splattered in free jazz squonk.
Track Samples:
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled
Sample : FULL OF HELL + MERZBOW-self-titled



GEROGERIGEGEGE, THE   Senzuri Fight Back   7" VINYL   (Turbine Industries)    7.98
















GEROGERIGEGEGE, THE   All You Need Is An Audio Shock By Japanese Ultra Shit Band   LP   (Audio Shock)    24.99

All You Need Is An Audio Shock By Japanese Ultra Shit Band IS CURRENTLY UNAVAILABLE FOR ORDER

The most depraved of all of the bands to come out of the Japanese extreme experimental underground of the 1980s, The Gerogerigegege were an utterly unclassifiable beast, part Dadaist art project and part ultra-violent scatological noise outfit formed by Juntaro Yamanouchi, a cross-dresser who also performed in S&M scenes at underground gay clubs. Their live shows consisted of acts of on-stage vomiting, defecation and public masturbation often set to a soundtrack of vicious industrial noise, sludgy retardo-punk, or weird rhythmic industrial experiments. Merzbow and Masonna didn't have anything on these freaks; for nearly two decades, Yamanouchi and crew released some of the strangest stuff I've ever heard, and you'd never know what to expect from a Gero record - it could a seven minute recording of someone getting sucked off just as easily as it could be a 224-song blast of excoriating noisecore. The band fell off of the face of the earth around 2001 and hasn't been heard from since, and their releases have naturally become harder and harder to come by. Released by some label called Audio Shock Recordings, this new Lp is a collection of various previously released tracks from The Gerogerigegege, and its the first Gero record that I've been able to stock since the late 90s. The LP delivers a full Gerogerigegege experience, featuring the entire Life Documents 7", the entire a-side from the All You Need Is Audio Shock 7", their song off of the Seven Inches Of Meat 7" with Origami Erotika, and various tracks from their Senzuri Power Up , Saturdaynight Big Cock Salaryman, Singles 1985-1993 and Live Greatest Hits CDs, the 1985 Gerogerigegege tape on ZSF Produkt, the Yellow Trash Bazooka 7" and the Senzuri Champion and Showa LPs.
The "Senzuri Action" side features a variety of weird drum-machine driven dance experiments layered with white noise and Juntaro's gasping voice, bizarre sound collages created from masturbatory grunts, brutal noise, air raid sirens and spastic bossa nova beats, looped samples of flamenco guitar, smooth jazz trumpet music and cavalry bugle calls, tribal rhythms and hypnotic techno-style kick drums, orgasmic moans and the slap of flesh against flesh, and more of that monotonous, endlessly thudding drum machine, capped off with the incredible live track from 1991 that goes from a disturbing public display of self-abuse to a shrieking emotional breakdown set to the sound of a cheap Casio backbeat.
It's not till you flip over to the b-side (titled "Noise Action") that things get violent, as samples of warbling 1950's Japanese music gives way to sixty-second blasts of flesh-rending noisecore, vicious low-fi explosions of jagged feedback and amp noise and collapsing drums, pushed into insane levels of distortion. And then it'll shift into something like "Car Sex MacDonald Drive In Let's Go", a nearly eight minute sludge punk dirge with howling guitars and endlessly screaming feedback slathered over the caveman pounding of the drummer, sounding like some crazed live collaboration between the Flipper guys and Japanese noise extremists Incapacitants, the droning riffs buried under miles of disgusting discordant guitar noise and shrieking microphones. Other "songs" appear as primitive industrial music jams, endlessly layered voices rising in cacophony over more of those brain-damaged Casio drum beats, finally returning to that brutal noisecore assault for pretty much the final half of the side.
Comes in a black and white jacket with printed insert, and is limited to 750 copies.


GOAT / KAZUMOTO ENDO   split   7" VINYL   (Dada Drumming)    4.98

split IS CURRENTLY UNAVAILABLE FOR ORDER

Released on Philosophy Shop, this is another older Goat release that we just dug up out of the crates and are listing for the first time. The Texas noise devil Goat has been releasing his outbursts of vicious harsh noise for over a decade and is one of our favorite American noise artists; this split Ep sees him teaming with the legendary Japanese noise artist Kazumoto Endo, who created some phenomenal carnal racket in the 90's with his Killer Bug project. Here, Endo and Goat both go for extreme electronic carnage on this short-but-brutal 7", pressed on grey marble vinyl and slipped inside of an old-school xeroxed sleeve.
Kazumoto Endo's "Fear My Kung Fu" is a collage of bestial machine roar, epileptic drill noise, splattered vocal samples, and various other blasts of random metallic chaos. Throughout the length of this piece, Endo will briefly lock into a juddering mechanical rhythm or a short snippet of a Japanese pop song, but then it all flies apart into pounding, screaming disorder. There are some sheets of grainy computer static and spurts of slurred tape noise that start to emerge towards the very end of the track, culminating in a frenzied noise exercise that fried our nerve endings.
Goat then counters with "The Summer I started Collecting Knives", a psychedelic pedal-spazz distortion hell steeped in satanic ravings and Baphometic visions, where rumbling bass tones pound away at your skeletal system and send shudders of trebly hiss running along the edges of your nervous system. A squirming pit of sputtering high end hum, rushing currents of white noise and screeching feedback that goes by in a rush of frenetic energy as is the norm for Goat's convulsive noise, with a strange musical element lurking underneath that only adds to the unsettling feeling that this recording emits.


GOVERNMENT ALPHA   Seventh Continent   CD   (Dotsmark)    12.98



     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.
Track Samples:
Sample : GOVERNMENT ALPHA-Seventh Continent
Sample : GOVERNMENT ALPHA-Seventh Continent
Sample : GOVERNMENT ALPHA-Seventh Continent



GOVERNMENT ALPHA   Impregnable Storm   CD   (New Nihilism)    11.98



We're constantly adding to our Government Alpha selection over here at C-Blast, and here's the latest blast of total psychedelic skulldrill that I've picked up. This 2009 disc from Tokyo-based noise legend Government Alpha was released as part of the Harsh Kontakt series on the Polish label New Nihilism, packaged in a large foldout poster printed on heavy paper stock and folded down into a DVD-sized package that comes in a plastic sleeve, a professionally duplicated disc released in a limited edition of 250 copies. Harsh noise fans should need no introduction to the work of this long-running noise outfit, the solo project of Yasutoshi Yoshida who rose to prominence during the 1990s as one of the most punishing purveyors of extreme electronics to come out of the second wave of Japanese noise. The six tracks on Impregnable Storm are primo psychblast in his signature multi-layered style, intense, fast-moving chaos-storms of processed electronic noise and ear-destroying feedback whipped up into massive lysergic maelstroms of sound with evocative titles like "Electric Sandstorm", "Venusian Dragon", and "Thorny Tornado". Each track erupts into brutal high-end skree blasting through banks of manipulated effects processors, whipstrike assaults of phaser abuse and chaotic flanging noise, walls of brutal distortion and squalls of sickening metallic scrape, deformed glitchery, malfunctioning electronics and avalanches of collapsing metal, recreating the sound of galaxies tearing apart, of quasars erupting and the birth of black holes. Government Alpha's output generally ranks as some of the most extreme and abrasive electronic noise coming out of Japan, and this disc certainly delivers on that front, its quick-moving carnage swept up in the ultra-violent and hyper-abstract throes of squealing idiot chaos that leaves the listener with virtually no breathing room over the course of its nearly hour long run time.
Track Samples:
Sample : GOVERNMENT ALPHA-Impregnable Storm
Sample : GOVERNMENT ALPHA-Impregnable Storm



GOVERNMENT ALPHA   Resolution Of Remembrance 1992-1999   4 x CD   (Pica Disk)    38.00

Resolution Of Remembrance 1992-1999 IS CURRENTLY UNAVAILABLE FOR ORDER

An astounding collection from this master of surrealist noise-garble and sonic acid-fuck. Government Alpha's Yasutoshi Yoshida has been at the forefront of the Japanese noise underground since the mid 90s, producing highly aggressive sonic chaos with the intensity of the loudest metal band. This colossal collection consists of four Cds that gather a massive amount of recorded work from the 90s, each disc housed in an individual full-color glossy cardstock sleeve and accompanied by a thick 24 page booklet printed in full color on heavy glossy stock; the booklet features liner notes written by Tommy Carlsson (owner of the Segerhuva label) and Yasutoshi Yoshida as well as reproductions of a bunch of Yoshida's eye-scorching collage art and covers for the various releases, and its all presented in a chunky full-color box with metallic foil stamping.
The Quickening disc features some of Government Alpha's crudest noise/sound experiments, a mix of unreleased recordings and tracks taken from the Programmed Cell Death, Missing , The Human Race Was Restored To Repeatedly, Doze, Sloping Shoulders, R=L and Funeral Procession cassettes. This stuff ranges from 1993 through 1995 and includes various percussive noise experiments, hallucinatory abstract soundscapes, bits of destroyed, Hendrixian guitar-skuzz rippling over oceans of murky ambient netherworlds, blasts of noise and synth forged into bludgeoning hypnotic rhythms, chaotic rackets of electronics and pedals that simulate the sound of large spacecraft crashing into the earth's surface, disturbing field recordings, bizarre and monstrous attempts at power electronics-style rant n' screech, and some heavy-duty junknoise annihilation that appears towards the end of the disc. Some of these tracks are surprisingly pretty and dreamlike, but just as you'll be lulled by one of those dreamier noisescapes, Yoshida will whip out some brutal feedback / scrapmetal abuse. Most of this material is pretty short, delivered in two-toi-three minute tracks, but they glom together as a mesmerizing destruction-symphony.
The material makes a sudden jump in extremity on the second disc, titled Sprout. Again presenting a mix of unreleased material and tracks from the Erratic, The Maternity Music , The Garden Of Eternity , Needle Freak and Pulse cassettes along with the Ephemeral Warmth and Distorted Sprouts Cdrs, this is a harsher, more violent din of extreme noise-collage and feedback assault. Working with lengthier tracks that attack the listener with blasting harsh noise/junk noise, awesome tidal waves of filthy garbled cassette-vomit and crushing distortion, and savage amplifier/microphone abuse while working these around his often nightmarish sample collages and field recordings, Yoshida unleashes a maelstrom of noise every bit the equal of what Merzbow, K2, MSBR and Masonna were doing at the time. Supreme chaos and violence, with only brief interludes of calm amid the destruction as G. Alpha bores deep, wide holes directly into your brain.
Disc three (titled Chaos)further develops the harsher, more extreme noise-aesthetics of Yoshida's late-90s output, collecting the material from the Bloody Slumber Party, Q, Carbonic Acid, Snakes And Ladders and Calm Sigh cassettes as well as the Drowsy Eclipse 12" lathe that was released by Harbinger Sound. Pretty much picks up right where the previous disc left off, continuing to assault the listener with ultra-violent blasts of junk noise, extreme feedback, distortion, static, chopped up samples and severe Moog-abuse. As intense and damaging as anything I;ve ever heard from the Japanese noise underground, and pretty goddamn mandatory for fans of this era of underground skull-fuck.
The fourth disc Diffusion has what is in my mind the best Government Alpha stuff. Spanning 1998 through 1999, these tracks frequently deliver a more focused and composed harsh noise attack that, while still as brutal as any of his previous stuff, is more atmospheric and dynamic, with tracks like "Depressing Sun" and "Thrombosis" allowing violent rhythmic elements to invade the piercing noise. The abrasion, the damage feels much more deliberate, more centralized when you're listening to these later recordings. This stuff comes from the 1969/1999 and Waning Shadow tapes, the splits with Knurl, Moz, Comforter, Praying For Oblivion, Bardo Connector and Prurient, and the Death Techno 2000 Cdr that American Tapes out in '99; this last track stands out for it's heavy use of percussive samples and cut-and-paste rhythmic chaos, which almost starts to sound like some crazed improv / noisecore freakout.
An absolutely essential collection for fans of Government Alpha's monstrous industrial psychedelia. Released in a limited edition of 500 copies.
Track Samples:
Sample : GOVERNMENT ALPHA-Resolution Of Remembrance 1992-1999
Sample : GOVERNMENT ALPHA-Resolution Of Remembrance 1992-1999
Sample : GOVERNMENT ALPHA-Resolution Of Remembrance 1992-1999
Sample : GOVERNMENT ALPHA-Resolution Of Remembrance 1992-1999



GOVERNMENT ALPHA   Venomous Cumulus Cloud   CD   (Troniks)    7.98

Venomous Cumulus Cloud IS CURRENTLY UNAVAILABLE FOR ORDER

The latest from long-running Japanese noise legend Government Alpha, who has firmly established himself as one of the heaviest, most aggressive dealers of extreme electronic annihilation, with a style that is reminiscent of both Merzbow's rumbling, cycling white noise blasts, and K.K. Null's propensity for piercing high-frequency feedback skree ripped out of tortured electric guitars. Continuing the psychotropic violence, Venomous Cumulus Cloud is a cerebrum-splattering codex of brutal psychedelic feedback collage, a barrage of deafening oscillating white noise and harsh grinding machine textures, broken distorted beats, and howling vocals strafing through the atmosphere. Total cataclysm, with virtually nothing in the way of quiet respite offered over the course of the album's 40 minutes. There are a couple of detours though; the malfunctioning computer spasms of "Perfumed Womb" sound like a noisy mutation of something from Null's Datacide disc and bathes your ears in a sea of hyperactive bleeps and glitch, and "Spiderwort And Dragonfly", despite starting off with a stuttering blast of digital noise, eventually morphs into one of the sickest noise jams ever, like a death metal band overmodulated and distorted to the point where the sound becomes a screeching abstract roar racing through a hundred flanger pedals, and coming out the other side as an all-devouring aural smear of metal wreckage. That one is ungodly heavy. For fans of punishing extreme noise, you cannot go wrong with anything from Government Alpha, and this ranks as one of his most brutal albums. Venomous Cumulus Cloud is released in a limited edition of 1,000 copies, in the trademark Troniks wallet jacket that has some sweet psychedelic album cover artwork that reminds me of Mati Klarwein.


GRIM TALKERS   Grimy City   CD   (Gravity Swarm)    14.98



   Perhaps taking some notes from Otomo Yoshihide's most blighted moments of sampler-driven soundscapery, Japanese duo Grim Talkers employ samplers and electronic noise in tandem to create the abstract dystopian soundscapes found on their latest album Grimy City. The eleven songs featured here combine sinister hallucinatory soundscapes, surges of nightmarish ambience and bursts of cruel electronic carnage that aren't too far removed from the sort of abrasive noise that we've come to know and love from member Kohei Nakagawa, the main force behind the acclaimed Japanese noise outfit Guilty Connector.
    Grimy City unveils an abstract soundworld of clattering junk-metal slowly tumbling end over end across bleary jazz-stained ambience, recordings of frogs croaking and cawing crows en masse materializing beneath a soft cardiac throb, hypnotic hand-drum rhythms and sheets of muted electronic shimmer woven through strains of classical Japanese music and airy acoustic strings, these sounds then carved up into bloody streamers and further woven into looped deformities, smears of backwards sound and subtle free-improvised percussion and clanking metal swirling together into strange, hallucinatory forms. Not sure if these guys are into Christian Marclay's turntable-based sound collages, but it certainly sounds like they are, especially further into this album where their tracks become more loop-based. Huge breakbeats loom out of the tangled noise, massive bass-heavy blasts of boom-bap circling eternally through a storm of violent static squall and clusters of low-end drone, and on tracks like "Daydream Grime", they drift out into haunting shadowy jazziness surrounded by the sounds of a bustling city, passing traffic and distant shrieking electronics infesting the air while the soft slow shuffle of the sampled jazz is crafted into an eternal mesmeric loop, seething with charred, blackened electronics, the sound slowly shifting from that breezy dreamlike ambience into something much more disturbing and deformed, degenerating into huge expanses of rumbling Merzbowian chaos towards the end. Fans of the harsher Strotter Inst. and Herpes Ö DeLuxe material will dig this, a real creepscape of crumbling urban ambient filth.
Track Samples:
Sample : GRIM TALKERS-Grimy City
Sample : GRIM TALKERS-Grimy City
Sample : GRIM TALKERS-Grimy City



GUILTY CONNECTOR   Mothers Bloated Corpse   CD   (Deadline)    11.98



In my humble opinion, I have always thought that Guilty Connector was the perfect gateway band for metalheads to check out as an introduction to Japanese noise. There has always been a hesher quality to GC's Kohei The Fast and his harsh, rhythmic eruptions of feedback, and there is no denying that the guy has an appreciateion for metal - just check out the back cover of this 2003 album from Guilty Connector, which features Kohei clad in a bullet belt, long hair draped over a table filled with effects pedals and electronic sound generators, or the photo collage inside the booklet where he's wearing various Nausea and Neurosis and other crusty band shirts. Don't tell me that this guy isn't a total thrasher, I know my fucking uniform. My case is further boldened by the Sabbath cover he includes on this album, but I'll get to that in a sec.
This disc reeks of apocalyptic tension. Guilty Connector's particular brand of harsh analog noise is indeed harsh, but it's focused around what I'd call the "junk noise" aesthetic, where blasts of harsh noise is chopped up and collaged with the captured sounds of smashed metal junk and field recordings. Junk noise is inherently percussive, since, uh, the artist is smashing junk together, but most of the stuff that I've heard that takes this approach just ends up sounding pretty random in the end, at best a high energy improvised racket that might blow the snot out of my skull for a good thirty minutes. Guilty Connector, on the other hand, takes the sound of junk noise and elevates it to a panicked level on Mother's Bloated Corpse that suggests total global armageddon. Like what the streets outside your door would sound like once word got out that the bombs were dropping. Frenzied, chaotic electronic noise smashing into the sound of everyday objects at war with each other, metal on metal violence, forged into rhythmic grooves that achieve a level of heaviness not usually heard in te canon of Japanese noise. The electronic stuff kind of reminds me of the most brutal FX used by KK Null but way harsher, and later on I think I'm beginning to hear grindcore riffs buried underneath the clang and blast...and then suddenly track five kicks in, "Symptom Of The Universe" from Black Sabbath, the instantly recognizeable riff chugging into view but then becoming swallowed up in a black hole of devouring oscillator noise. BRUTAL. And these onslaughts of violent noise are sublimely juxtaposed against brief passages of pastoral temple ambience and sound of trickling streams and nocturnal crickets, jerking your awareness back and forth between Zen-like quiet and extreme noise cut-up. It's pretty awesome.
This CD is a collection of rare compilation tracks, unreleased material and long-gone short run titles, and it's an excellent starting point for anyone that is curious about Guilty Connector's annihilating noise.
Track Samples:
Sample : GUILTY CONNECTOR-Mothers Bloated Corpse
Sample : GUILTY CONNECTOR-Mothers Bloated Corpse



GUILTY CONNECTOR   Beats Noise And Life   CD   (Planet Mu)    14.98



The iconoclastic Kohei The Fast (aka Guilty Connector) is back with this latest collection of noisy factory freakouts from the Far East! This one man harshtronic metal blaster has been kicking out the severe noisescapes for eons, and Beats Noise And Life has been issued via Planet Mu to give us a fix of his fastpaced noise action; armed with his homemade effects boxes built out of iron plates that have been christened "Swarmectronics" and "SHIBAKI Electronics", along with lots of mouth harp (!), Kohei liberates a high-intensity attack of grinding metallic machine clank and rattling junk noise, psychedelic feedback scultping, meditative electronic drones, and savage volcanic distortion / car wreck rhythm wipeouts that reach total noisecore levels of aggression! Heavy duty noise that works really well due to Kohei's expert use of quiet passages of subdued drones and near silence to offset his brutal grinding noise. As violently combustive as early analogue Merzbow , but also imbued with a mysterious, mystical aura, frequently opening his pieces with field recordings of city streets and Japanese instruments before annihilating everything in a terrifying nuclear deathstorm. Crucial Japanese electronic destruction!
Track Samples:
Sample : GUILTY CONNECTOR-Beats Noise And Life
Sample : GUILTY CONNECTOR-Beats Noise And Life



GUILTY CONNECTOR   Bottom Down   CD   (Gravity Swarm)    13.98












Track Samples:
Sample : GUILTY CONNECTOR-Bottom Down
Sample : GUILTY CONNECTOR-Bottom Down
Sample : GUILTY CONNECTOR-Bottom Down



GUILTY CONNECTOR + PCRV   self-titled   CASSETTE   (Phage Tapes)    5.50



     Released in a limited edition of one hundred twenty-five copies, this tape tears through some delectable electronic skullchurn from Japan's Guilty Connector, here teamed up with another prolific harsh noise artist called Pop Culture Rape Victim. The two artists combine for a nasty blast of squirming, seething electronic chaos on the a-side, a fifteen minute assault of sputtering distortion and violent chirping chaos, loaded with speaker-shredding low-end noise and monstrous mechanical frenzy. Intensely abrasive, highly psychedelic, this becomes a churning mass of volcanic rumble and thrumming electrical currents, garbled tape-noise hysteria and punishing distorted drones all forming into a white-hot wall of snarled, insectile carnage. Fans of Guilty Connector's brand of fast-paced harsh noise brutality won't be let down.
     The other side delivers something much more restrained, however. It's another sprawling noisescape, but this one feels more subdued and droneological, a catalog of distant metallic resonances and bell-like tones echoing from far across an undulating oceanic surface. The combination of those measured metallic sounds, the muffled, murky ambience, and the ghostly, half-formed rhythms that surface in the distance all makes for a captivating, increasingly threatening soundscape, a sea of desolation, sunless and wind-beaten, sprawling out into a endless expanse of bleak industrial ambience. As much as I dug the all-out sonic assault of the preceding track, this is something that I'd really love to hear the two artists pursue further.
Track Samples:
Sample : GUILTY CONNECTOR + PCRV-self-titled
Sample : GUILTY CONNECTOR + PCRV-self-titled



HANATARASH   3   CDR   (RRRecords)    9.98



This is an official RRR-reissued CD-R of the 1990 CD (also originally released on RRR) from legendary Japanese noise-chaos-garbage-attack project Hanatarash, which featured Yamatka Eye from the BOREDOMS. Before the Boredoms, Yamatsuka was the prime mover in (and eventually the sole member of) the Hanatarash, a post-Einstürzende Neubauten exercise in power-tool abuse and tape manipulation. Subtitled William Bennett Has No Dick, this is as confrontational and over the top as anything else in the Hanatarash ouvre, but also sports some amazing beautiful sequences in between all of Yamataka Eye's brain-blasting electronic cut-up. This album is primarily composed of old rarities and much sought-after tracks from the time of the first Hanatarashi LP on Alchemy. Short bursts of psychotic machine noises, submerged scum-industrial grind, and brutal junk attacks, all cut up into a complete psycho freakout, a conducted tsunami of loops, screams, feedback, slowed down records and Christian Marclay -styled turntable deconstruction, noisecore mayhem, sound collage and just flat out noise. Totally genius. The CD-R comes in a RRR style wallet sleeve.


HASEGAWA, HIROSHI / POSITIVE ADJUSTMENTS   Cryptic Void   CD   (4iB Records)    17.98



  Packaged in a full color digisleeve with printed yellow paper overlay, Cryptic Void is one of the more striking packages to come from the Singapore noise label 4ib. The delicate texture of this package totally belies the crushing electronic chaos that's contained inside, though. While I wasn't all that familiar with Positive Adjustments, Hiroshi Hasegawa is definitely a known quantity around here, having fronted the influential Japanese noise group C.C.C.C. since the early 90s, and the many recordings of psychedelic, brain-melting electronic chaos that Hasegawa has produced over the past few decades make up some of my favorite all-time releases from the Japanese noise underground.
   Hasegawa's side of this split features two epic-length tracks that combine for more than half an hour of his signature psychedelic noise. The first, "Cruel Street Goddess", is an abstract mass of jittery electronic glitch and rhythmic sputter stretched out over controlled bursts of low-end hum, building into an abrasive oscillator attack that shares some of the same hypnotic, brutal qualities as Bastard Noise's analogue squelch assaults. As this track continues to unfold, Hasegawa piles on layer after layer of additional noise, bone-rattling low-end frequencies and corrosive bass drones, endless spooling glitch-noise and waves of speaker-ripping distorted crackle, looping mechanical humming and sudden eruptions of crushing chaotic effects, endless avalanches of scrap-metal crashing to the earth, swarms of hellish insectoid buzz, and torrents of garbled bottom-heavy junknoise. The other track "Higher Than Mountain Heaven" is a symphony of incredibly abrasive junk-metal chaos shrouded in a heavy layer of reverb, like some improvised scrap-metal din recorded in the bowels of a massive warehouse, the thunderous metallic reverberations washing across the entire sound-field, filling the air as a dense cloud of grimy, echoing, howling chaos.
   The latest project from Swedish noise artist Krister Bergman, Positive Adjustments deliver three tracks that are certainly no less abrasive than Hasegawa's material, but Bergman makes more use of space and tension throughout these mutant noisescapes, permitting the heaving, pneumatic machine-rhythms and blasts of violent electronics room to breathe. He laces the tracks with stretches of eerie room ambience and minimal drone that make their more aggressive moments that much more startling and powerful when they kick in. Combining crushing mechanical rhythms and processed guitar noise with harsh metal abuse, smears of murky underwater ambience, luminous electronic tones, and distant whirring sounds, Bergman creates a thoroughly surreal sensory assault, shifting in an instant between intensely heavy and caustic electronic noise and fields of Aube-esque processed micro-sound, looping drones formed from grinding distorted noise and abstract junkscapes.
   Limited to two hundred fifty copies.
Track Samples:
Sample : HASEGAWA, HIROSHI / POSITIVE ADJUSTMENTS-Cryptic Void
Sample : HASEGAWA, HIROSHI / POSITIVE ADJUSTMENTS-Cryptic Void



INCAPACITANTS   Ministry Of Foolishness   CDR   (RRRecords)    8.98



One of the oldest Japanese noise outfits in existence, Incapacitants have been releasing their brutally loud and chaotic noise walls into the underground since 1981. The duo of Toshiji Mikawa and Fumio Kosakai use violently undulating feedback, monstrous screaming vocals, and damaged electronic noise to create their fields of "pure noise", their tracks ranking as some of the heaviest in the Japanese noise canon. Prior to forming Incapacitants, Mikawa and Kosakai were members of legendary improvised noise group Hijokaidan, and Kosakai had also been a former member of C.C.C.C.; during the day however, Mikawa worked as a bank employee and Kosakai a government office worker. Despite these seemingly mild-mannered jobs, these guys have created some incredibly brutal electronic destruction over the years. This 1995 disc that was released by RRRecords as part of their classic PURE Series features three mammoth jams, "Stone River", "Sky Valley", and "Village Wood", each one running 20-30 minutes in length, an hour of nonstop immolating skree and grinding feedback scrape, harsh walls of noise churning and swirling, swarming with electronic squiggles and jagged shards of distortion. Awesome. This disc is one of the few Incapacitants releases that's still available, as most of their stuff has gone out of print. Pretty crucial for fans of classic Japanese noise, the aforementioned Hijokaidan and C.C.C.C., Boredoms, Solmania, The Gerogerigegege, Merzbow, and Masonna, and other dealers of brain scraping electronic destruction. Packaged in one of RRRon's trademark xerox-damaged collage sleeve-wallets.
Track Samples:
Sample : INCAPACITANTS-Ministry Of Foolishness
Sample : INCAPACITANTS-Ministry Of Foolishness



INCAPACITANTS   Recycled Music Series   CASSETTE   (RRRecords)    4.50



Formed in 1981, Incapacitants are one of the most well known duos in the Japanese Noise pantheon...hell, these guys are gods in regards to blasting mortal frames with pure, brutal electronic noise. Headed by Toshiji Mikawa and Fumio Kosakai, a couple of bankers if you can believe that, Incapacitants have primarily used feedback, electronic distortion, and vocals rendered into demonic abstracted howls to achieve their goal of "pure noise", devoid of musical concepts or direction. That translates into some of the most vicious sonic mindwipe this side of Masonna and Whitehouse, and on this entry into the notorious Recycled Music Series on RRRecords, they serve up two 17 minute sides of wheezing, rhythmic distortion blasts embellished with bits of fragmented electronic glitch, manipulated streams of feedback, and pulsating bass tones. An awesome blast-storm of dense, dynamic high-end skree, rumbling loops, melted tape dropouts, total pure ego-destroying NOISE. As with all of the Recycled Music Series tapes, each one of these is dubbed over a random commercial pre-recorded music cassettes that had been traded into the RRRecords shop. And each is one of a kind, as the nature of dubbed cassettes frequently allows for glimmers of the original audio content to sometimes subtly bleed into the artist's recording that has been dubbed onto the tape. Comes in a handassembled case/sleeve with duct tape scrawled in black marker across the front.


JINMO   Neo-Tokyo   LP PICTURE DISC   (Koi Records)    11.98



Wow, if you thought that Mick Barr's Octis stuff pushed the limits of over-the-top ADD avant-guitar shred abuse, wait till you get a load of Jinmo! This Tokyo based guitarist and outsider artist has been exploring the outer limits of guitar based improvisation and experimentation for awhile now - he actually released a solo CD of evocative, vaguely jazzy guitar instrumentals in the early 90's through the Knitting Factory imprint. Somewhere along the line though, he clearly began working on an entirely different plane of reality, as is evidenced by both the music on this record and his photo on the insert, which has him outfitted in some kind of metal-and-plastic bondage gear, rocking one of the most badass Fu Manchu 'staches I've ever seen; in addition, his liner notes are completely incomprehensible blats of stream of consciousness weirdness. And the music here is equally extreme, having completely blown our minds with this new domestic vinyl release. This wild-looking 12" picture disc was released in a limited edition of 500 hand-numbered copies, and features 30 tracks of what Jinmo seems to be trafficking in nowadays, skull shredding avant-speed-metal techno freakouts...each track is a hyper-caffeinated, ridiculously obsessive blast, usually only a minute or so long, of Jinmo unleashing absurdly formless and squiggly distorted neck-run shredding over all kinds of industrial synth noises and superfast, stuttering techno beats, sort of like a way more chaotic and brain-damaged Mick Barr spewing his wormy guitar figures over a never ending stream of fucked up, lo-fi gabba loops and drum machine splatter that are run through some psychedelic stereo panning. He calls his guitar style "nano-picking", and there's seriously no dynamics or variation here, it's just track after track of blazingly fast, single-minded instrumental shredding and spastic beats, with most of the tracks ending abruptly in a squeal of feedback. Seriously, if Orthrelm's minimalist shred repetition drives you up the wall, Jinmo's "nano-picking" will have you running screaming from the room. On the other hand, if you dug Orthrelm's Ov, and and groove on the avant-garde guitar sounds of Melt Banana's Agata and John Zorn's guitar-based projects, you might find this as hilariously excessive and fascinating as we do. Hands down the harshest, most ridiculous and extreme avant-shred album of the year.
Track Samples:
Sample : JINMO-Neo-Tokyo



JONES, MASON   International Incident   CD   (Charnel Music)    10.98



Here's another older Charnel title that we just picked up, some of the last copies ever, and this one is another crucial disc from one of our psych-guitar/industrial heroes, Mason Jones. Mason's probably best known to a lot of you as one of the founding members of the heavy space-rock band Subarachnoid Space who released several albums on Relapse and Strange Attractors (and who are still kicking and writing killer new tunes, might I say), but before and during his time in Subarachnoid Mason was also working solo, both under the Trance moniker and later just under his own name. In either case, his solo material focused on abstract, usually fully improvised noise jams where he would collaborate with various other heavy rollers in the international noise/psych/improv/weirdo underground. International Incident is a full length album from 1998 that (as the title suggests) features Mason hooking up with some of his comrades in Japan, and the lineup of musicians that he engages with is impressive: KK Null from Zeni Geva/ANP, Kawabata Makoto from Musica Transonic/Mainliner/Acid Mothers Temple, Tsuyama ATsushi of Omoide Hatoba, Koizumi Hajime from Mainliner, JoJo Hiroshige from Hijokaidan, Yamamoto Seiichi from Boredoms/Omoide Hatoba, and Akifumi Nakajima aka Aube all appear on this massive collection of improvisational performances that range from creepy guitar-based ambient soundscapes to manic hardcore drum/guitar free-spazz workouts and immolating heavy psych rock meltdowns.
The performances that are featured on this disc were recorded in Tokyo, Osaka and Kyoto between 1995 and 1997; the first track features just Mason and KK NUll wrapping their guitars around one another in a sprawling, twelve minute wash of creepy atonal guitar noise, droning feedback and dissonant melodies that sound like they are melting as they drift through space. Very dark and eerie. Then we get another twelve minute-plus track that has Mason in full-jam mode with Kawabata, Tsuyama and Koizumi belting out a cacophonic psych freakout, acid guitar solos dueling and darting around the crash and bash drumming, sometimes pulling back and getting into a more jazzy mode but for the most part laying down ear-splitting garage psych miasma not too far removed from Mainliner or Acid Mothers Temple at their most chaotic, totally awash in feedback and reverb, played at top fucking volume.
The "duet" between Mason and Hijokaidan's JoJo is another dual guitar improv assault, and it's one of the most brutal performances on here. A fifteen minute descent into screaming, mangled guitar noise hell, where the musicians somehow took two guitars and make them sound like twenty, creating dense layers of distorted prog-like noodling and scathing feedback textures, high-end skree so vicious that I can feel my back molars screaming at me, torrents of squiggly, scraping guitar strings shrieking in a hellstorm of maggots and rusted metal. But then towards the end it sounds like hints of melody and actual riffing can be heard underneath of it all, and the track begins to transform into a massive buzzing space-drone, the guitars melting together into a single roaring tone while scratchy electronic noises circle overheard. Heavy! That one is definitely the noisiest performance that's featured here.
The 1995 recording from Osaka has Mason on drums for a change, playing with Yamamato Seiichi from Boredoms on guitar, and their improv set moves from fx-overloaded guitar feedback rushing over heavy percussive pummel to massive tribal beats alongside skronky psych soloing. Mason is no slough on the kit, and his muscular, hypnotic drumming anchors Yamamato's distorted, Hendrix-gone-nuclear guitar noise with rolling tribal beats. And the last track is the live collaboration between Aube and Mason...guitar fuses with electronics and oscillators for a sweeping acid nightmare, looped guitars cycling into infinity, piled high in unwinding clots of noodling and feedback over apocalyptic klaxon blasts of distorted electronics and high-end skree.
Obviously essential if yer as big of a fan of the heavy psych mutations of Mason Jones, but this rare disc is something that Japanese noise and psych fans will want to check out to. The disc is packaged in a full color digipack.
Track Samples:
Sample : JONES, MASON-International Incident
Sample : JONES, MASON-International Incident
Sample : JONES, MASON-International Incident



K.K. NULL   Prime Radiant   CD   (Blossoming Noise)    10.98



This new full length from K.K. Null has 11 tracks of dynamic electronic structures that , at least for some of the music, features live recordings of Null in Switzerland,France, and Japan that has been morphed and mutated in the studio.Prime Radiant is filled with Null's chattering robo-glitch spasms, sine-wave splatter,and intricate spirals of fractal-like electronic drones and bleeps, and some rhythmic tracks that lean more towards structured electronica than anything we've heard from him in the past...albeit an utterly buzarre, futuristic,synthoid version, like house music as played by cyborgs. And another track features some whirring drones over a tribalesque beat.


K.K. NULL   Ergosphere   CD   (Blossoming Noise)    10.98



During his Russian solo tour in October 2005, legendary noise-guitarist and Zeni Geva frontman K.K. Null recorded this massive live album at the Moscow Palace Of Youth and the Festival Hea Uus Heli in Estonia; split into two parts, Ergosphere begins suddenly as a blast of fractaled computer noise and amplified, bass-heavy machine hum that streaks loudly across the heavens. Over the course of the nearly hour long album, Null summons constantly shifting forms of these massive vibrations and weaves into them shards of eerie 8-bit melody and ferocious video game soundtrack meltdowns, razor-sharp strands of staticky electronic glitches, demonic witch screams, brutally loud jet blasts of manipulated flanger distortion, and gorgeous gossamer globes of feedback that float through the air. Null somehow turns his seemingly random effects-based guitar noise and electronic waves into crushing, sometimes actually grooving abstract glitch feasts that border on the outright melodic. That first half of the disc is really aggressive and heavy and abstract, yet turns out to be some of the "catchiest" K.K. Null noisescapes we've heard, surfacing some almost techno-esque rhythms, Skullflowerish bursts of feedback, and heavy droning pulses. Pretty damn cool. On the other hand, "Ergosphere Part 2", the recordings manufactured from the Estonian festival performance, stand in contrast as it begins almost subdued, with a light fall of delicate chime tones and fragile static descending over whirling, softly oscillating tones. But things definitely get louder and heavier pretty quickly, as low frequency engine roars begin to rev up beneath the surface, creepy atonal drones begin swirling around, and the sounds of demonically possessed tape-heads speeding up and devouring melted audio cassette bounce around the massive chamber housing Ergosphere. Eventually, Null subjects you to an even more sinister strafing of Industrial creep than what came before, the final segment of the peformance capturing a furious storm of sheet metal clang, malfunctioning computer moans, and heavy strobing lightning charging everything around it. Excellent. Terrific album art, too, combining carefully divided track markers and lots of white space with sugarshock images of what looks like orchid macrophotography.
Track Samples:
Sample : K.K. NULL-Ergosphere
Sample : K.K. NULL-Ergosphere
Sample : K.K. NULL-Ergosphere



K.K. NULL   Sonic Action   VIDEOCASSETTE   (RRRecords)    10.98



Yeah, that's right, on videocassette. Released by RRRon over at RRRecords. And nothing fancy here, either...what you get is no-nonsense, single-camera shot video of a crucial live action from the master of metaloid robo guitar, K.K. Null, who non-noiseniks might know from his legendary planet-smashing math metal trio Zeni Geva. Null's set here seems to be from the stage of some huge rock club, but it's just him, long hair and sleeveless t-shirt, metal as fuck, abusing his audience with a ferocious blast of assaultive feedback improv, cyborg delay loops, groaning melodies, and lots of sublime sonic "WTF?" moments. High points of the set include: Null flailing and headbanging around the stage like a member of Slayer, Null flipping his guitar over mid-noiseblast and screaming hysterically into his pickups, Null using a metal slide to make his guitar sound like one of the chicks from the original Evil Dead...man, it's enough to make me cry. I'm a hugungous fan of K.K. Null's extreme guitar abstraction, and I feel that he's one of the more overlooked and underappreciated heads in the field of serious guitar exploration, so overloading my eye-and-earsockets with a full set of ear scorching Nulltronix n' total Null guitarnoise makes my freaking week. Viewing this video document, it's astounding to witness the sheer overload this guy can create with just one guitar and his effects. No idea of when this is from, but I am assuming the performance is from the early-to-mid 90's when Null was still working with the electric guitar, before he totally unplugged and developed his purely effects-box driven "Nulltronics" aesthetic. The set clocks in at just over 20 minutes long. Comes in a plastic snapcase with full cover sleeve. For North American VHS systems only! NO PAL !


K.K. NULL   Galactic Tornado   CD   (Quasi Pop)    11.98



Another new album of sci-fi electronics from the legendary Zeni Geva frontman KK Null, this new disc follows in the wake of the recent Oxygen Flash disc that Neurot just released earlier this year, and for the most part continues that same vein of intense, crushing phaser-chaos. Galactic Tornado comes to us from the Ukrainian noise label Quasi Pop, who also brought us the Merzbow Peace For Animals cd and Lasse Marhaug soplo disc that are also listed in this week's new arrivals, and like those albums, this comes in a luxurious six-panel digipack with high quality printing and spot-varnish inks on the front. Null delivers five untitled tracks that comes close to an hour of deep, dynamic cosmic troniks, and at first, this sounds like the sort of stuff we've been hearing from KK Null pretty consistently over the past decade, his signature brand of abstract cosmic noise comprised of chirping, glitchy electronics, stretches of buzzing insectile drone, deep space ambience, pulsating glitches that sometimes form into skittering rhythmic loops, a form of super minimal electronica layered with metallic shimmer and malfunctioning computer noises. Once you start to get deeper into Galactic Tornado though, we are greeted by increasingly lush levels of synthetic ambience and kosmiche tones that suggests that Null is exploring the sounds of classic 70's space/krautrock music here, and the computerized space-war fx take a backseat for the most part to vast expanses of black cosmic drift and trancey ambience. Then he pulls an amazing left-turn on us about three minutes into the second track, when a ferocious drum n' bass loop suddenly comes out of nowhere, and we're sucked into a nearly ten minute vortex of super aggro junglist spasms and distant sax-like horn blasts blowing in the distance, clouded by delay and other fx, later replaced by an evil industrial synth groove. This track is fucking awesome, just like the tracks on Oxygen Flash where Null performed similiar experiments with fast jungle-influenced rhythms and sinister free jazz ambience. That's followed by another track of hypnotic 70's synth throb that combines a burbling synthriff with abstract space noise, and sounds like a fragment of a Zombi song looped over Null's trademark spaceship electronics. If you know Null, then it should be obvious by now that this isn't business as usual, and suggests a fascinating new direction for his space-tronix to explore. The rest of the album engages with other strange technoid rhythms, vintage analogue pulses, black kosmiche drones, shuffling, almost dubstep like parts, seriously crushing blats of distorted synthgrind, walls of processed tribal-like drumwalls, and even some full-on violent chopped-up NOISE. But it's really all about the old school krauty synth sounds and mutant electronic rhythms here, making this a unique album in the KK Null catalog, and hopefully an indicator of things to come. Highly recommended to Null fans!!!
Track Samples:
Sample : K.K. NULL-Galactic Tornado
Sample : K.K. NULL-Galactic Tornado
Sample : K.K. NULL-Galactic Tornado



K2   Land Of Volcano   CD   (Annex 1 | Pro-Noise)    13.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     Sporting an album design by J. Randall from Agoraphobic Nosebleed, 2012's Land Of Volcano once again sees K2 assaulting the listener with more of his long-form explosions of brutal cut-up electronic chaos, continuing to eschew the use of computers, MIDI and acoustic noise in the creation of this stuff. As usual with K2's albums, it's focused on just a couple of tracks, but they tend to run long; this has four epic-length tracks of crushing psychedelic noise, with titles like "For Earthnoid", "Purple Smoke Deep Water" and "The Volcano" all evoking images of geologic violence. Each track is a sprawling cacophony of violently manipulated and tortured feedback (which sometimes veers into truly extreme levels of piercing, high-frequency ear-hate), swathes of swooping spacey synth-noise and blasts of garbled electronic horror, the grinding and sputtering of malevolent engines blanketed by layers of howling Hawkwindian synthblurt, the whole thing cumulatively coming together as a shrieking, yowling mass of terrifying noise that comes spilling out of the speakers in rapid-fire ejaculations of chopped-up, abruptly edited chaos. It's pretty much along the exact same lines as most of K2's harsher work, but if you're a fan of that stuff, it's exactly what you're looking for. Total psychedelic destruction.
Track Samples:
Sample : K2-Land Of Volcano
Sample : K2-Land Of Volcano
Sample : K2-Land Of Volcano



K2   Abdominal Electricity   CD   (Phage Tapes)    13.98



One of the big names in Japanese noise, K2 is known for blowing eardrums out with extreme cacophonic "junk noise" assaults that sound like entire cities being torn apart, and has an enormous catalog of releases that go all the way back to the early 80s. I love this guy's stuff, and am always ready for another skull-clearing blast of scrap-metal destruction, but this new album from K2 is radically different from his other releases that I've been listening to lately. On Abdominal Electricity, the junk-noise aspect of K2's sound has been almost completely replaced with a fast-paced psychedelic cut-up assault; it states right in the booklet that K2's Kusafuka used "no computer, no MIDI and no metal junks" in creating this album. Whatever the original sound sources were that were used; they are transformed into epic skullblasts of futuristic electronic frenzy on these four lengthy tracks ("Epilogue No. 2", "Bomb In My Stomach", "Secret Cold Storage", and "Aerophobia"). The listener is subjected to monolithic (ten to thirty minute long) blasts of spastic feedback chaos, ultra-heavy low end synthesizer(?) drone, endless volleys of laser fire and chopped up fx insanity. The sound changes every few seconds, constantly mutating from one form to the next, going from pounding metal rhythms to brief fragments of melody and musical sounds to violently revolting cassette decks vomiting up their guts across a backdrop of howling sentient machinery and marauding electrical cables. There are vicious test-tones that bore pinholes through your skull, which then collapse into ominous rhythmic feedback loops and garbled 8-bit electronic melodies, slamming into massive tidal surges of cosmic synth that rise up into the roar of a thousand spaceships launching into the stratosphere at once. And in spite of Kusafuka declaration in the liner notes, there are whole swaths of this album that sound like they had to have been composed on a computer, with squirming over modulated clusters of digital noise and wailing sirens. It's a frenetic and brutal noise collage from one of the masters of high-speed Japanese electronic brutality, with a loud, powerful production job that allows all of the detail of K2's noisescapes to fully emerge, capturing the feeling of biological breakdown and mechanical violence that is echoed in the album art. Limited edition of five hundred copies.
Track Samples:
Sample : K2-Abdominal Electricity
Sample : K2-Abdominal Electricity



K2   Tamayura   CD   (Gravity Swarm)    13.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     In stark contrast to the delicate traditional Japanese ink / brush artwork that adorns the front and back cover of Tamayura, this 2012 album from Japanese junk-noise master Kimihide Kusafuka features an hour of non-stop apocalyptic garble, presented in his trademarked high-speed cut-up style. The first track "Tamayura Hi-Fi Blues" stretches on for more than half an hour alone, showcasing K2's rapid-fire noise collage in grand form. Here Kusafuka employs a combination of hijacked consumer electronics (including a Nintendo DS), contact mics, "junk electronics", and Korg synth to produce his brutal blasting noise, which he then cuts up and re-arranges into epics of spastic digital vomit. A savage, jubilant chaos, a constantly changing/shifting/mutating field of burbling glitch and screaming feedback, teeming with violent whiplash-inducing signal-fluctuation, blasts of brutal electronic effects, piercing high-end drones and waves of metallic shimmer; lurching machinelike rhythms rattle around in the depths, before being overtaken by swarms of gibbering, insectile shrieks.
     So much of this resembles the sound of cyborg warfare taking place inside of an ancient 8-bit videogame system, while others suggest vast computerized intelligences screaming idiotically into the void. What you will not find are any moments of calm or reflection. It's a total brain-rape, an overwhelming blast of inhuman sound, but there's an almost insectile logic to how Kusafuka arranges all of this mayhem. If you're already a fan of K2's brand of brutally psychedelic noise, you already know what to expect from this. And it certainly delivers.
Track Samples:
Sample : K2-Tamayura
Sample : K2-Tamayura
Sample : K2-Tamayura



K2   Ha Ga Ne   CD   (Triangle)    8.98



When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
A surgical pathologist by trade, Kimihide Kusafuka started out in the early 80s as a participant in the international mail-art scene; later, fueled by the energy and aesthetics of punk, Kusafuka began to record under the K2 name, using the sound of metal scrap and junk and cheap electronic instruments and then cutting these noises apart and re-assembling them into his now signature collage of unbridled chaos. By the time of K2's Metaloplakia, Kusafuka had established his sound as one of the more extreme strains of noise coming out of Japan, notable for both its violent volume levels and speed.
One of the more recent K2 titles we tracked down is Ha Ga Ne. Released on Polish imprint Triangle in a limited edition of two hundred-fifty copies in a cardboard wallet (accompanied by an insert with liner notes from Kusafuka), this 2010 disc is a prime cut of K2's brand of ultra-violent Dadaist chaos at its most rabid. The album features just three tracks, two of 'em sprawling out for roughly half an hour apiece; all of 'em are savage, searing blasts of rapid-fire cut-up noise recorded with a great deal of clarity. A near non-stop onslaught of juddering metallic drones, spastically edited noise, mind-melting effects-pedal manipulation, brutal cyborg screams and blasting flesh=shedding glitchery, tossed into avalanches of metal-shop clatter and sliced-up screams. This stuff can be seriously terrifying. An occasional fractured rhythm will occasionally lurch out of the maelstrom, and you can also detect the barest glimmers of inhuman, quasi-musical forms peering out from this jumbled, fast-moving noise collage, like broken melodic sequences from some deconstructed Derbyshire/BBC soundtrack, moments that enhance the brutal psychedelic effect of being subjected to K2's screaming mainframe/factory/flesh-metal conversion factory.
Despite the seemingly random nature of K2's noise collages and the resemblance to a demonically-possessed pachinko parlor or a symphony of skipping CD players all clotted with gore and metal shrapnel, this stuff towers over most imitators, as the attentive listener can easily detect a diabolical logic at work behind it all.
Track Samples:
Sample : K2-Ha Ga Ne
Sample : K2-Ha Ga Ne



K2   In The Monotonous Flowers   CD   (Ground Fault)    8.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     An oddity in the K2 discography, 2002's In The Monotonous Flowers was a departure from Kusafuka's usual "junknoise" approach into something more surreal, even "musical". From the outset, it was telling that this bore the legend of Ground Fault's Series II on the album package, which positioned it alongside more textural, experimental soundscapes from the likes of Jazzkammer, Contagious Orgasm and Christian Renou. That said, this hour-long aural hallucination is hardly soft stuff. It just happens to be more structured and sample-based than the pachinko parlor war-zones of K2's other albums. These confusional, unpredictable noisescapes produce a genuinely unsettling dreamlike atmosphere that have been cobbled together from a miasma of field recordings, tape noise, Japanese video game soundtrack fragments, electronic glitch, high-end feedback tones, broken drum machines, and meandering keyboard melodies that feel like derelict bits of a late 70s horror movie score.
     It's a constantly morphing mass of sound, shifting from brain-damaged synth-pop experiments into passages of lowercase technoid minimalism, unleashing blasts of industrial pummel and making jarring detours into electro-acoustic terror, unfurling swelling synth drones amid chunks of heavy distorted rock, and weaving demented loops around the sounds of clarinet, piano and guitar. All of this stuff was performed and recorded by Kusafuka, but then heavily processed, chopped up and re-assembled into a bizarre, garbled patchwork nightmare, frequently punctuated with doses of his trademark harsh noise as well as sudden, shocking blasts of acoustic sound that are reminiscent of Randy Yau or Dave Phillips. The whole thing becomes gradually more and more unsettling once you get to songs like "Rodents In The Sewer", and while the overall tone of the album is different from what we're used to hearing from K2 (and bearing a strong influence from Steven Stapleton's cut-up compositional style with Nurse With Wound), it's still a suspenseful, disturbing listening experience that's not for the faint of heart.
Track Samples:
Sample : K2-In The Monotonous Flowers
Sample : K2-In The Monotonous Flowers
Sample : K2-In The Monotonous Flowers



K2   Musik Für Enthauptung   CDR   (Impulsy Stetoskopu)    11.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     K2's sonic chaos-collage is pretty much the ultimate in Dada-inspired, ADD-afflicted "junk noise", a term that this project has embraced from the beginning. And if there's one newer K2 album that visually embodies the feeling one gets when subjecting yourself to his brutal barrage of noise, it might well be 2013's Musik Für Enthauptung (Music For Beheading). Issued on Polish label Impulsy Stetoskopu, this disc comes in one of the stranger packaging designs I've come across, presented in a standard plastic jewel case, but with all of the printed parts printed onto an aluminum foil like material, making this look and feel like an industrial by-product. Sonically, it's essentially the same sort of cut-up ultra-chaos we've always gotten from K2, that signature hyper-violent noise collage style producing an avalanche of spastic, abrasive, horrific noise culled from samples, instruments, and electronics, stitched together into sprawling, longform blasts of sound. A confusion of shrieking tape garble and screaming feedback, tortured synthesizer noise and volleys of hyperspeed glitch-chaos, violently mutated video-game soundtracks and fragments of orphaned piano melody. Using his electronic "Feedback System" alongside piano, violin, synthesizer, electric guitar, and vocals, he warps and shreds his sound sources into unrecognizable new forms, the sounds assembled into constantly, rapidly changing noisescapes that leave any and all source materials utterly unrecognizable, stretched into bizarre, confusional cacophonies that on several of these tracks can stretch out for more than thirteen minutes at a time. Vaguely rhythmic sounds dip in and out of these noisescapes, blasts of almost technoid throb or clanking, hypnotic loops, but they tend to disappear quickly back into the maelstrom.
     If you're a fan of K2's unique brand of violent psychedelic gibberish, rest assured that this is one of his most crazed albums from the past decade; a nightmare of hallucinatory glitch-puke and digital data vomit, anyone into the harsher end of the Japanese experimental electronics underground definitely needs to at least check K2's material out, and this one is a good place to start if you're looking for pure cacophonic bliss.
     Released in a limited edition of one hundred copies.
Track Samples:
Sample : K2-Musik Für Enthauptung
Sample : K2-Musik Für Enthauptung
Sample : K2-Musik Für Enthauptung



K2   Molekular Terrorism   CDR   (RRRecords)    5.98



Japanese noise artist Kimihide Kusafuka's has been producing his extreme electronics/junk noise collages under the K2 name since the early 80's, and more or less created the "junk noise" aesthetic that we talk about here at C-Blast. Look at any current metal-abuser, and they'll no doubt cite this project as a key influence. One of K2's key albums that introduced him to the growing American noise audience in the 1990s was his contribution to RRRecords's legendary industrial noise series Pure, the 1996 full length album Molekular Terrorism. Like all of K2's work, the four lengthy untitled tracks on this album are not just pure electronic noise, but rather the sound of metal and other objects being abused and destroyed and then reformed into a colossal collage of industrial mayhem, a cyberpunk nightmare of jumbled metallic clank and mountains of steel pipes crumbling to the ground, avalanches of scrap metal and broken glass and other detritus all layered over crushing bass-heavy noise and squealing synths. As out of place as it sounds, the human voice is also present in these hellish assemblages, snippets of human voice and singing which are sometimes warped and processed into hellish gibberish and moaning. There's hardly anything here that resembles an actual rhythm, but every so often a grinding machine loop will appear for a few moments before being swallowed back up by the chaos. Random pounding resonates off of huge oil canisters, and frantic bleeps from what sounds like a malfunctioning Atari 2600 swarm through the air. Kusafuka uses brutal stereo panning on these recordings, sending the titanic scrapescapes spinning around the inside of your skull. No doubt about it, these junk metal maelstroms can have a disorientating effect on you when you've been listening to it for long enough, and after a while the sounds can really start to evoke visions of a city being dismantled inch by inch, a hurricane of decimated steel girders, concrete, glass and human forms, all of the flotsam chopped up and spliced back together into sprawling, constantly changing and mutating sound collages of industrial collapse. Molekular Terrorism is as harsh and brutal as anything from Incapacitants or Masonna, and is one of the best examples of K2's abrasive junk-noise chaos.
Track Samples:
Sample : K2-Molekular Terrorism
Sample : K2-Molekular Terrorism



K2 + EIKO ISHIBASHI   Compressed Happiness   CD   (Phage Tapes)    9.98



     When it comes to the Japanese harsh noise underground, K2 reigns as one of the field's most ferocious sound-destroyers, forging a brutal "junk noise" aesthetic that employs spastic sound editing, psychedelic electronics and chaos strategies to create immensely abrasive and cathartic blasts of extreme noise-art. I'm such a big fan of K2 (aka Kimihide Kusafuka, who by day works as a cancer pathologist) and the brand of harsh noise that he's been perfecting since 1983 that we trawled his catalog for his most merciless recordings, and have come up with a stack of old and new releases that are all recommended listening for fans of maximum sonic chaos.
     As synonymous as K2 is with sheer skull-rupturing electronic chaos, you can find some surprisingly beautiful creations within his extensive catalog of releases. One of those is Compressed Happiness, a collaborative album that came out a while back on Phage Tapes and which features K2 teaming up with fellow Japanese experimental musician Eiko Ishibashi, who has a number of solo albums of experimental jazz-pop on Drag City as well as another collab with Tatsuya Yoshida of Ruins from a few years ago. I hadn't heard her music before picking this disc up, but from what I've checked out, her dreamy avant-pop is pretty far removed from the speaker-shredding harsh cut-up noise of K2. The end product is pretty spellbinding, a mixture of the expected harsh electronics and all manner of delicate, dreamy electronic melody, mixed in with swells of celestial synth, warbling looping drones, and other melodious elements that make for an enthralling combination.
     Compressed features two twenty-minute compositions, with each artist utilizing raw sound materials provided by the other. On "Cold Pastoral", Ishibashi takes K2's synthesizers and recorded material and weaves a stunning, even lyrical noisescape filled with moments of both airy, unearthly beauty and punishing rhythmic chaos, at times akin to hearing classic Tangerine Dream drifting lazily through incandescent eruptions of brutal skree. And "Sweet Paranoia's Heaven Version 3" has K2 using some pre-recorded sound material from Ishibashi along with his own arsenal of junk electronics and mangled instruments, producing another of his trademark maelstroms of hyper-abrasive, violently psychedelic noise collage, flecked with traces of modern classical piano and spacey electronic effluvia. Easily one of my favorite K2 collaborations.
Track Samples:
Sample : K2 + EIKO ISHIBASHI-Compressed Happiness
Sample : K2 + EIKO ISHIBASHI-Compressed Happiness



K2 / NRYY   No More N.P.P.   CASSETTE   (Phage Tapes)    5.99

No More N.P.P. IS CURRENTLY UNAVAILABLE FOR ORDER

Created in the wake of the Fukushima Daiichi Nuclear Plant disaster, this split pairs up Japanese noise titan K2 (aka Kimihide Kusafuka) with newer noise outfit NRYY for an exuberant, brutal exercise in electronic destruction that channels the artists' combined anti-nuclear anger.
K2's side delivers two long tracks of ultra-violent cut-up noise, "Peak On Geiger Counter Ver. 2" and "Dirty Electric Black Power Ver. 2", unleashing a non-stop barrage of chopped up electronic chaos, fast moving and brutal, savage and psychedelic. As he states in the liner notes to the tape, Kusafuka makes a point to avoid the use of computers in the construction of these sprawling, skull-chewing noisescapes, and there's a noticeable tactile quality to his noise experiments: the garbled electronics are brutally fused together, generated from his arsenal of "junk electronics", contact mics, Korg synthesizer and vocals, all of which are tortured and abused to the extreme. The result is a symphony of squalling feedback and malevolent computer-puke, tangles of squirming, snarled tape noise, endless metallic avalanches, and wave upon wave of acid-damaged electronic fuckery. As always, mind-melting stuff, compressing the sound of collapsing technological society into a single block of ever-morphing sound.
A relative newcomer to the Japanese noise underground, Norihito Kodama's NRYY project compliments K2's with two tracks of his own violent electronic noise. This stuff is definitely more musical, though. For over half an hour, Kodama unleashes violent blasts of distorted noise and feedback, but these are broken up into ordered chunks that are separated and surrounded by distorted synthesizer melodies, atonal figures and bursts of spacey arpeggio patterns that burble and flitter amid his harsher, more chaotic elements. It's an effective mix of sounds that sure doesn't skimp on the ear-destroying noise (fans of Pain Jerk and Masonna will dig the level of abrasiveness here), but tempers it with these mesmeric synth patterns and creepy haunted-house melodies that resemble something off of an old krautrock LP. A pretty cool blast of psychedelic electronic punishment that rivals the power of the preceding side.
Released in a limited edition of one hundred copies.
Track Samples:
Sample : K2 / NRYY-No More N.P.P.
Sample : K2 / NRYY-No More N.P.P.



KADURA   From The Depths of The Other Space   CD   (Charnel Music)    9.98



Heavy, eastern-influenced psychedelic space rock bliss from Osaka, Japan is dished out on this totally intoxicating full length from Kadura. These cats twist themselves into ghostly shapes powered by mutant Middle Eastern melodies and gassed up tribal-circular percussion that'll have you tranced out in no time. This falls under the Crucial Blast eye based on several factors: From The Depths of The Other Space was released on the crucial Charnel imprint, who trafficked in some of the most potent underground Japanese sounds imported into the USA in the 1990's...this album was one of the few real "psych" albums Charnel put out, but this is definitely not the pastoral, hippie psychedelia you might expect. These eight jams explore darker, more twilight corners of atmospheric trance rock, populated with band leader Atsushi Kobayashi's spectral guitar playing and bleating Zurna (a double reed horn), muscular noise-rock basslines and sheets of sublime feedback, noisy drones, and intense emotional vocal chants that coalesce into almost prog-metal forms. We even hear some Can -style krautrock in here. This is one heavy twilight pulse. Sorta reminds us of a combo of Ghost/Angel N' Heavy Syrup/PSF-Records style Japanese psych, a more subdued, stoned take on Tool-esque prog metal, meandering space-psych, and later Swans? Rad.


KILLER BUG   Beyond The Valley Of The Tapes   2 x CD   (Troniks)    13.98

Beyond The Valley Of The Tapes IS CURRENTLY UNAVAILABLE FOR ORDER

Holy shit, the extreme feedback garble and blobs of distorto power carnage on this double disc set are melting the backs of my eyeballs. Troniks has assembled this definitive collection of recorded work from Kazumoto Endo's mid-90's harsh noise project, before he went "solo" and began releasing stuff under his own name, most of which has been out of print for ages and is re-mastered for this release. KILLER BUG released a stack of cassettes and vinyl from 1994-1995, all of which was extremely high quality, genre-defining stuff from what some would call the "second wave" of Japanese noise, alongside folks like Pain Jerk, etc. Many cassette-release KILLER BUG tracks were epic storms ranging from 19 to 30 minutes in length, but Endo brought structure and dynamics to his fast paced noise assaults as he sculpts whiplash inducing explosions of electronic chaos from effects pedals,etc...but also with space and texture that just makes this stuff that much more brutal. High energy stuff, for sure. 140 minutes of braindrill, including the Vaginal Disco cs (originally released on Mother Savage Noise Productions 1995), Brutal Rainbow cs (Noise 1995), Cunt Explosion 7" (Releasing Eskimo 1995), Your Wife is Mine 7" (Self Abuse Records 1995), and lots more. Booklet has welcome track info/details. Definitely recommended to fans of sick pedal crunching harsh Japanese noise.


KK NULL / SCUMEARTH   split   CD   (Phage Tapes)    11.98



Brain-melting, intergalactic extreme electronics from Zeni Geva mastermind KK Null and newer Spanish noise outfit Scumearth, courtesy of the fine noise-curators at Phage Tapes...
KK Null's twenty-minute "Plutonium 2011" is first, opening the disc with his patented brand of extreme cosmic electronic chaos. Starbursts of swarming high-frequency glitch and distorted feedback waves shower over the first few minutes of the track, but then a pulsating rhythmic beat appears, sputtering and throbbing beneath an increasingly frenzied tapestry of manipulated vocal noises, brutal blown-out glitch-noise, and laserblast effects. As it progresses, the rhythm evolves into something slightly more akin to a super-distorted drum n' bass loop, but buried under a ton of noise and effects. It breaks off into sparser sections where the rhythmic loop disappears and you're assaulted with harsh, psychedelic electronics, but it keeps finding it's way back to the more violent rhythms over the entire track. Not unlike some of his other recent works (there are definitely similarities between this and his Neurot album Oxygen Flash), this comes off like an exercise in brutal, noise-irradiated jungle mutated almost beyond recognition.
Like KK Null, the Spanish project Scumearth also uses electronic gliitch as one the key building blocks to their apocalyptic soundscapes, but the three tracks that are presented here have little to no rhythmic drive, instead focusing on contrasting controlled blasts of ferocious extreme digital filth with stretches of abyssal black ambience. The track titles all evoke visions of modernized warfare ("Search & Destroy", "Obsolete Signal Technology", "Kevlar Armoured") and intersperse sampled military transmissions with the eruptions of electronic violence and walls of black static to create an unsettling, extremely hostile atmosphere.
When the two artists finally come together for the collaborative track "Time-Quake" at the end of the disc, you can't really pick their sounds apart. Each musician pummels the track with an assortment of throbbing synth noise, jittery machine rhythms, and crazed atonal melodies for the first half, but then it transforms into a series of hyper-abstract drones and crackling granular glitch that finishes the track.
This blast of brutal electronics comes in a screen-printed arigato case, limited to 250 copies.


LETHAL FIRETRAP   Excursion/Passage   CD   (Even Stilte)    5.00



Excursion/Passage is the debut from the Tokyo-based duo of The Filth and Kelly Churko, who incorporate distant, subtle melodies and found-item percussion and sounds into ghostly field recordings of bird song and parks, vague murmurs of street noise, and train stations. Dark, atmospheric environmental drone shimmer and eerie unidentifiable clatter is drawn from an array of objects, including wine glasses, halogen heater, Thai wooden frogs, guitar, metal cooking bowls, stone bowl, all of which were struck, rubbed, and scraped to create all sorts of haunting drones. The booklet mentions that this is based on some sort of science fiction narrative about the mass evacuation of humanity and terraforming, but all of that is secondary to the creepy ambience. A very beautiful environmental drone album. Limited to 500 copies.


LINEKRAFT   Kikai Ningen   CASSETTE   (Nil By Mouth)    8.98



  As he did on his excellent debut for Malignant sub-label Black Plague, Masahiko Okubo employs an arsenal of junk metal, electronics, tapes and vocals to create a series of baleful industrial deathdirges for this newest tape from his one-man project Linekraft. Kikai Ningen is intensely heavy and aggressive, but not in any sort of "metallic" manner; this is true industrial music, dark and dystopian and filled with an inhuman hunger for chaos.
   The first side of this blistering little tape is made up of four long studio tracks, beginning with the grim industrial pummel of "Nouzui": ritual drums pound slowly and hypnotically within a swirling black fog of factory rumble and collapsing metal. Coarse, acrid electronic noise sweeps across the heavy rhythmic pounding, like some grim industrial rendition of an ancient Japanese funeral march. Mountains of rusted-out metal and concrete and glass crumble in slow motion as ghostly voices mutter and groan in the depths. Slabs of steel clank together with deafening force. The air is thick with an atmosphere of technological decay. As the tape progresses into "Mercurial Ptyalism", massive mechanical loops grind like halftrack tread over more rumbling factory ambience. Rapid-fire jackhammer rhythms sputter and roar as stray chunks of metal debris whirl violently through the air, and massively distorted synthesizers send out stuttering martial rhythms in the increasing din of high-frequency feedback. The last two tracks on the first side ("SI" and "Nark/Interrogation") move from jarring oil-drum rhythms banged out on huge metal containers, booming sonorous tones that vibrate the very earth itself, gradually giving way to waves of crushing distorted drone and more howling, looping noise. And then finally, into a din of squealing lock-groove noises and skittering tumbling rhythmic chaos, like radar patterns repeating endlessly beneath the sounds of huge earthmoving machinery tearing at the ground and stacks of bamboo collapsing and rolling apart, this noisy surrealistic loopscape becoming more maddening as it goes on, until it eventually shifts into the sound of buzzing electronic drones that close the side.
   The second side features live recordings captured from performances in Kyoto and Tokyo throughout 2012 and 2013, compiled into a single side-long track titled "Kikai Ningen". This stuff sounds even more nightmarish than the previous side, a low fi racket of screeching feedback and squealing electronics that are blasted out in controlled bursts over the steady, hypnotic clank of metal and drums, slow powerful rhythmic banging that echoes beneath the squall of noise and Okubo's howling, psychotic vocals. There's an old-school power electronics feel to this side of Linekraft's sound, but it's stretched out into something much slower and more tortured, an abject scrap-metal death ritual enshrouded in a toxic fog of petroleum fumes and lung-scorching chemicals, plumes of nightmarish glitch and highly distressed voice transmissions, descending deeper and deeper into realms of cruel sonic horror by the tape's end.
  As with other Nil By Mouth tapes, this is creatively packaged, enclosed with an insert in a full-color sleeve with a metal clip, and limited to one hundred fifty copies.


LINEKRAFT   Bouryoku Kikai   CD   (Black Plagve)    9.99

Bouryoku Kikai IS CURRENTLY UNAVAILABLE FOR ORDER

Linekraft's third album Bouryoku Kikai (out via the mighty Malignant sub-label Black Plague) is the first I've heard from this Japanese industrial outfit and its mastermind Masahiko Okubo; when I saw the term "junk-noise" being thrown around in reference to 'em, I figured that I was going to be in for some K2-style action: mountains of scrap metal and broken steel crashing down in slow motion, huge roaring walls of metal smashing against metal, apocalyptic destruction possibly flecked with some electronic elements, you know the drill. I'm almost always in the mood for some of that. Turned out to be something much heavier going on here, though, as Linekraft's violent abuse of metal/scrap/debris only makes up one layer of this grim cyber-punk industro-crush.
These five tracks all make heavy use of harsh, abrasive metal sounds and there is a LOT going on here that hardcore K2 fans can sink their teeth into, but the metallic banging and crashing and pounding seems to be composed, the sounds structured into clear rhythms and defined passages. Crunching metal is forged into monstrous robotic rhythms, a factory-floor symphony of reverberant clang and clank, onto which Linekraft adds a variety of processed and mutated samples, blasts of orchestral sound, mysterious murmuring voices and waves of corrosive noise and distortion and, best of all, some seriously fucking heavy bass frequencies later on the disc that has some parts of this veering into an almost Skin Chamber level of mechanical heaviness. What it really reminds me of is Dissecting Table's more chaotic dirge-like material, although this goes in more of a death-factory atmosphere. Adorned in cool black and white artwork that includes some photos of Okubo's formidable looking rig cobbled together from guitar amps, oil drums, and dangerous looking metal-shop equipment. Comes in a six panel digipack, and is limited to a mere 400 copies - highly recommended if yer into the heavier extremes of pneumatic horror...
Track Samples:
Sample : LINEKRAFT-Bouryoku Kikai
Sample : LINEKRAFT-Bouryoku Kikai
Sample : LINEKRAFT-Bouryoku Kikai



LINEKRAFT   Delusional Disorder   CD   (Impulsy Stetoskopu)    11.99



     Brutal electronics, mechanized heaviness and clanking chaos erupt together into a stew of scrap-heap savagery on Delusional Disorder. Kind of a catch-all collection of odds and ends from Japanese industrialist Linekraft, but just as soul-battering as anything else I've picked up from this outfit. As with the previous releases on Malignant/Black Plagve and Nil By Mouth, this stuff sounds much larger than the product of a one man band, but it's just Masahiko Okubo behind this grim, apocalyptic racket, smashing metal together into skull-splitting factory-floor rhythms and carving out torturously slow, doom laden scrap-metal rumblings that act as the foundation for these six scathing noisescapes. Okubo's work with Linekraft gets closer than anyone to channeling the pulverizing power of classic Dissecting Table, but does so with his own unique, highly aggressive approach and heavily layered recording aesthetic.
     Most of this disc prominently features his clanking, corroded metallic rhythms, hammered scrap echoing beneath blasts of mangled electronic noise, and where murky recordings of weird off-key singing fight for space alongside terrifying metallic shrieks. Squealing, demented synthesizers writhe in the depths of the mix, struggling to escape the suffocating fog of low-end rumble and distorted skree. Thick veins of pulsating electricity course though sprawls of noxious ambient drift, while large objects tumble and fall endlessly in the background, evoking the abandoned asylum halls and empty institutional beds pictured on the album art. Occasionally, something resembling an actual drumbeat will appear, though buried even deeper in the mix, a vague shambling rhythm lurking underneath the crushing, churning noise.
     As with pretty much everything else I've picked up from Linekraft, this is a violent, psychedelic industrial assault, occasionally slipping into a kind of fractured, looping rhythm that brings an element of musicality to parts of the album. Mostly though, this is pure deafening chaos strewn across the charred and smoking wasteland of Linekraft's dystopian nightmare realm, reminiscent of both K2's scrapyard cacophonies and the sludgy, pulverizing death-industrial nihilism of Ichiro Tsuji’s work with the aforementioned Dissecting Table. Heavy. Comes in a hinged metal box with a molded interior, with minimal track information and liner notes printed on the inside of the lid, and issued in a limited run of two hundred copies.
Track Samples:
Sample : LINEKRAFT-Delusional Disorder
Sample : LINEKRAFT-Delusional Disorder
Sample : LINEKRAFT-Delusional Disorder



MAINLINER   Mellow Out   CD   (Riot Season)    12.98

Mellow Out IS CURRENTLY UNAVAILABLE FOR ORDER

Fuck yes...here is one of the most massive albums in the Japanese heavy psych canon, the 1996 fuzz apocalypse Mellow Out from Mainliner featuring Asahito Nanjo from High Rise on bass/vocals, Hajime Koizumi on drums and Acid Mothers Temple leader Makoto Kawabata on "motor psycho guitar". Mellow Out was first released through Charnel Music in 1996 but went out of print for ages before being reissued by UK label Riot Season. Over the past twelve years, the album has become a crucial piece of the Japanese underground, the debut release from the band that would more or less birth Acid Mothers Temple and which took the High Rise sound of primial Stooges/Blue Cheer/Hendrix and pushed it even further into the fuckin' red. This is some of the most distorted, freaked-out, NOISY rock and roll ever, a swaggering garage-metal stomp absolutely drowned in distortion and wah-wah masturbation, totally improvised and crushing, with distortion on everything, even the drums. Huge bloozy riffs cribbed from the Stooges lurch their way through a corrosive black haze of hiss and fuzz while indecipherable, phantasmagoric vocals mewl and chant back behind the murk, and everything is torn apart whenever Kawabata lets loose with his skull shearing "solos" which sound more like Merzbow unleashing a host of analogue distortion pedals on an ultra heavy acid rock jam, with drumming that is way more rooted in free jazz than in rock, giving the three tracks on Mellow Out a roiling, thunderous thrust. This is one of the craziest, heaviest psych rock albums ever, no joke. Did you blow a synapse over Acid Mothers Temple's Electric Heavyland? Well, this was the template. Totally essential.
Track Samples:
Sample : MAINLINER-Mellow Out
Sample : MAINLINER-Mellow Out



MAINLINER   Mellow Out   LP   (Riot Season)    19.98

Mellow Out IS CURRENTLY UNAVAILABLE FOR ORDER

We have a very limited number of this out-of-print, limited edition vinyl of Mainliner's legendary psycho-noise-garage-metal explosion that was reissued on Riot Season several years ago!
Fuck yes...here is one of the most massive albums in the Japanese heavy psych canon, the 1996 fuzz apocalypse Mellow Out from Mainliner featuring Asahito Nanjo from High Rise on bass/vocals, Hajime Koizumi on drums and Acid Mothers Temple leader Makoto Kawabata on "motor psycho guitar". Mellow Out was first released through Charnel Music in 1996 but went out of print for ages before being reissued by UK label Riot Season. Over the past twelve years, the album has become a crucial piece of the Japanese underground, the debut release from the band that would more or less birth Acid Mothers Temple and which took the High Rise sound of primial Stooges/Blue Cheer/Hendrix and pushed it even further into the fuckin' red. This is some of the most distorted, freaked-out, NOISY rock and roll ever, a swaggering garage-metal stomp absolutely drowned in distortion and wah-wah masturbation, totally improvised and crushing, with distortion on everything, even the drums. Huge bloozy riffs cribbed from the Stooges lurch their way through a corrosive black haze of hiss and fuzz while indecipherable, phantasmagoric vocals mewl and chant back behind the murk, and everything is torn apart whenever Kawabata lets loose with his skull shearing "solos" which sound more like Merzbow unleashing a host of analogue distortion pedals on an ultra heavy acid rock jam, with drumming that is way more rooted in free jazz than in rock, giving the three tracks on Mellow Out a roiling, thunderous thrust. This is one of the craziest, heaviest psych rock albums ever, no joke. Did you blow a synapse over Acid Mothers Temple's Electric Heavyland? Well, this was the template. Totally essential.
Track Samples:
Sample : MAINLINER-Mellow Out
Sample : MAINLINER-Mellow Out



MAKOTO, KAWABATA   The Tales Of The Dream Planet   CD   (Housepig)    9.98

The Tales Of The Dream Planet IS CURRENTLY UNAVAILABLE FOR ORDER

With a solo Kawabata Makoto at the helm and some terrifically cheesy album graphics (of a naked woman doing yoga while floating around the cosmos), you'd probably think that this is going to be a spacey psych-rock freak-out along the lines of Acid Mothers Temple. That's not the case though; instead the AMT mastermind presents a disc of epic guitar drones that are more like the industrial post-rock ambience of Troum and the improv guitar drones of Oren Ambarchi. And it's all pretty great, perfect late night music to drift off to, the first track going on for forty-six minutes (yikes!), the second slightly shorter at just seventeen minutes long. Both pieces focus on extended guitar drones and amp ambience stretched into vast cloud formations that are run through various effects and end up sounding a lot like longform synth drones. The first, "She Came from the Shining Sea", reminds me of Tangerine Dream mixed with the isolationist ambient of Lull and Main, light shimmering drones and ethereal chordal drift softly swirling, while darker waves of lower-frequency drone hovering just beneath the surface. The second track "Kiss on the Dream Planet" is more minimal, an expanse of soft feedback and swells of low muted tones, not unlike the ultra-minimal experiments in drone from Kevin Drumm's recent offerings. Excellent cosmic guitardrone that comes as a surprise coming from someone more associated with high-octane acid guitar mayhem and ultra-distorted psychedelia. The disc comes in a full-color plastic dvd snapcase and is limited to five hundred copies.
Track Samples:
Sample : MAKOTO, KAWABATA-The Tales Of The Dream Planet
Sample : MAKOTO, KAWABATA-The Tales Of The Dream Planet



MAKOTO, KAWABATA + DENTAL WORK   Lemonade Station Destruction 25   CDR   (Placenta Recordings)    4.98














Track Samples:
Sample : MAKOTO, KAWABATA + DENTAL WORK-Lemonade Station Destruction 25



MASONNA   Noisextra   CDR   (RRRecords)    9.98



It can be difficult to rate one Japanese noise album against another, but Noisextra will continue to get my vote for one of the most extreme, challenging releases in the canon. Released in 1995 as part of RRRecord's legendary Pure series, Noisextra is one of the more freeform releases from Japanese extreme noise artist Masonna, aka Maso Yamazaki. Active since 1987, Masonna is one of the more well known figures in the harsh noise scene from his releases on Relapse/Release in the '90's, as well as being one of the few artists to have actually toured the U.S. in any real capacity. Everything that he's released is pretty extreme, but Noisextra is a real skull-exploder. The original CD version has been out of print for awhile, but Ron at RRR just reissued it on CD-R and keeping the same style of chopped up, xerox-damaged packaging. The album is made up of two tracks - the 15 minute "Reclaimed Articles" where Masonna edits fragments of recordings taken from five different albums and pastes everything back together into a hyperviolent collage of screaming, harsh blats of feedback and pedal screech, and chunky rhythms tightly edited together and flying by at lightspeed into super ADD afflicted electronic noisecore destruction. The second track, "Acid Sky", is almost half an hour of ego-destroying psychedelic white noise sculpted into a crushing, ever-shifting wall of crushing hiss and distortion, and it's an intensely suffocating experience up there with Merzbow's Venereology and Stalagggh's blacknoise experiments.


MASONNA   Recycled Music   CASSETTE   (RRRecords)    4.98



Here is the 1999 contribution from Japanese noise legend Masonna to RRR's infamous Recycled Music Series cassette series, this one possessing some of his sickest throat exorcisms yet. If you're not yet familiar with Masonna's M.O., Maso Yamazaki runs his voice as source material through a bank of processors and effects, culminating in an extreme blast of psychedelic death distortion that's at least as immolating as the heaviest, most acidic Merzbow/Incapacitants jams. This near-half hour tape condenses brutal deathmetal utterances and Evil Dead howling into a single lacerating stream of shortwave jet-engine violence that blanks out your mind after about five minutes. Excellent!
This being a part of RRR's infamous Recycled Music series, Masonna's jam is dubbed over assorted commercial pre-recorded music cassettes that had been traded into the RRRecords shop in Lowell, MA. Each is one of a kind, as the nature of dubbed cassettes allow for glimmers of the original audio content to often bleed into the crushing noise assault that has been dubbed onto the tape. Comes in a handassembled case/sleeve with duct tape scrawled in black marker across the front.


MASONNA   Astro Harshtronism   8" VINYL   (Anti-Music Records)    8.98

Astro Harshtronism IS CURRENTLY UNAVAILABLE FOR ORDER

Masonna's Astro Harshtronism came out way back in 1996 on the short-lived label Anti-Music Records and has been out of print ever since, but I was stunned to recently discover a stash of this record had turned up in some cobwebbed corner of a warehouse of one of our suppliers. If you are a fan of extreme noise from Japan, you are probably a fan of Masonna, who's amplified vocal terror is one of that country's most well-known noise exports, and the two tracks featured on this 8" record are as brutal as his stuff gets.
Side one starts with a brief intro of mindless pop music before exploding into the brain-shredding vocal Armageddon of "Sonic", where Masonna's shrieking, gibbering vocals are amplified and processed through an armada of effects into an ultra-violent barrage of feedback and high-end skree. It's just a couple of minutes long, but this psychotic voice/feedback assault slices through your skull like a swarm of razors, and definitely ranks as Masonna at his most extreme and violent.
The flipside is "Astro Magic", which is basically a more psychedelic take on the blistering harsh tronix on the first side; here, those screeching vocals and wild feedback blasts are treated with all kinds of whooshing cosmic effects and synth noises, sending the abrasive electronic noise blasting through the cosmos, breaking away into brief sections of looping rhythmic sounds and clanking samples, then getting sucked back into a black hole at light speed...there aren't any liner notes or details to be fouind on this release, but after hearing the crazy spaced-out electronic noise on this side, and seeing that title, I have to wonder if Hiroshi Hasegawa (Astro/CCCC) wasn't involved with this recording somehow....
On orange marble vinyl.
Track Samples:
Sample : MASONNA-Astro Harshtronism
Sample : MASONNA-Astro Harshtronism



MASONNA   Inner Mind Mystique   CD   (Release)    9.98

Inner Mind Mystique IS CURRENTLY UNAVAILABLE FOR ORDER

One of the few Japanese noise albums to get a major release during the brief but exciting period in the mid-90’s when Relapse Records started signing bands like Masonna and Merzbow, Inner Mind Mystique is still one of the most extreme noise albums that the label ever released, a fucking punishing album that, like the sticker says on the front of the case, delivers "ultra barbaric Japanese Noise!". Originally released as a triple 7" set, Inner Mind Mystique was later issued on CD in 1996, and all of a sudden, a whole new audience of extreme music freaks was suddenly exposed to the brutal ear-scorching noise of Yamazaki Maso’s solo noise project. I remember just beginning to get into Japanese noise around this time, and when I hit play on Inner Mind, I was totally unprepared for the shrieking, howling metallic feedback holocaust that came blasting out of my speakers. Maso used a deceptively minimal set of tools to create this brutal sonic assault; it’s just his voice and a box of coins used to create the raw sounds, but his psychotic screaming is pumped through a thunderous Marshall stack at top volume, the shrieking and screaming and unintelligible gibberish distorted to the point where it becomes a blur of pure high end noise, and the tin box of coins he uses to create the rest of this unholy din is outfitted with contact mics that are connected to a shitload of effects pedals, creating a furiously violent assault of churning high-end frequencies and white-noise distortion. There's seven tracks of this extreme noise attack on Inner Mind Mystique, and just the first track would be enough to clear a room. But for those that have the fortitude to take it, Masonna's shrieking nuclear noise has an intense psychedelic quality as his spastic feedback-shock-attacks swirl out of your speakers, and builds into the same sort of mind-bending effect that Hanatarash and Incapacitants are capable of creating. Still, this is some of the most extreme noise ever, and definitely not for wimps. The Cd version also features an additional fifteen minute bonus track that wasn’t included in the vinyl set.
Track Samples:
Sample : MASONNA-Inner Mind Mystique
Sample : MASONNA-Inner Mind Mystique



MELT BANANA   Melt Banana Lite Live: ver.0.0   CD   (A-Zap)    13.98



So, Melt Banana, what are you going to do now that you've released two of your catchiest, most accessible albums of hyper charged futuristic grindpop (Cell-Scape and Bambi's Dilemma), have gotten props on Cartoon Network's Adult Swim and recorded a song for the cartoon Perfect Hair Forever, and were recently chosen as the support on tours with both Tool and Lou Reed? What? Release the most out-there album in your career, with what is without question the noisiest music you guys have ever recorded? What the hell - Melt Banana has always taken a kind of perverse glee in subverting expectations for their music, just look at how poppy the band's music became earlier this decade after releasing a string of albums of low-fi skronk thrash on Skin Graft. The Japanese math/grind/pop legends have re-emerged after almost two years of studio silence with this new full length called Lite Live, and if you remember the tracks on the last album that were really heavy on the Theremin and dug those, then you're going to love this disc. All twelve of the songs were recorded live in Japan earlier in 2009, and feature a modified lineup of the band that has Agata removing his guitar completely and replacing it with pure electronic chaos, using a mixture of synths and Theremin to blast out violent clusters of starship laser sounds, swirling cosmic ambience, and crazy bleeping squelchy computer meltdown noise. Most of the songs on the disc had previously appeared on the Bambi's Dilemma album, but they are almost unrecognizable here, the framework of pounding angular bass and pummeling drums and Yasuko's chirpy vocals now wound around ultra chaotic noise and wildly oscillating waveforms. It's unmistakably Melt Banana, but their sound has gone totally apeshit, like hearing them jam with Bastard Noise with the freak-noise boxes cranked to the max. And a couple of tracks like "In Store" and "Humming Jackalope" have furious, seemingly improvisational drumming that goes so ballistic, crashing into massive washes of cosmic synth noise and crushing electronics, that it sounds almost like Japanese space-noise masters C.C.C.C. backed by the rhythm section from Last Exit. It's one of the craziest Melt Banana performances I've heard, definitely a far-out and abstract version of the band, but it fucking rules, too. And you'd hardly guess that this is a live set, the sound is HUGE, the drums are MASSIVE, it sounds to me like a studio album, certainly has a super thick studio-grade production. This electronics-centric version of their music is apparently a new thing that they've been performing with live recently, and their US tour going on right now (Nov '09) has them performing a big chunk of their material in this manner. Might not be the best place for newbie’s to Melt Banana to start off with, but longtime fans of the band are definitely going to want to hear this. Packaged in a six-panel digipack.
Track Samples:
Sample : MELT BANANA-Melt Banana Lite Live: ver.0.0
Sample : MELT BANANA-Melt Banana Lite Live: ver.0.0
Sample : MELT BANANA-Melt Banana Lite Live: ver.0.0



MERZBANNON   self-titled   LP   (Tizona)    15.98

self-titled IS CURRENTLY UNAVAILABLE FOR ORDER

Part remix project, part collaboration, this project teams up the Japanese noise god Merzbow with the midwestern post-hardcore band Racebannon and has Masami Akita taking their album Satan's Kicking yr Dick In and reshapes it into a massive skull-destroying noise rock beast. This really isn't at all what I was expecting from this record...the first side features Merzbow taking a propulsive drum loop from the album and running it through a gauntlet of distortion, and then proceeds to pile miles of spacey effects, elongated guitar riffs, vicious oscillating electronics, caustic noise, feedback and other sounds on top, turning the snippet of the song into a stretched out nuclear strength krautrock jam, the drums plodding forward infinitely beneath the hellstorm of chaotic noise and making the track amazingly hypnotic and trance inducing in spite of how crushingly loud and noisy it is. At the end, the drums are pushed way up in the mix and struggle to overtake over the ocean of noise while more squiggly electronics are dumped over the recording, and then it finally skids to a halt. Whoa! Pretty intense.
The flipside uses the same source material, but in this case the result is WAY more chaotic and frenzied, a backwards drum loop and howling vocals are torn apart and splattered with distorted riffing and more caustic noise, still kinda hypnotic and propulsive with that clanking beat off in the background, but htere is so much guitar noise and mangled electronics going on here that it's way more chaotic and terrifying. The barely recognizeable riffs are chopped up and looped, as are chunks of vocals and bass, then rearranged into horrific, vaguely grooving tangles of acidic high end skree. That side is really vicious, and puts even the noise-wrecked sludge of Grave In The Sky to shame.
NOTE: the record is technically supposed to be played at 45rpm, but the label also states that they are totally cool if you want to listen to it at 33 rpm, which I personally highly recommend. These two tracks are pretty fucking fierce when played at their proper speed, but if you downshift to 33 rpm and listen to them (especially the first side), oh man, is this heavy...at that speed, the tracks turn into monstrously heavy distorted dirges, like Grave In The Sky time a thousand, a massive churning growling noise-blasted sludgescape that threatened to cave my ribcage in the first time I listened to it at top volume. Nice!
Released in a limited editoon (of what, I dunno, the label website is tragically out of date) on clear vinyl, and includes an MP3 download code.


MERZBOW   Bariken   CD   (Blossoming Noise)    11.98

Bariken IS CURRENTLY UNAVAILABLE FOR ORDER

Now this is how I like my Merzbow. Another release that seems to be influenced by Masami Akita's animal rights activism (it's sponsored by PETA and is named after his Taiwanese duck, the disc immediately opens with an ultra-crushing distorted raga-pulse that sounds like the first few seconds of a Sunn O))) powerchord trapped in an eternal loop. Bariken starts fierce and stays seriously heavy, working it's way through five epic tracks that climb up to 30 minutes in length. Much of Bariken is similiar to what Akita-san was doing on his seminal Pulse Demon album, but here his harsh noise is way heavier, anchored by minimalist, heavily distorted "riffs" that could easily pass for the kind of ambient black/sludge metal floating around currently (Nordvargr, Noisegate, etc), kinda like an extension of his collaboration with Sunn O))) on their Flight Of The Behemoth album. Take "Minka Part 2", for example: the two-note dirge riff that surges through the dense electronic storm on that track has got to be one of the heaviest things Merzbow has ever done. He follows that with "Minka Part 3", which is more of a percussion/harsh noise collage, but then it's back to the super distorted dirge with the 30 minute closing track "Bariken (reprise - Mother Of Mirrors)", which sounds like a blackened sludge metal band stuck in a perpetual 5-second loop and overloaded with som much distortion that they've become a monstrous smear of indistinct crunch.
The CD is limited to 1000 copies and is close to going out of print, and is HIGHLY recommended to anyone into the marriage of crushing blownout/distorted heaviness and extreme electronic noise.


MERZBOW   Anicca   CD   (Cold Spring)    11.98



On April 20th, 2008, Masami Akita went into the Tin Pan Alley Studio in London, a legendary recording studio that has had the likes of Small Faces, The Rolling Stones, and Stevie Wonder pass through its halls, and proceeded to construct an hour long tryptych of extreme, ultra-crunchy free-noise that must have made the attending engineers shit their pants on the spot. This recording came together the day after Merzbow performed a massive show at the University of London Union with death ambient mages Satori and UK power electronics legend Sutcliffe Jugend, and I'm guessing that Masami Akita was still vibrating fully with the visceral energies from the night before, 'cuz this album is one of the hardest Merz discs of his recent output, a high-powered blast of cathartic, psychedelic skree that opens with Masami behind a drumkit. Yeah, he's not so well known for his drumming, but Anicca is one of the handful of Merzbow discs that showcases Masami's love of boisterous, skullcaving drumming, which he delivers with aplomb on the first track, "Anicca Part 1". It's twenty minutes of freestyle drumming bashing and clattering and rolling underneath prerecorded layers of harsh, uber-abrasive electronic noise, loud and energetic and most definitely noisy. The piece sounds like an over-the-top noisecore jam, stretched out to ridiculously epic length, or the sound of a free-jazz drummer going apeshit over a violent, unending storm of harsh, manipulated high-end distortion. The combination of improvised drums and corrosive noise creates some really cool textural activity that seperates this piece from the usual Merz-brutality, but it ain't soothing, either; this jam goes straight into the ear-wrecking realms of corruscating chaos inhabited by the most ferocious free-jazz and psych-noise outfits, bands like Aufgehoben, Heavy Winged, Borbetomagus, Skullflower and Hijokaidan.
There's another instrument that Masami is playing on this album that is pictured in the booklet for Anicca, but it's some nameless monstrosity that he built himself, a metal plate with metal springs and pickups that looks pretty fucking menacing, which he apparently weilds like some kind of stunted guitar, a guitar strap slung over his shoulder while he wrenches all kinds of vicious distortion and frequency fuckery out of it.
The following two tracks were both recorded later in Tokyo after the UK performances. On the second track, the drums disappear and it's straight into more "traditional" Merz territory, a monolithic 22 minute assault of violent, swarming electronic distortion swirling with shards of brutal high-end feedback and cosmic oscillating tones, creating a vast whirlpool of caustic aural grit and buzz. Like with most Merzbow pieces of this nature, the sound becomes mesmerizing after awhile, once you allow the violent fluctuations to flow over you, creating a crushing drone-like effect.
"Anicca Part 3" is less of a total holocaust, but this last track is still harsh stuff; when the piece begins, Masami lays down several layers of throbbing high-end feedback and lower frequency drone, and then kicks in a few minutes in to it with strafing phaser blasts and brainmelting oscillator sweeps that streak over a surface that now becomes a churning, white-hot industrial scrapescape, harsh mechanical loops and clanking machine rhythms taking shape deep below, the track slowly morphing, becoming more and more rhythmic until towards the end when much of the extraneous noise falls away and we're left with a percussive, pulverizing death-industrial grind, super rhythmic and heavy as hell, looped machine noise and monstrous gears grinding over booming, buried percussion. Man, these last few minutes of "Anicca Part Three" are some of the heaviest Merzbow ever.
The rhythmic elements that dominate so much of this album make this something a little different for hardcore Merz fans to lock their jaws around, and if you were into his other more percussive-leaning albums like Merzbeat and Senmaida, you should definitely check this one out. Released by the always-stellar Cold Spring label, with cool photography in the layout by Jenny Akita.
Track Samples:
Sample : MERZBOW-Anicca
Sample : MERZBOW-Anicca



MERZBOW   Puroland   CD   (Ohm)    13.98



This has been sold out for awhile, finally got some back in on the shelf. We half-assed the writeup on this excellent album from MERZBOW when we had it in stock before, so here's our new assesment. This relatively recent (2001) full length from the ever-prolific Masami Akita comes from his "laptop era", and sees him mutating rock riffs and songs into storms of repetitious melody and loops of swarming locust electronics. Definitely one of Merzbow's more listenable and musical releases. Melancholy guitar rings out and loops into eternity, accompanied by a heavy drone and processed guitar noise. Trancey bass thuds cycle ad infinitely. "Celebration Day" is inspired by the Led Zeppelin song of the same name (from their album 3), and "Pleasant Valley Monday" is apparently inspired by the song "Pleasant Valley Sunday" from The Monkees (from their album "Pisces, Aquarius, Capricorn & Jones LTD"). "War Frog" leans towards the noisy whiteouts Merzbow is known for, but is anchored by a springy bass loop. Primarily a fusion of hypnotic loops, cascading patterns, and digital noise, Puroland (named after the Sanrio amusement park in the suburbs of Tokyo that is dedicated to Hello Kitty ) is all about rhythmic, surging blasts of localized power, much like old Skullflower, Total or Holland Skin Tunnel, and much more rooted in the bludgeoning trance guitar noise of those outfits than the apocalypse electronics of Japanese harsh noise. Definitely our favorite album from Merzbow's laptop era. Packaged in a beautiful digipack covered with butterflys and frogs that was designed by Lasse Marhaug from Jazkamer.Track Samples:
Sample : MERZBOW-Puroland
Sample : MERZBOW-Puroland



MERZBOW   Turmeric   4 x CD   (Blossoming Noise)    29.98



How much Merzbow can you take? If you're into his harsher, psychedelic electro-blasts, then you'll probably want to devour all of the devastating noise that's collected on this extensive four disc set. Released in a limited edition of nine hundred copies and packaged inside of a multi-disc case in a black and white slipcase with metallic silver embossing, Tumeric is almost entirely within the harsh noise parameters of Merzbow's oeuvre, and it's got this malevolent vibe thanks to the titles of each multi-part track ("Black Flesh", "Black Bone", "Deaf Composition", "Black Blood"). All of the discs feature lengthy blasts of noise generated by sludgy low-end distortion, violent feedback, throbbing bass, and samples of chickens that have been processed into hellish screams and squawks, something that's appeared on several of his recent releases. The brooding howling electronics are often anchored to a percussive element; you won't find the full-on techno like throb that I've heard on some of his recent stuff, but I'm hearing looped krautrock-ish percussive grooves, pounding low-end rhythmic throb, and grinding industrial rhythms that give this some serious propulsion. Noise-wise, it's total chaos as those warped and distorted recordings of chickens are chopped up and layered with harsh junk noise action, pulsing electronics and crazed swooping oscillators, the sound sometimes shifting in controlled super-distorted drones and grinding synth buzz, but mostly its surges with blast furnace power, squealing squonking clanking metallic skree and 8-bit laser blasts and massive solar storms of roaring electronic rumble sweeping out of your speakers at full force.
It's all punishing enough for the hardcore Merzbow-fanatic, but some parts stand out: the Black Flesh disc for instance has some of the most rhythmic material in the set, mashing together brutal metal scrape, junk noise, and static drones that evolve into a brutal throb that turns into something like a stripped down gabber track layered with distorted sine waves, oscillators and feedback, and elsewhere, we're assaulted by bruising industrial loops and trance-inducing mechanical pound that grind away insistently beneath the dense layers of electronic noise.
If there's any respite, it's on the Deaf Compositions disc, which features two half-hour tracks that are both muffled masses of murky metal texture, fluttering bass, and chirping insectile oscillations that are sort of like a calmer, spacier Bastard Noise.
A seriously skull-melting collection from the Japanese noise god; if you've been hungering for the blazing power of his ultra-violent, ultra-extreme early 90's work, this boxset will definitely deliver.
Track Samples:
Sample : MERZBOW-Turmeric
Sample : MERZBOW-Turmeric



MERZBOW   Recycled Music   CASSETTE   (RRRecords)    4.50



Although I'm just now getting my hands on a couple copies of this, Merzbow's entry into the infamous Recycled Music series of cassettes on RRR is from way back, 1992 to be exact, and captures the master in his pre-digital days as he unfurls a collage of chopped up Japanese torch songs, loops of minimal static and overmodulated tones jettisoned from assorted analogue FX that send violent radar pings and sawtoothed sinewaves racing around the room. The volume levels on this recording are pretty schizo too, starting off pretty quiet and jumping around from loud blasts of rhythmic distortion to distant machine rumbles that are barely audible. I'm not used to hearing this sort of cut-up action from Akita-san, it sounds more like something from Violent Onsen Geisha's Midnight Gambler album than the type of hyper brutal noise assaults of Merzbow's early 90's output that I'm most familiar with. It sounds really cool and surreal though.
Merzbow's Recycled Music cassette is part of the series of the same name, as like all of the tapes in that collection is dubbed over assorted commercial pre-recorded music cassettes that had been traded into the RRRecords shop. Each of these is one of a kind, as the nature of dubbed cassettes frequently allows for glimmers of the original audio content to bleed into the artist's recording that has been dubbed onto the tape. Comes in a handassembled case/sleeve with duct tape scrawled in black marker across the front.


MERZBOW   Collapse 12 Floors   CD   (Ohm)    15.98

Collapse 12 Floors IS CURRENTLY UNAVAILABLE FOR ORDER

Released in 2000 on Norway's Ohm Records the same year that the legendary "Merzbox" was unleashed on Japanoise and underground electronic cultists worldwide, this hard to find album from Masami Akita seemed to have become lost in the shuffle. That's a crime, as this features some of MERZBOW's first forays into digital, and it's exciting, earbending stuff. Constructed using a Mac along with theremin and "noise electronics", Collapse 12 Floors is comparatively laid back, with it's glitchy bursts of energy and liquid fractal tendrils whipping out from slabs of quasi-techno powernoise rhythms and warp speed cassette garble. Frozen ancient jazz murmurs are blasted out of a wah-wah cannon straight into the sun. There are some brutally loud and abrasive moments on here for sure, but compared to most of MERZBOW's other turn-of-the-decade work, these three tracks of computer based sound manipulation are more psychedelic and fluid. The CD jewel case itself is assembled nicely,too, with a weird, eyecatching red/green color scheme for the insert and disc tray.


MERZBOW   Music For Bondage Performance   CD   (Extreme)    19.98

Music For Bondage Performance IS CURRENTLY UNAVAILABLE FOR ORDER

One of the calmer, more meditative entries into the formidible Merzbow catalog, 1991's Music For Bondage Performance was the first in a series of recordings that featured material created by Merzbow's Masami Akita specifically for video sessions for a group of extreme fetishists who called themselves Right Brain, which explored the extreme realms of hardcore S&M, rope bondage, rubber and gas mask fetishism, etc.; heavy stuff, and the liner notes written by Masami Akita further illustrate the longstanding connection his musical work has had with extreme sexuality and bondage art. The recordings themselves are almost ritualistic in nature, pools of subdued black ambience floating over metallic surfaces, the ringing of prayer bowls and gongs whisper through empty chambers, crushing industrial rhythms throbbing far off in the distance, haunted drones and mesmeric loops drifting softly - it's all very evocative and forbidding sounding, mystical even, giving the acts of bondage picture tastefully in the extensive booklet that comes with this disc an austere, near-religious air. This is also one of the most "ambient" recordings I've heard from the master, yet it's dark weight and stygian hues put this on par with the finiest in floating darkness from Lustmord, Yen Pox, SPK, and Maeror Tri. Comes with a 16-page booklet with extensive images, photographs, liner notes and more.


MERZBOW   Animal Magnetism   CD   (Alien8)    11.98



If you wrote off Merzbow post-Y2K for not returning to the blistering nuclear noise of seminal early 90's releases like Pulse Demon and Venereology, 2003's Animal Magnatism was the album you need to hear to restore your faith in Masami Akita's ability to scorch the earth with furious high-volume distortion. Knowing that Masami Akita is an outspoken animal rights activist and the loving caretaker of a flock of pet chickens, it's not surprising to see a photo of his birds adorning the front cover for this cd jacket. What was a shock when I first heard this album was that he actually used recordings of his chickens as part of the source material for Animal Magnetism's noisecapes. If anyone else came up with the idea of combining the sounds of clucking chickens withn harsh noise, it would turn out painfully stupid, but on the opening title track, Merzbow does just that and creates a hellish, flesh-peeling assault lashed with distorted guitar loops and deep menacing throb that sounds anything but silly. It's pro-animal rights protest noise, delivered at brain-melting frequencies, and is as violent as any of the master's Relapse-era works. There are mega-distorted guitars on that first track that are so overmodulated and crushing that it sounds like someone was weilding a fucking chainsaw in the studio. The rest of the album is equally brutal, each long track piling on stacks of pulsing psychedelic noise, violently whipsawing oscillator tones, distant booming percussive wound in hypnotic loops, massive sub-bass blasts, and every few minutes, you'll hear those goddam chickens screeching their excoriating, spite-filled squawks, or the distorted bleating of a goat like some fucking acid nightmare at a factory farm. The only break you receive from the hellish miasma of electronic distortion is at the final track, "Pier 39", a more ambient piece of buzzing drones, minimal feedback, snatches of acoustic folk (!), pulsing synths and crackling electrical atmosphere. One of Merzbow's heaviest, and one of the few albums of his from this decade to prominently feature brutal distorted guitars. Comes in a full color gatefold jacket with a Japanese-style obi card.
Track Samples:
Sample : MERZBOW-Animal Magnetism
Sample : MERZBOW-Animal Magnetism



MERZBOW   Tauromachine   CD   (Release)    14.98

Tauromachine IS CURRENTLY UNAVAILABLE FOR ORDER










Track Samples:
Sample : MERZBOW-Tauromachine
Sample : MERZBOW-Tauromachine



MERZBOW   F.I.D.   2 x CD   (Fourth Dimension)    17.98

F.I.D. IS CURRENTLY UNAVAILABLE FOR ORDER

A crushing double-disc set from Masami Akita that was released through the UK label Fourth Dimension, and which ties in with Merzbow's fervent animal rights ideology. The title itself apparently stands for Fur Is Dead, and portions of the proceeds from the release are being donated to PETA. With all of the photographs of foxes, racoons, fluffy bunny rabbits, and chinchillas that adorn the case to F.I.D., you'd hardly expect this to be as savage as it is. Each disc features three tracks that were recorded over the winter of 2005-2006, and the work here is fierce, a perfect sonic match for his condemnation of animal cruelty and the horrors of fur harvesting (which you can read about in the liner notes printed in the booklet for F.I.D.. Each track is a furious blast of analogue feedback sculpted into skull shattering drones and grinding rhythmic loops with eerie melodic figures forming out of the fire. It's pretty much a return to the style of Merzbow's harsh, psychedelic early 90's releases, which is pretty much my favorite era of Merzbow work. Savage electronic violence is spewed from effects pedals being pushed to their limits, splattered with cosmic space gunk and glitchy pulses. There are a couple of spots where Masami Akita almost heads off into brutal gabber territory, like on "Seitaka" where it sounds like he started to mash together a Nasenbluten loop with some Venereology style power skree...and that track is a crusher, too. And likewise, "Kongara" engages in some heavy rhythm action, but this one is a crushing techno-industrial loop grinding endlessly through a storm of sheet metal scrape and violent feedback. "Forest of Kelp" forms out of a queasy electronic buzzdrone that begins to birth liquid oscillator pulses, morphs into chirping feedback and locust drones that take on the appearance of some hellish synthetic rainforest, and then all of a sudden Masami seems to whip out something akin to a damaged, acid-glazed satanic Hendrix solo under attack by blasts of electronic skree.
Definitely for anyone jonesing for some old school, harsh and heavy analogue Merzbow.


MERZBOW   Senmaida   CD   (Blossoming Noise)    10.98



Consisting of three lengthy numbered "tracts" of pulsating rhythmic noise, Senmaida surprised us with it's sheer amount of "groove", reminiscent of Masami Akita's Merzbeat album. Senmaida is more of a brutal beast though, beginning with Val Denham's album cover art depicting a huge cartoon bunny performing sadistic medical tests on a suffering human subject. Merzbow's passionate support for animal-rights serves as a muse for this album, but the focus here is, of course, on crushing noise.
Things start off with a grinding drum machine breakbeat that underscores Akita-sans seething feedback and distorted electronic hiss, giving his molten electronic noise a brutal counterpoint and turning the 20 minute track into a crushing techno-industrial jam splattered with fucked up vocals jammed through a wall of FX and alien percussion sounds. The rest of Senmaida explores this juxtaposition of blasts of brutal harsh noise and psychedelic insectoid feedback chop with those awesome relentlessly looped breakbeats, as well as chaotic pinball machine grooves, blunt Neubauten style sheet metal bash, and some crazed, abstracted gabba rhythms that spin wildly out of control. Towards the end, Masami Akita begins to incorporate livestock sounds to chilling effect.
Hypnotically heavy noise groove that completely engulfs you; pretty amazing. Comes in a full color digipack.
Track Samples:
Sample : MERZBOW-Senmaida
Sample : MERZBOW-Senmaida



MERZBOW   Peace For Animals   CD   (Quasi Pop)    12.98

Peace For Animals IS CURRENTLY UNAVAILABLE FOR ORDER

We picked up the last ten copies that were available of this now out-of-print limited-edition Merzbow cd, so once we sell out of these, that's it. Like many of Merzbow's recent releases, this disc is heavilly influenced by Masami Akita's animal rights philosophy, and on Peace For Animals, he's not subtle about it at all. The back of the digipack has the legend "Don't Send Animals To War" beneath a photogragh of chickens crowded into a small bamboo cage, and the thirty-three minute album closer is titled "No More Exploitation Of Animals". Sonically, it's locked into super aggressive Merzbow mode, the three long peices loaded with crackling feedback and strafing laserblasts, densely layered slabs of crumbliong distortion, awesome analogue synth blasts, bits of fractured, destroyed musical samples and looped wails, occasional eruptions of grinding industrial rhythm, manipulated animal sounds, shrieking radio interference, and atonal guitar clatter are all melted together into massive hellstorms of aggro electronics. There are a couple of spots where it sounds like Masami Akita is dragging out his drumkit again and laying down some improvised percussive bash, but it's mostly drowned out by the delirium of feedback and warped samples that are smeared across the entire album. The appropriately named opening track "Raging Chaos" starts this off with overmodulated basslines and harsh oscillating clatter, then injects a crushing industrial pulse and drops in some ultra crushing guitar. Things quiet down for most of the following track "september"; the noise elements are dispersed and spaced out, creating a smoldering effect that underscores an eleven minute exploration of scraped guitar textures, insectile vocal processing, traditional Japanese chanting that is processed into alien screeches, and huge blats of rumbling drone. That last track though is the album's greatest moment, total Merzbow-terror taken to the extreme and laden with crushing rhythmic elements, holocaustal blasts of cosmic synth destruction that rivals that of C.C.C.C., heavy metallic clang, weird sci-fi synth effects, samples of what might be melted jazz records, photon blasts, and even some eerie ditorted choir-like ambience that appears briefly among the waves of churning brutal noise. Awesome.
Comes in a four-panel full color digipack, released on the Ukrainian noise label Quasi Pop, and again - OUT OF PRINT! Last copies!
Track Samples:
Sample : MERZBOW-Peace For Animals
Sample : MERZBOW-Peace For Animals
Sample : MERZBOW-Peace For Animals



MERZBOW   Dead Zone   CD   (Quasi Pop)    14.98












Track Samples:
Sample : MERZBOW-Dead Zone
Sample : MERZBOW-Dead Zone



MERZBOW   Live Magnetism   CD   (Caminante Recordings)    12.99

Live Magnetism IS CURRENTLY UNAVAILABLE FOR ORDER








Track Samples:
Sample : MERZBOW-Live Magnetism
Sample : MERZBOW-Live Magnetism
Sample : MERZBOW-Live Magnetism



MERZBOW   Age Of 369/ Chant 2   2 x CD   (Extreme)    18.99

Age Of 369/ Chant 2 IS CURRENTLY UNAVAILABLE FOR ORDER

Just found a couple copies of this long out of print double disc reissue from the Japanese noise master - we've got less than five of these, so move quick if you want to pick this up!
Merzbow's Age Of 369 / Chant 2 double-disc set has been a tough one to find since it's release in 1996, as Extreme (the Australian label that put this out) always had marginal distribution here in the U.S.; we've got this in stock now though along with Merzbow's classic black-drone album Music For Bondage Performance, and the two CDs included here capture some of Masami Akita's earliest noise blasts originally released on long out-of-print cassettes circa 1984. Packaged in a beautiful full-color case filled with sumptuous collages of Japanese erotic photography and high contrast drawings that come from Merzbow's mail art of the period, this set begins to drill through yer skull from the 1st track with heavy patchworks of crushing machine drones, complex loops constructed out of found sounds, howling tortured vocals, mutated bits of pop music, and feedback, and painted over backgrounds of grinding white noise. These recordings show a more meditative Merzbow, with an emphasis on repetitious sound formed by the extensive tape loops that he manipulated by hand and a collage style influenced by Masami Akita's contact with Italian inddustrialist Maurizio Bianchi, but it's all still pretty crushing. Especially when you throw the Chant 2 disc on...these three tracks are brutal, rhythmic collage slabs of ring modulator whiplash and seething feedback, horror movie organs and contact mic squelch and bonecrushing industrial dirges. Probably ranks as some of the heaviest electronic music that 1984 ever saw. The Chant 2 disc also features "Itomakiei", a bonus track that originally appeared on the 1995 6x10=60 Vol. 1 compilation from Korm Plastics.


MERZBOW   Pornoise 1KG   5 x CASSETTE BOXSET   (RRRecords)    29.98

Pornoise 1KG IS CURRENTLY UNAVAILABLE FOR ORDER

An old school blast of Japanese noise from the master! A five-cassette boxset from Merzbow's early 80's analogue period, Pornoise 1KG was originally released by Masami Akita's own ZSF Produkt imprint, but was later reissued by RRR and Statutory Tapes in 1993. This reissue of the immense boxset features five cassettes in a large, white molded audiobook-style case, with hot pink covers depicting illustrations of ultra-graphic sex acts (graphic enough that we require an age statement from you in you are ordering this item - it is only for sale to customers over the age of 18!) from artist Trevor Brown, who has designed artwork and sleeves for various other Merzbow releases and who recently designed an album sleeve for Venetian Snares. On the interior of the case, an insert sheet is glued to the inside of the case cover. Pornoise 1KG contains the complete volumes of the Pornoise body of work, three of which appeared on the legendary 50-CD Merzbox set, but this boxset is the only format in which all of the volumes are available together.
Each cassette contains somewhere in the vicinity of an hour's worth of material, and these are some of the heaviest Merzbow recordings that I've ever heard. Distorted, brutally loud tape loops are woven into crushing industrial rhythms, over which Merzbow piles on violent blasts of synth noise, deconstructed film samples, demolished fragments of jazz and rock that are twisted into heavy looping jams, slabs of corrosive distorted noise, looped screams and disembodied dialogue, and swooping sci-fi noise that reminds me of a terminally blown out Pulse Emitter. What makes these recordings so crushing is the omnipresent rhythms, those huge relentless loops surging up through the noise collages and turning each piece into a horrific machine dirge. Awesome stuff that serious enthusiasts of Merzbow's early material (and Japanese noise in general) really need to experience. Being from his early 80's period, there's the whole porn/extreme sex angle to his work on these recordings as well, from the title of the set to the track titles like 'Penis Art Is Microphone', 'Loop Fuck/Obituary', and 'Defilement Of His Nubile Young Wife'. It's a truly extreme set of industrial/noise compositions, and at over five hours long in total, an epic noise experience.
Again, due to the graphic artwork on this boxset, this is only available to adults over the age of 18 years old, and you must include a statement stating to us that you are over 18 with your payment (you can send this in the "Notes" section of our shopping cart when you complete your order.)


MERZBOW   Batztoutai With Material Gadgets: De-composed Work   2 x CD   (RRRecords)    10.98

Batztoutai With Material Gadgets: De-composed Work IS CURRENTLY UNAVAILABLE FOR ORDER

Classic late 80's works from Merzbow! New packaging in paper sleeve with xerox cover. Sub-titled: De-Composed Works 1985-86. Disk 1 is a remix of the long out of print RRR double LP (with this new retrospective note: "Fake electro acoustic music dedicated to GRM/INA, Wergo, DG, Phillips & Erato recording artists"). Disk 2 is called "Loop Panic Limited," and is a recording of loud/dense cut ups from various records; recorded 1985-86. One of the classic Merzbow recordings. The first disc is a reissue of arguably one of the best merzbow records ever, as released in 1986 on rrr.Looped up noise assaults, and brain shredding electro acoustic works. The legendary double disc of early-style Merzbow material, probably one of the best of the entire Akita output in this style. Early-style meaning that it's not full-blast walls of extreme noise. There are parts like that but rather it is an altogether minimal placement of sounds and patterns and pieces that changes every few minutes, sparse, varied and memorable. Wanging metal strikes, shimmering radio frequencies, rumbles and screams and drilling and radio bytes. This is highly recommended to the noise listener who only knows the excruciating material or the novice listener unaware of Merzbow's versatility within his own discipline. This is CRUCIAL Merzbow!!!


MERZBOW   Frog   2 x CD   (Misanthropic Agenda)    14.98

Frog IS CURRENTLY UNAVAILABLE FOR ORDER

Opening with the rumbly croak of a single frog, Masami Akita's epic Frog morphs into a series of ultra grooving loops of grinding distortion that borders on crushing Industrial, reminding me alot of the Batztoutai album but much heavier, thick crunchy maelstroms of digital distortion destruction, pummeling white noise, and buzzing metallic insect chirps swirling together with processed recordings of frog croaks. It's both brutally heavy and intensely hypnotic, with the noise loops cascading over each other and subtly evolving and changing. This double CD version of Frog contains the entire original LP, as well as a bonus disc loaded with 58 minutes of additional material, including a remix and enhanced CD-ROM video and screensaver content. Nicely packaged in a gatefold double-disc digipack with colorful frog images and a rad spot-varnish symbol designed by Akita. A killer digital release from Merzbow! Note: for some reason, the digipack's obi strip was taped to the cover, so be careful when you remove it!


MERZBOW   Protean World   LP   (Noiseville)    19.98



A new vinyl-only release from the Japanese god of noise that's one of the heaviest things that I've heard from him in a long while! Released as part of the recent limited series of fan 12"s that Noiseville has been putting out, Protean World is tough stuff, with two sidelong tracks that were recorded in Tokyo in 2008; the material features Merzbow mastermind Masami Akita once again adding live drums to his noise assault, but where previous percussive-heavy albums worked with heavy loops or propulsive prog-rock drumming buried deep beneath the dense layers of harsh noise, Protean World has Masami going berserk, industrial strength free-jazz style for nearly forty minutes, blazing through a wall of screeching high end feedback, crushing sheet metal textures, and a holocaust of oscillator fuckery while blasting on his drumkit with a frenzy of powerful fills, blastbeats, and even some thrashy speed that comes from out of nowhere. The recording quality is thick and LOUD but also murky and messy, with little of the detail of some of his other recent releases. This is pure aggression, one of the heaviest and most violent Merz albums I've heard in years, and sounds like a turbo-cyclone version of the improv-drumming/noise blasts on Merzbow's Annicca album on Cold Spring. Side one of this LP is the most over-the-top, with the relentless full-force drumming and non-stop cymbal chaos emulating a ten-car pileup at the center of the junkmetal maelstrom; it's what I would imagine you'd get if you paired up Ronald Shannon Jackson (Last Exit, Albert Ayler Quintet) with Incapacitants and let 'em battle it out for twenty minutes. The flipside starts off even more turbocharged, Masami blasting and rolling ferociously beneath a storm of sputtering, screaming electronic noise, but then halfway through he starts to slip into a vague sort of groove, a violent pounding industrial krautrock throb that hammers its way through flurries of squawking samples and grimy amp buzz. By the end of the side, it almost starts to sound like one of the really noisy pieces from blackened French hypno-creeps Aluk Todolo, or maybe a more frenzied and unhinged Aufgehoben jam, a pounding skull-crushing rhythmic assault that never lets up, that just continues to pile more screeching oscillator sweeps and demonic distorted noise and feedback on top of the punishing drum assault. Definitely a contender for one of the heaviest and most ferocious Merzbow albums ever! The record is on black vinyl, and is limited to seven hundred copies.


MERZBOW   Microkosmos Volume I   LP   (Blossoming Noise)    16.98



Like the title promises, Microkosmos Volume I is the first in a planned series of limited-edition Lps on Blossoming Noise that are centered around a set of dada-style collage-art pieces that Merzbow's Masami Akita created in the early 80's. This initial offering, pressed on green vinyl and housed in an eye-popping full color jacket that features one of the aforementioned pieces of artwork, is another blast of rhythmic noise and improvised electronic freak-out in the vein of much of his recent output, and it's heavy stuff. Using only his most violent bag of electronic frequencies and some surprisingly funky drumming, Masami scorches both sides of this LP with some massive industrial breakbeat noise overload that ends up being one of my favorite releases of his in recent years...
The a-side gets things going with an eighteen minute untitled track that starts off with some slamming boom-bap overlaid with ear shredding feedback and high end carnage, swirling electronic grit raging over a looped breakbeat with some heavy cowbell (!) dropped in, sounding a whole heluva lot like some of the noisier Techno Animal stuff. The drum beats and patterns continuously change shape, the breakbeat expanding and turning into a wall of thunderous tribal fills; all while being encased in brutal feedback and distortion. Then, suddenly, the track explodes into a speedy, thrashing drumbeat as the electronic noise turns into whooshing laser-blasts and swirling corrosive distortion, ending in a massive free-noise maelstrom that's a little like hearing Lightning Bolt being totally consumed in a hurricane of harsh noise. On the other side, Masami gets even more frantic and chaotic with his brutal free-jazz percussion wipeouts, taking off into sudden explosions of blast beat drumming, emitting thick swathes of distorted hiss and amplifier rumble and bone-rattling blasts of bass-heavy rumble. Propulsive, pulverizing breakbeat-driven chaos...this is some of the most ferocious Merzbow I've heard in the past few years. Limited to five hundred copies.


MERZBOW   Aqua Necromancer   CD   (Alien8)    11.98

Aqua Necromancer IS CURRENTLY UNAVAILABLE FOR ORDER

1998's Aqua Necromancer has always been one of my favorite Merzbow albums. It's always been one of his most accessible albums, and when this first came out on Alien8, I'm pretty sure that this was one of those gateway discs that introduced a new legion of fans to Masami Akita's intense noise explorations. Up to this point, you'd never expect to hear Merzbow incorporate anything remotely "musical" into his blazing harsh noise constructs after such skull-crushing works like Venereology and Tauromachine, but in the late 90's Merzbow began to experiment with more rhythmic elements, documented on his initial releases for Alien8. Aqua Necromancer was touted as being Merzbow's tribute to 70's progressive rock, as unlikely as that sounded at the time, though I remember reading in interviews with Merzbow around that same time, Akita was pretty vocal in his appreciation for classic guitar rock and progressive rock. Certainly an intriguing prospect, but Aqua necromancer is still a far shot from anything that rock fans would probably recognize. These five lengthy tracks take segments of drums and bass guitar (and even some occasional electric guitar) from old albums from bands like Soft Machine and Italian progsters L’Orme and Premiata FOrneria Marconi and weave them into dense, hypnotic clusters of percussive clatter and pummel, and then proceeds to douse these frenetic rhythm pieces in his trademark psychedelic noise. Prog fans that are up to the challenge can try to pick out the individual samples that Merzbow has used here, but it'll be tough going as the drums and basslines are usually devoured in thick swathes of flanged skree and crushing effects. Compared to other rhythm-centric releases that Merzbow did around this period (Merzbeat and the jazz-influenced Doors Open At 8 A.M.), this tends more towards the brutal sonic overdrive of his early 90's material, but those complex drum loops and melodic elements (like when fragments of guitar surface, or a rubbery bassline from L'Orme snakes through the grinding analogue synth chaos) give this a repetitive krautrock quality that sometimes makes me think of what a Circle/Merzbow collaboration might sound like, especially on the burly motorik-driven cosmic blurt of "Contrapuntti Patto" and "Farsa del Buen Vivir". Recommended.
Track Samples:
Sample : MERZBOW-Aqua Necromancer
Sample : MERZBOW-Aqua Necromancer



MERZBOW   Takahe Collage   CD   (Handmade Birds)    12.98












Track Samples:
Sample : MERZBOW-Takahe Collage
Sample : MERZBOW-Takahe Collage



MERZBOW & WIESE, JOHN   Multiplication   CD   (Misanthropic Agenda)    9.98

Multiplication IS CURRENTLY UNAVAILABLE FOR ORDER

An old-style mail collaboration between two of the electronic noise scene's heaviest fists, Multiplication is the product of a back-and-forth assembly job by Japanese noise god Masami Akita (aka Merzbow) and Cali speedblaster John Wiese during the Spring of 2004. Not counting Wiese's contributions to two previously released Merzbow remix albums, this hour-long offensive is the pair's first collaboration, with six tracks of skull drilling fast paced distortion/glitch/cut-up violence of the most psychedelic/lobotomizing kind. The first five tracks here were produced by Wiese, while the final 27 minute epic title track was shaped by Merzbow. Each one is an intensely detailed maelstrom of exploding feedback squibs, whirring static drones, colliding sacs of gritty distortion, slow-churning whirlpools of squiggly electronic squeal and howling half-realized melodies screaming out of wild filter sweeps. Sitting back and listening to this, it's easy to forget that this is a collaboration at all, as I can hear all of the strongest elements of both artists recent work rising to the surface here. So, it's pretty seemless, and definitely enjoyable if you're a fan of either of these guys' work, particularly the hard crunch of Harshhead/Bazoutai-era Merzbow. This is the American version, in a full color jewel case.


MERZBOW / ACTUARY   Freak Hallucinations   LP   (Obfuscated Records)    14.99



Another split record from LA noisemakers Actuary, one in a long line of splits that have emerged over the past year. For the most part, they've all been great, at the very least prone to some spectacular aural brutality. This brand new one comes to us from Obfuscated and features the master of Japanese noise himself, Masami Akita, on the other side delivering one long track of electronic skullfuck.
For close to twenty minutes, Merbow's "Sugamo Flower Festival" seethes and boils like a vat of irradiated violin strings, a mewling, chirping mass of high-end bleeps and discordant bloops. It differs from a lot of the recent Merzbow stuff I've been listening to in that it doesn't incorporate drumming, but it's definitely on the harsher side of his current style of psychedelic electronics, a swirling toxic cloud of skree and drone and ecstatic junk-noise abandon. By the midway point, it starts to sound like a modern classical piece being regurgitated by a Skynet terminal, and it's music to my ears.
That's followed by Actuary who bring us three new ominously titled tracks ("Only Ghosts Hate New Things", "Inhuman Bondage", "Ritual Embrace") that still use a lot of repurposed samples, warping them and burying them in an abrasive electronic drug-haze. Evil black cinematic synths throb over weird time-stretched vocals and trippy effects, the first track taking shape as a kind of psychedelic 80's horror movie score, all gleaming murderous ambience and demonic utterances awash in metallic grit; those fucked-up vocal sounds come from Kevin Fetus (Fetus Eaters/Murder Construct) and Chris Dodge (Spazz/Bacteria Cult), who joined up with Actuary for this record. It goes on to monstrous dronescapes built from whirling feedback, bestial grunting and crushing machine-noise, into flurries of alien warning sirens and malfunctioning computer systems, creeping pulsating blackened industrial dirge, and finally immolating themselves in a whacked-out cosmic power electronics meltdown that summons up these bizarre images of Whitehouse being forcibly blasted out of an airlock into deep space...
Comes on smoke-grey vinyl.


MERZBOW + JAZZKAMMER   Live At Molde International Jazz Festival   CD   (Smalltown Supersound)    15.98



A live collaboration between Japan's Masami Akita and the guys in Jazzkammer recorded at a 2001 festival in Norway, Live... captures their full set of improvised noise sculpture, jazz-stained rhythmic chaos and hardcore distortion demolition and divides the performance into three long chapters; fans of the recent Merzbow material that has been focusing on rhythmic/percussive elements are going to want to get this, as it features plenty of looped drumming and chopped up percussion woven into the sprawling noise-blast that these artists construct, as well as some extreme metal sounds that are deconstructed and shot into the set that really set this disc on fire over the last fifteen minutes.
The first track begins with several minutes of a simple looped drumbeat that becomes surrounded with scraping noises and granular fuzz, the sound getting more acerbic as it progresses, the drumbeat building into a heartbeat-like pulse. After a few minutes, some sampled piano is scattered chaotically across the rhythmic throb, becoming tumbling clusters of atonal notes flowing over the free-jazz style percussion, the sound becoming more frenetic and messy while the original simple drum pattern continues to loop throughout the entire length of the piece, a cardiac pulse that anchors the musicians even as they blast off into some seriously violent bouts of random noise and clatter, and by the eight minute mark, it sounds like a propulsive free jazz drummer navigating through battlefields of processed samples, junk noise, and the sounds of multiple bass drums being tossed down a flight of stairs then looped over and over.
The noisescape on track two is more abstract, at least at the beginning; gusts of granular wind blow below distant high-pitched squealing tones that start to form into strange synth melodies, all warped and distressed, with lots of extreme oscillating sine waves and bleeping computer chaos and fractal noise appearing and coalescing into clouds of glitch and grind, backed by roaring synthesizers, a buzzing, screeching field of electronic noise possessed with looping off-kilter melodies.
Both of these tracks are impressive slabs of noise, but it's the last one that blew me away. The group continues to layer blown-out synth drones and waves of metallic distortion over oceanic surges of granular white noise, getting into seriously harsh territory. But then these blown-out chunks of processed death metal begin to appear, snarling beneath the electronic noise, along with warped, smears of decelerating blast beats and crushing riffage that are barely recognizable, chopped up into extreme abstract collages of shapeless blast. It almost sounds like a much more abstract and deconstructed Noism track, dissected death/grind samples strewn amongst warbling bass throb, looped rhythms, raging jets of muffled noise, backwards electronic squelch, and more of those looped drums.
Track Samples:
Sample : MERZBOW + JAZZKAMMER-Live At Molde International Jazz Festival
Sample : MERZBOW + JAZZKAMMER-Live At Molde International Jazz Festival



MERZBOW VS NORDVARGR   Partikel III   CD   (Cold Spring)    12.98



   The third in a long-running series of collaborations between Japanese noise legend Merzbow and dark ambient/electronic artist Nordvargr (also of Swedish black industrialists Mz.412, Toroidh, and Folkstorm), Partikel III delivers more of the sinister pulsating electronics that marked their previous offerings. This is the final chapter in the trilogy, a carefully composed assault of brutal electronic noise, minimal rhythmic elements and detailed dark ambient soundscapes that often turns into a trance-inducing barrage of sound. The first two tracks on Partikel III were composed by Nordvargr, the second set by Merzbow, with the other artist contributing additional material to each pair of tracks. The sound ranges from the weird skittering electronica of "Heterotic String Hybrid", where murky, almost breakbeat-like rhythms surface through the buzzing analogue drones that hint at the sort of minimal techno that Nordvargr experimented with in his Resignation recordings, then disappear into black holes of vintage synthesizer drift and malevolent, cackling electronics; that rhythmic backbone continues with "Lorentz Covariance", where frenzied tribal drums loop around pulsating, crackling electronic noise, adding new layers of computerized chaos and broken digital rhythm. The latter half of the album is a two-part piece titled "Submaton", split into two fifteen minute halves, each one a terrifying noisescape that melds air raid sirens and burbling black synthesizers with cascading high-end tones and waves of sustained feedback, strange wailing melodies taking shape in the chaos, a heavy malevolent vibe running through the grinding hypnotic loops and gurgling distorted waveforms. This stuff is sort of within the same realm as Prurient's more recent recordings, a fusion of harsh, hyper-complex electronica and severe power-electronics imbued with luminescent pulses of rhythmic black plasma.
    Comes in digipack packaging.
Track Samples:
Sample : MERZBOW VS NORDVARGR-Partikel III
Sample : MERZBOW VS NORDVARGR-Partikel III
Sample : MERZBOW VS NORDVARGR-Partikel III



MERZBOW with EMIL BEAULIEAU   Merzbow Loves Emil Beaulieau   CD   (RRRecords)    9.98

Merzbow Loves Emil Beaulieau IS CURRENTLY UNAVAILABLE FOR ORDER

Playful 1996 release chronicles a collaborative effort between Japanese electro hell visionary Merzbow and "Americas greatest living noise artist" Emil Beaulieau. Created from using two Beaulieau recordings as the source material (taken from the Merzbow/Beaulieau collaboration LP that was included in a RRR 5-LP boxset), Merzbow Loves Emil Beaulieau finds Merzbow's Masami Akita creating extreme analogue tension from extremely unpredictable volume bursts of nuclear distortion screech situated between moments of uneasy calm. A shitstorm of fiery feedback cannonblasts,ultra harsh musique-concrete tape noise, and sputtering chopper tronic war-whoops. Somehow, Merzbow takes Emil Beaulieau's sugar rush loop-noise and converts into something akin to getting skullfucked by a theremin on steroids, a contact-mic'd scrap metal headbanging Merzbow blowout. Fuckin' A. Released as part of the Pure series. Hand packaged in a silkcreened/xeroxed/junked black wallet sleeve.


MILLER, SCOTT + LEE CAMFIELD + MERZBOW   No Closure   CASSETTE   (Wands)    7.98



  On No Closure, former Sutekh Hexen members Scott Miller (also of Pro-Death, Cattle Decapitation and Al Qaeda) and Lee Camfield teamed up with Merzbow's Masami Akita for a surprisingly heavy full length album, the two twenty minute-plus tracks offering an interesting fusion of Masami Akita's glitch-infestations and Miller and Camfield's low-fi sludge metal, produced by having Akita manipulate and build upon the initial recordings of Miller and Camfield's monstrous blackened metal that they recorded in some dank basement somewhere in the bowels of San Francisco.
   When this started out, I had to double check to make sure I had put the right tape into my stereo. The first track "I" opens with a simple, almost jazzy figure, the bass slithering around dark, surfy guitar licks, the drums a distant ticktock pulse. And further off in the distance, concealed beneath layers of tape murk and room ambience, are seething indistinct tremolo riffs, a blur of black metallish buzz that grows more formless and amorphous as it goes on. This stuff is pretty far from what I was expecting, resembling some sort of Bohren-esque midnight creep at times, or something from one of Charlie Clouser's soundtrack pieces. After a couple of minutes, though, you can hear the harsh electronic elements creeping in, faint layers of crackling, glitchy noise that fall like volcanic grit across the band's mysterious twilight shuffle. Then it suddenly transforms into a whole 'nother beast, as the sound of those buzzing black metal style guitars come into focus, repeating a single, haunting melodic figure over and over while Merzbow's sputtering, bubbling electronics wash over the music, and fragments of charred psych-guitar shred come squirming out of the background. The music keeps mutating, changing every few minutes into varying patterns of minimal whirr and glitch, moving into strange mechanical noisescapes and clusters of eerie organ drone, becoming more and more abstracted and noisy as the piece progresses, until it finally disintegrates into a grim, gorgeous, wash of fluctuating blackened drift.
Similarly, the second side starts off with something much heavier than I was expecting, a murky low-fi doom metal riff crawling across sparse slow-motion drumming buried way down in the mix. This solemn, sorrowful doom is enshrouded in a fog of gritty granular electronic noise and harsh glitch, the drums sometimes drifting so far into the background that they become a faint monotonous thump. That eventually gives way to more angular heaviness, as furious roaring vocals begin to bleed in, an unintelligible bellow that is just as buried beneath all of the noise; the riffage gets more feedback-damaged, the music later dropping out into sparse pounding, clanking industrial dirges and pools of soft metallic whirr and drift that stretch out endlessly.
   Easily one of the heaviest efforts that Merzbow has ever been involved with, and certainly one of the most "metal", this tape comes highly recommended to fans of such noise-possessed sludge outfits as Wicked King Wicker, Valley of Fear and Welter In Thy Blood.
Track Samples:
Sample : MILLER, SCOTT + LEE CAMFIELD + MERZBOW-No Closure
Sample : MILLER, SCOTT + LEE CAMFIELD + MERZBOW-No Closure



MSBR   Destructive Locomotion   CD   (RRRecords)    9.98



A 2-track album from Japanese harsh noise legend MSBR, aka Koji Tano, who sadly passed away in 2005. Destructive Locomotion: Dedicated To Chizuo Matsumoto was released in 1995 as part of the PURE Series, and features two lengthy untitled tracks, each running 22-28 minutes long, respectively. Longtime fans of heavy Japanese electronics are probably well acquantied with M.S.B.R. (which stands for Molten Salt Breeder Reactor) as Tano was one of the more well-known and respected artists to emerge from the vibrant Tokyo noise scene of the 1990's, and he released an avalanche of limited edition cassettes, albums, compilation tracks and collaborations with The Haters, Richard Ramirez, Bastard Noise, Beequeen, and Small Cruel Party that pretty much all ruled. His brand of chaotic, heavy wall-noise is extremely detailed and exquisitely crafted, yet melts bones when experienced at appropriately high volume, which is exactly how you should consume Destructive Locomotion. Each of these tracks is a fiery, immolating blast of sputtering feedback roar, abrasive slices of percussive cut-up and churning, low-frequency crunch that, like all of the best wall-noise, becomes utterly hypnotic after a few minutes. Crucial crushing Japanese noise destruction, right up there with the heaviest stuff from Merzbow, Masonna, Pain Jerk, and Government Alpha. Comes in a jewel case with RRR's trademark damaged-xerox inserts and collage art.


NIKUDOREI   Chain Of Evil Dead   CD   (Dotsmark)    11.98



It's been over ten years since Nikudorei released their nuclear-noisecore opus Genital Torture, an album that has gone on to become a classic in the extreme noise/blurr/scumgrind underground and one of the biggest selling noisecore albums here at Crucial Blast. It says alot about our customers that we get so many orders for an album that has a cartoon picture of a cock being split in half on the cover and which features 99 tracks of facepeeling improvised noise, and we still get orders for that disc on a regular basis. I think that Nikudorei's appeal, at least for me, is in how the band effectively combines the absolute harshest extremes of Japanese noise with a furious grindcore-informed drum assault that often crosses over into violent free-jazz territory, like having Incapacitants, Painkiller, Anal Cunt, Borbetomagus and Scum-era Napalm Death mashed together into vicious blastnoise played at thermonuclear levels of distortion and chaos. When it comes to extreme music, it just doesn'y get much more extreme than Nikudorei.
Now Nikudorei are back, and from what I can tell the band still has the same lineup from when they recorded Genital Torture, though their approach and sound appears to have changed a bit. This disc came out recently on Dotsmark, a smaller Japanese label that specializes in extreme noise, and that's pretty fitting since this new Nikudorei stuff goes even deeper into pure noise territory than their last album. Chain Of Evil Dead essentially an EP with one long track that falls just under nineteen minutes, and has the trio of Okada , Hirakawa and American ex-pat Facialmess whipping up a violent no-fi cyclone of bizarre noise that starts out with a murky live recording that sounds like a dancehall 12" being spun in a club somewhere that goes on for a couple of minutes, then lurches into nauseating power electronics and high-pitched feedback with an avalanche of percussion crashing all around. The recording is super raw and blown out, and definitely sounds like this was recorded live somewhere. The remaining fifteen minutes or so are a holocaust of spastic formless noisecore, like Hanatarash, Masonna and The Gerogerigegege, a whirlwind of screaming and mangled electronic noise strewn over brutal percussive outbursts, sloppy blastbeats, completely blanketed in feedback and distortion. Pretty fucking sick, and way more influenced by Hanatarash than their older stuff. The disc comes in a jewel case but has an interesting packaging design with an obi strip that is actually enclosed inside of the case itself, and includes a full color sticker.
Track Samples:
Sample : NIKUDOREI-Chain Of Evil Dead
Sample : NIKUDOREI-Chain Of Evil Dead



NIKUDOREI   Genital Torture   CD   (HG Fact)    19.98

Genital Torture IS CURRENTLY UNAVAILABLE FOR ORDER

Back in stock after over a year! Nikudorei's 1997 album Genital Torture is a fucking classic in the realm of freeform, improvised "grindcore", or noisecore, or whatever you want to call it. What you get is 99 tracks in one hour of the harshest, most freaked out grindnoise you can imagine, with just a drums/vocals/electronics lineup creating this holocaust. Featuring Kenny from Facialmess, a killer 90's harsh noise project that did a great collaborative EP with Suppression, these guys intersect painful electronic noise, like Incapacitants, or maybe Prurient at his most brutal, with ultranoisy microburst grindcore, via multi-second explosions of blastbeat drumming and monstrous vocal slop. Picture Japanese harsh noise a la Massona/Pain Jerk fused with Anal Cunt and buried under loads of wah-effects. Complete ear terror. Some longer jams drop the drums completely and dwell on some audio warfare sinewaves that razor right through your eardrums. Heavy and fucking FREAKED OUT. Artwork is covered in their highly stylized bondage-cartoon imagery amongst more familiar grindcore visuals.
Track Samples:
Sample : NIKUDOREI-Genital Torture
Sample : NIKUDOREI-Genital Torture



NORD   NG Tapes   LP   (P∴C∴P∴ Records)    22.00

NG Tapes IS CURRENTLY UNAVAILABLE FOR ORDER

   There's kind of a convoluted history behind the cult Japanese industrial outfit Nord, who started out in the late 70s as a minimal electronic duo, made up of members Katayama Satoshi and Hiroshi Oikawa. The pair only record a single album together, a self-titled debut that was released in 1981 on the Pinakotheca label, after which the members split apart, each carrying on a different project that still retained the Nord name. And this is where things start to really get confusing. Satoshi's version of Nord was primarily a live outfit active through the rest of the 1980s, while Oikawa would record a handful of records under the Nord name, before eventually disappearing later in the decade, apparently never to be heard from again. It's those now ultra-rare LPs from Oikawa's version of Nord that have become highly sought-after documents of primitive nihilism by hardcore devotees of dark early industrial music, released through his L?S?D? Records imprint that existed up till around 1985 or so. Two of those albums, NG Tapes and L?S?D? (both originally released in 1984) have remained out of print in the decades since, but a label called P?C?P? Records emerged in recent years, apparently with the sole aim of reissuing these albums for contemporary audiences, though they've all been painfully limited editions that have themselves gone out of print by now. We've managed to grab a few copies of both, though, and both are highly recommended slabs of classically morbid industrial that sit at a fascinating nexus between the earlier psychedelic sounds of the Japanese underground, and the more extreme directions it would take as the noise scene began to rise to prominence.
   Even better than its predecessor LSD, 1984's NG Tapes is about as black and nihilistic as Oikawa got with Nord, delivering a goddamn stunning piece of long-lost Japanese synth-creep that had previously only been available on an extremely limited cassette tape that has been going for hundreds of dollars when it shows up on sites like Discogs. With this tape, Nord moved from the sometimes scattershot noise experimentalism of the earlier work into a more focused and devastating strain of post-industrial psychedelia; I'm not the first to make the comparison, but this really does feel like some strange fusion of Fushitsusha-esque psychnoise and the pulsating carcinogenic industrial of Bianchi, unfurling a vast deadzone of repetitious synth and damaged guitar across these eight untitled tracks. Long pieces of churning synthesizer noise and burbling black-acid drone loop and worm their way through your brainmeat like a wave of vermiform horror, strange disembodied voices drifting aimlessly through the pulsating electronic fog, bits of keening high-end feedback and menacing malformed melodies looming out of the blackness like fragments of a particularly grim horror movie score. There's blurts of primitive Derbyshire/Radiophonic style electronics and icy, discordant guitar chords, bursts of eerie psych-guitar howl that ripple and echo across the expanses of seething black electronics.
   These almost Haino-like shards of ghostly guitar noise and feedback find themselves shifting into slabs of grinding distorted noise, blasts of garbled guitarscrape and screeching metallic violence, surrounded by spectral whirr and distant computerized chirps flitting through the abyss like swarms of flying insects caught in the wavering heat-haze of a fever dream. Drum machines heave monotonously beneath gales of piercing amplifier-skree, sometimes turning into an odd mesmeric rhythm, before collapsing into utterly mangled free-noise pile-ups like the ear-wrecking assault that opens the second side. Moments like those transform Nord's squirming black synthnoise into something much heavier and more violent, suddenly shifting into a crushing industrial noise-dirge that are as hellish as anything from K2 or Incapacitants, before giving way to spooky electronic dronescapes that unfold into gorgeously warped symphonies of ectoplasmic squelch and eerie melody, while splinters of No Wave-esque guitar wreckage are strewn over whirling spaceship noises and blurts of random Japanese pop radio transmission.
    The packaging is minimal but perfect, essentially replicating the design and feel of the original cassette, housing the record in a heavy black casewrapped jacket with minimal printing, and wrapped in a pink obi strip machine-stamped on the back.


NORD   LSD   LP   (P∴C∴P∴ Records)    24.98

LSD IS CURRENTLY UNAVAILABLE FOR ORDER

   There's kind of a convoluted history behind the cult Japanese industrial outfit Nord, who started out in the late 70s as a minimal electronic duo, made up of members Katayama Satoshi and Hiroshi Oikawa. The pair only record a single album together, a self-titled debut that was released in 1981 on the Pinakotheca label, after which the members split apart, each carrying on a different project that still retained the Nord name. And this is where things start to really get confusing. Satoshi's version of Nord was primarily a live outfit active through the rest of the 1980s, while Oikawa would record a handful of records under the Nord name, before eventually disappearing later in the decade, apparently never to be heard from again. It's those now ultra-rare LPs from Oikawa's version of Nord that have become highly sought-after documents of primitive nihilism by hardcore devotees of dark early industrial music, released through his L∴S∴D∴ Records imprint that existed up till around 1985 or so. Two of those albums, NG Tapes and L∴S∴D∴ (both originally released in 1984) have remained out of print in the decades since, but a label called P∴C∴P∴ Records emerged in recent years, apparently with the sole aim of reissuing these albums for contemporary audiences, though they've all been painfully limited editions that have themselves gone out of print by now. We've managed to grab a few copies of both, though, and both are highly recommended slabs of classically morbid industrial that sit at a fascinating nexus between the earlier psychedelic sounds of the Japanese underground, and the more extreme directions it would take as the noise scene began to rise to prominence.
   With its unsettling hand-drawn album art, Nord's LSD is a lost classic of creepy primitive synth music and psychedelic black-hole industrial, taking form with the minimal buzz and throb of the opener, a simple melody searing itself in a bright line across a field of distorted, throbbing synthesizer drone, simple yet strangely epic; there's some of the discordant electric guitar debris that would surface more on later recordings from Nord, with clanging chords drifting across the robotic throb of the title track, distorted synth notes squiggling and bouncing over the desolate fields of electronic whirr, hinting at the fractured psych-noise of later work. Surprisingly heavy at times, those blasts of discordant guitar echo and linger in the void, twisted chunks of metallic shrapnel tumbling over the pulsating black electrical currents, gradually leading the album into more menacing, more unsettling territory inhabited by hypnotic ghost-noise and deformed synthesizer music; there's a weird choice to employ strains of Jefferson Airplane's music on one track, but elsewhere Oikawa sends bits of fundamentalist Christian radio drifting through the void, gradually overtaken by vast waves of interstellar whirr and swarms of bacterial drone. These sounds seem to flit randomly through an immense blackness, blistered drones searing space like fragments of transmissions from some orbital death-planet, enshrouded in swarms of locustbuzz horror. These often stunning sonic descents into oblivion are laced with some intensely eerie moments, the closing track in particular leading the album out into a chilling minimalist deathscape that ends LSD with a nightmarish, funerary vibe, suggestive of some of Dennis McCarthy's eerie early synthesizer compositions as well as the charred electronics of early Bianchi. Limited to five hundred copies, already out of print.
Track Samples:
Sample : NORD-LSD
Sample : NORD-LSD
Sample : NORD-LSD



NULL   Terminal Beach   CD   (Manifold)    14.98












Track Samples:
Sample : NULL-Terminal Beach
Sample : NULL-Terminal Beach



NULL, KK + JOHN WIESE   Mondo Paradoxa   CD   (Auf Abwegen)    12.98



Japanese noise vet KK Null (of Zeni Geva/Absolut Null Punkt fame) teams up with prolific American noisician and former Bastard Noise member John Wiese for a collaboration that pretty much sounds like what you'd expect from a meeting between these two artists, and follows up their Arc Seconds 7" from 2004. Assembled by sending recordings back and forth through the mail, Mondo Paradoxa is an even mix of Null's intricate digital abstractions and alien ambience and Wiese's harsher, fractured noise and feedback sculpture, bombing the deep cosmic electronics, pulsating blipscapes and frenetic oscillations with lots of caustic glitch and clank. The ten untitled pieces aren't a total blowout though, and fans of the more recent KK Null albums like Galactic Tornado and Oxygen Flash will find more of Null's newer fascination with classic krautrock electronics and kosimische sounds here, especially on tracks seven and nine, where Null and Wiese combine looping synthesizer riffs with grinding industrial rhythms and metallic feedback into an awesome circular synth workout that sounds like Throbbing Gristle doing the soundtrack to an early 80's Italian post-apocalyptic flick. Plenty of layered, detailed noisescapes too, filled with swooping glitches and breaking metal/glass and rhythmic chunks of distorted noise...fans of far-out sci-fi soundtracks who don't mind diving into noisier, more abrasive electronica would probably dig this.
The full-color digipack features hallucinatory collage art from Yasutoshi Yoshida, a.k.a. Government Alpha, and is limited to 500 copies.
Track Samples:
Sample : NULL, KK + JOHN WIESE-Mondo Paradoxa
Sample : NULL, KK + JOHN WIESE-Mondo Paradoxa
Sample : NULL, KK + JOHN WIESE-Mondo Paradoxa



ONGAKU OTAKU   issue 2   MAGAZINE   (Charnel Music)    6.98

issue 2 IS CURRENTLY UNAVAILABLE FOR ORDER

Ongaku Otaku was one of our favorite underground music 'zines from the 1990's,a super-thick journal published annually by Mason Jones of Subarachnoid Space/Charnel Music, and subtitled The Magazine Of Japanese Independant Music. Each issue weighed in at over 125 pages on thick paper stock with heavy glossy covers, and each is filled with all kinds of superbly written and exhaustive articles on the Japanese grind/avant/no wave/noise/extreme culture, including discographies and footnotes alongside terrific graphic design, artwork, and loads of killer photos. Ongaku Otaku stopped publishing after the 4th issue that was released in 2001, but this fanzine remains not only the best English publication covering the vibrant Japanese underground ever published, but also one of the finest examples of high-quality zine culture to emerge from the 1990's. We just got our hands on some back copies of issues #2-4 of Ongaku Otaku excavated from the shadowy corners of the Automatism Press closets, as these are highly recommended documents for anyone that are as obsessed with extreme Japanese music as we are...
Issue Two features interviews and articles on OTOMO YOSHIHIDE, AUBE, SHIZUKA, JOJO HIROSHIGE, SUPER JUNKY MONKEY, GOD MOUNTAIN, JAPAN OVERSEAS, a Japanese tour diary, articles on coffee, manga, Japanese noise, Katan Amano, Anime and Films, Books and Magazines, and hundreds of record reviews.
This is a new magazine, but it has some very minor shelf wear and/or price sticker marks due to how old this is.


ONGAKU OTAKU   issue 4   MAGAZINE   (Charnel Music)    6.98

issue 4 IS CURRENTLY UNAVAILABLE FOR ORDER

Ongaku Otaku was one of our favorite underground music 'zines from the 1990's,a super-thick journal published annually by Mason Jones of Subarachnoid Space/Charnel Music, and subtitled The Magazine Of Japanese Independant Music. Each issue weighed in at over 125 pages on thick paper stock with heavy glossy covers, and each is filled with all kinds of superbly written and exhaustive articles on the Japanese grind/avant/no wave/noise/extreme culture, including discographies and footnotes alongside terrific graphic design, artwork, and loads of killer photos. Ongaku Otaku stopped publishing after the 4th issue that was released in 2001, but this fanzine remains not only the best English publication covering the vibrant Japanese underground ever published, but also one of the finest examples of high-quality zine culture to emerge from the 1990's. We just got our hands on some back copies of issues #2-4 of Ongaku Otaku excavated from the shadowy corners of the Automatism Press closets, as these are highly recommended documents for anyone that are as obsessed with extreme Japanese music as we are...
Issue four features interviews and articles with KK NULL, DEMISEMIQUAVER, NINGEN ISU, LITTLE FUJIKO, JACK OR JIVE, BILLY?, JAPANESE DOLLS, TOKYO CLUB & STORE GUIDE, TOUR DIARY, MANGA, a huge record review section, and much more.
This is a new magazine, but it has some very minor shelf wear and/or price sticker marks due to how old this is.


ONGAKU OTAKU   issue 3   MAGAZINE   (Charnel Music)    6.98

issue 3 IS CURRENTLY UNAVAILABLE FOR ORDER

Ongaku Otaku was one of our favorite underground music 'zines from the 1990's,a super-thick journal published annually by Mason Jones of Subarachnoid Space/Charnel Music, and subtitled The Magazine Of Japanese Independant Music. Each issue weighed in at over 125 pages on thick paper stock with heavy glossy covers, and each is filled with all kinds of superbly written and exhaustive articles on the Japanese grind/avant/no wave/noise/extreme culture, including discographies and footnotes alongside terrific graphic design, artwork, and loads of killer photos. Ongaku Otaku stopped publishing after the 4th issue that was released in 2001, but this fanzine remains not only the best English publication covering the vibrant Japanese underground ever published, but also one of the finest examples of high-quality zine culture to emerge from the 1990's. We just got our hands on some back copies of issues #2-4 of Ongaku Otaku excavated from the shadowy corners of the Automatism Press closets, as these are highly recommended documents for anyone that are as obsessed with extreme Japanese music as we are!
Issue #3 of Ongaku Otaku is from 1998, and again is jam packed with writing, a total who's who of cutting edge Japanese music. This issue has detailed articles and interviews with Grind Orchestra, Ruins, Seiichi Yamamoto (Boredoms, Omoide Hatoba), MSBR, Kaneko Jutoku, Cornelius, Coa, Seagull Screaming Kiss Her Kiss Her, Gaji, Sugar Plant, Melt Banana, Shonen Knife, Ghost, Moga The Y5, robot sculptor and visual artist Kenji Yanobe, and a highly detailed tour diary of Mason Jones' solor tour of Japan. In addition, there are the expected TONS of lengthy, detailed CD, cassette tape, and vinyl reviews, assessments of cult Japanese cinema, video releases, and Anime, Japanese fanzine reviews, some killer Manga, a lengthy, detailed article on the different varieties of Japanese junk food, and more. Essential for Japanese music fanatics!


ONNA-KODOMO   Syuuka   CD   (Charnel Music)    9.98

Syuuka IS CURRENTLY UNAVAILABLE FOR ORDER

A collection of exquisitely witchy dark ambience from Japan that was released by Charnel Music in 1997. Like all of the other Charnel Music releases that we currently stock, this title is hard to come by and we have some of the last copies in existence, obtained from the dusty forgotten corners of one of our suppliers. This amazing album is one of my favorite on Charnel, a twilight ghost-poem that is so opposite the hardcore noise rock/heavy psych that the label championed, but at the same time its ghostly beauty fits in perfectly with the Eastern psych leanings of label boss Mason Jones. Onna-Kodomo was a three piece of Yuko Hasegawa on vocals and bass, Shizuo Uchida on bass and guitar, and Shinmei Suzuki on electric violin, and they created these amazingly delicate shafts of darklight out of their austere instrumentation, combining deep, rumbling bass notes that linger in mid-air with simple, dolorous violin and scraping textures, a darkly ominous backdrop for Yuko's entrancing singing...her angelic voice has an ethereal, airy quality that reminds me of Elizabeth Fraser from Cocteau Twins, but far creepier as Yuko mouths wordless strains of angelic tones over the minimalist playing and increasingly eerie atmosphere that the musicians conjure up. Guitar and bass are plucked sparsely, the skeletal melodies suggesting ancient Japanese folk music...but in the shadows of Onna-Kodomo's soundworld, there are sounds that are less easy to identify. Squeaking noises enter and cross your line of hearing, disappearing into the darkness, and deep breathing sounds appear at the edges of your periphery. The whole album evokes images of wandering through a moonlit forest in ancient Japan and encountering dark spirits and demons, an otherwordly atmosphere marked by a bottomless well of sorrow via Yuko's chilling vocalisations. Fans of dark chamber-music groups like Amber Asylum and Dirty Three might really dig this, though the music of Onna-Kodomo is much darker and creepier than either of them...imagine if Amber Asylum had created the scores for the Japanese ghost stories Onibaba and Kwaidan. Immensely spooky and beautiful.
Track Samples:
Sample : ONNA-KODOMO-Syuuka
Sample : ONNA-KODOMO-Syuuka
Sample : ONNA-KODOMO-Syuuka



PAIN JERK   Recycled Music   CASSETTE   (RRRecords)    4.50



More killer Recycled Music Series action from RRR, this time from old-school Japanese kill-troniks master Pain Jerk! We can't get enough of the Recycled Music Series, as you might have noticed...give us time, and we'll have all of these grungy, skull-splitting cassettes available through the Crucial Blast store! The long-running noise unit operated by Kohei Gomi, Pain Jerk is a familiar name to Japanese noise enthusiasts, with a prolific body of work going back to 1993 that rivals the crushing, violent 90's output of Merzbow and Kazumoto Endo. Pain Jerk's entry into the Recycled series delivers two 22+ minute sides of nonstop wall-noise destruction loaded with fierce squalls of manipulated feedback shot through thick slabs of rumbling, swirling low-end distortion pouring out of your speakers at top volume. Every once in a while, Kohei backs off the pedal and sends distorted spoken-word recordings, streaks of chirping FX-blat and crashing spaceship transmissions screaming across the eye of the storm, but mostly this is an unrelenting wall of ultra-dynamic, devestating psychedelic electronic noise weaved into rhythmic loops that jackhammer away at your lobe while it constantly changes and evolves into new, heavier forms. Like all entries in the Recycled series, the recording has been dubbed onto an old commercial cassette, covered in a strip of duct tape, and the tape cover likewise covered in duct tape and scrawled with the artist's name and the "Recycled" motto across the front.


PAIN JERK   Trashware   CD   (RRRecords)    8.00



Classic 1995 PAIN JERK action from RRR's crucial PURE Series. Pain Jerk, a.k.a. Kohei Gomi, has been one of Japan's most lethal figures in the harsh noise underground throughout the 1990's, and this 4-track, hour-long exercise in extreme electronic blast cut-up and constantly shifting, dynamic textures is one of his all-time finest works. A hyperspeed collage of spastic feedback, detailed distortion, and seizure inducing rhythms that feels like you've stuck your head inside of a cement mixer filled with scrap metal and malfunctioning stereo receivers. Absolutely essential for all acolytes of the Japanese noise movement and fans of fellow psychedelic junk-destruction units Incapacitants, Monde Bruits, and Merzbow. Packaged in a minimal RRR/PURE style wallet sleeve with xerox-damaged artwork.


PHEROMONSTERDISK   The Ear Of Ushitora   CDR   (Neus-318)    5.00

The Ear Of Ushitora IS CURRENTLY UNAVAILABLE FOR ORDER

More intense Japanese hard-drive carnage from Neus-318! I discovered this Japanese CDR label a few months ago, and while much of their catalog is made up of kooky abstract computer noise and glitch collages, some of their stuff is straight up skullripping digital noise that leans towards the psychedelic ends of the Japanese noise scene. I scoured their catalog and picked up their most aggro, brain wasting releases for Crucial Blast, which Japanese noise fans should definitely check out.
Crazed and intense computer noise is what this Japanese laptop duo cooks up on their second CD-R for Neus-318, one of the labels older titled from 2001. It's also one of the noisiest and most abrasive discs in the series. Thirty-five tracks of harsh, chaotic digital skree served up in 1-2 minute blasts, a constant stream of white hot laser-beam attacks, fuzzy balls of distorted feedback, brutal CD glitch and malfunctioning Atari 2600 bleeps...this is violent, unpredictable noise that sounds like a hundred sci-fi movie scores all being played back at once and compressed into short jagged blurts. Pheromonsterdisk also designed this disc to be played back at random so that all of the tracks can be heard in an endless variety of sequences, just like that Bizarre Uproar CDR on Housepig. It's spastic digital carnage that sounds like the result of classic Japanese harsh noise artists like Incapacitants, Pain Jerk, or Masonna utilizing an arsenal of ancient video game machines and unleashing a swarm of crunchy galactic blastscapes. Comes in a paper/plastic felt-backed sleeve.
Track Samples:
Sample : PHEROMONSTERDISK-The Ear Of Ushitora
Sample : PHEROMONSTERDISK-The Ear Of Ushitora
Sample : PHEROMONSTERDISK-The Ear Of Ushitora
Sample : PHEROMONSTERDISK-The Ear Of Ushitora



RNA   No New Tokyo   2 x CASSETTE   (Phage Tapes)    9.98



     "No Wave", my ass. While this trio might be paying lip service to Arto Lindsay's crew of anti-rock miscreants and the legendary 1978 compilation No New York, this outfit goes way beyond rock-deconstruction and into the realm of total city-destroying cacophony. It's one of the first releases from this trio of Japanese noise vets, made up of Fumio Kosakai (C.C.C.C., Incapacitants, Hijokaidan), Kimihide Kusafuka (K2) and experimental drummer/pianist Eiko Ishibashi, a nearly two hour performance recorded live in 2014, with four separate pieces spread across the two cassettes.
     When this starts off, the group crafts a stunning soft-focus vista of distant, glimmering sunkissed drones and sonic shimmer, a gorgeous dawnbreak driftscape that stretches across several minutes of that first untitled track. Once they step on the pedal, though, the sound suddenly erupts into an apocalyptic squall of distorted low-end drone and fearsome, air-raid like blasts of feedback, a gradually thickening maelstrom of thunderous guitar noise and mighty percussive rumblings. The recording is murky and overdriven and blown out, huge chunks of it resembling some of the more aggressive, amplifier-melting Skullflower or Ramleh material. And from there it continues to grow into a deafening jet-roar of freeform noise, a dense, ever-shifting mass of psychedelic electronics and brutal guitar skree, as mind-melting as anything I've heard from Kosakai's work in C.C.C.C. and Hijokaidan. An epic-length din of malfunctioning heavy machinery, malevolent robotics and corrosive electronics, swept up in a storm of effects-pedal fueled delirium.
     The other three tracks are similarly extreme and challenging, but each offers its own distinct pursuit of aural obliteration. The group moves through more of those bass-drenched dronescapes and blasts of clattering junknoise into titanic grinding loops that roll across their smog-choked wastelands like the amplified chug of a halftrack, intensely heavy assaults of distorted rhythmic sound that stretch infinitely outward. Bits of fractured, atonal musicality appear in the cracks between their deafening blasts of noise, hints of melody or humanity that are quickly devoured by the gnashing, ravenous noise-loops that Kusafuka unleashes throughout the set. And on the third side, the group hammer out a half-hour blast of shambling scuzz-rock improvisation that almost begins to evoke some of that old NYC skronk-punk attitude, but buries the meandering drumming, clanging guitars, super-abrasive fretboard scrape and go-nowhere bass-lines underneath a hill of howling, hiss-drenched noise. Exhausting, but awesome.
     Packaged in a molded clamshell case ad issued in a limited edition of one hundred twenty-five copies.
Track Samples:
Sample : RNA-No New Tokyo
Sample : RNA-No New Tokyo
Sample : RNA-No New Tokyo



SACHIKO + FUKUOKA RINJI   Void   CDR   (Musik Atlach)    11.98



   Void documents an incredible live set from the duo of guitarist/violinist Rinji Fukuoka (a member of psych rock heavies Majutsu Ni Niwa and Overhang Party) and former Overhang Party / Kousokuya member (and Musik Atlach owner) Sachiko, which went down at the Tokyo venue Koenji ShowBoat back in 2011. Consisting of a single half-hour track, Void is some primo nocturnal psychedelia, the performance slowly growing from out of a haze of distant murky vocalizations and echoing guitar overlaid with sheets of electrical hum, everything wrapped in a moldering shroud of reverb and delay.
    Sachiko's seraphic voice is at the center of this spectral soundscape, stretched and smeared and sent looping and tumbling through the eerie twilight gloom that the duo summons up within the bowels of the club. Fukuoka eventually joins in as well, his deep, chanting moan drifting ghostlike over the looping, orchestral-sounding drift and suspended electronic drones, joined by washes of phantom radio static and endless prayer-bowl whirr. After awhile, this zoned-out performance eventually descends into even darker depths, as waves of smoldering bass, searing oscillator sweeps, malformed melodies and muted guitar clang all begin to enter the incandescent dronescape, which in its final moments shifts into a much more twisted and sinister ambience, scalded with bursts of abrasive noise and burnt-out electronics. A spellbinding piece of otherworldly psych-drone dragged out of the underworld, tinged with a lovely peripheral quality, the sound washed out and blooming with ethereal, half-formed melodies and Sachiko's spellbinding witch-shrieks, yet unfolding with the restrained feel of a funerary prayer, stretching out across the disc as a kind of eternal ghost-music that blends kosmische creepiness with an atmopshere of ancient dread that could easily serve as an aural backdrop to a scene from Hearn's Kwaidan. Fantastic. Produced as a professionally manufactured CDR, the disc comes housed in a simple foldover sleeve.
Track Samples:
Sample : SACHIKO + FUKUOKA RINJI-Void
Sample : SACHIKO + FUKUOKA RINJI-Void
Sample : SACHIKO + FUKUOKA RINJI-Void



SHINKIRO   Cycle Of Rebirth   CD   (SSSM)    12.98



    Released on Contagious Orgasm's in-house label SSSM, Shinkiro's Cycle Of Rebirth is the latest full-length from Japanese artist Manabu Hiramoto's latest outfit, previously known for his ghostnoise recordings with the Kotodama project. With Shinkiro, Hiramoto pursues even darker currents of electronic soundscapery, crafting some really impressive spectral shadow-drenched driftscapes and excursions into glistening black electronica.
    Made up of five "cycles" inspired by Buddhist cosmology, the album starts off on oceanic waves of liquid sound drifting beneath vast vaulted skies, the sounds of fluid swirling and sloshing in a lightless void as titanic steel-girders groan and bend in the distance, and monstrous reverberations drift and bubble up from the depths. From there, Hiramoto plunges deeper into his mysterious, alien soundworld, drifting into mesmeric synthesizer sequences where gleaming arpeggiated notes loop through the low-hanging atmosphere, like fragments of a p[particularly ominous-sounding Tangerine Dream score being swept far out to sea beneath the veil of night, as soft electronic drones pulse in the deep like remnants of inverted starlight. That kosmische quality courses throughout Rebirth, often as a subtle shimmering ambience that hovers like a nocturnal heat-haze over the deep, rumbling drones and murky, muted environmental recordings, sometimes coalescing into a throbbing, soundtracky pulse that resembles a super-minimal John Carpenter score or the darkest corners of the Bad Sector discography, or else into a gorgeous piece of ethereal, New Agey electronics fluttering over a brutal, distorted sheet-metal rhythm.
    Deeper into the album, though, the sounds turn darker and more abrasive. Eventually Hiramoto unleashes gales of low-frequency noise and distortion, sculpting dense dronescapes from waves of crushing tectonic sound and strafing these rumbling psychedelic fields with harsh metallic tones and sweeping spacey effects; on "3rd Cycle", that sound shifts into a pummeling tribal rhythm and distorted synth riff that suddenly cranks tense atmosphere to an almost unbearable level, like some weird fusion of Brad Fiedel's industrial score for The Terminator and Blood Music-era Yen Pox. It's great stuff that straddles a variety of forms, the tracks moving through a strange middle ground between vast, fearsome emanations from some upper level of Jigoku and a sleeker, more modern electronic ambience. And the fourth track, while the shortest, is by far my favorite, an eerie synthesizer piece coated in sleek black 80's gloss akin to the best of Prurient's more recent nocturnal synth endeavors. All in all, Rebirth is terrific stuff, a striking piece of dark post-industrial art that continues to draw me back for repeated listening. Comes in gatefold packaging.
Track Samples:
Sample : SHINKIRO-Cycle Of Rebirth
Sample : SHINKIRO-Cycle Of Rebirth
Sample : SHINKIRO-Cycle Of Rebirth



SISSY SPACEK + K2   self-titled   CD   (Helicopter)    11.99



     Cali noisecore outfit Sissy Spacek just keep 'em coming. One of four recent releases from the group to appear on the latest C-Blast list, this CD features the current duo version of the band (drummer Charlie Mumma and John Wiese on everything else) teaming up with Japanese noise master K2 for double the earhate. Essentially a collaboration between the two outfits, this disc features four tracks, each one roughly fifteen minutes in length. For their part, Sissy Spacek detonate some of the most savage outbursts of bone-scraping noisegrind yet; opener "Slang Imprisonment" hits a 10 on the violence scale, a nonstop maelstrom of ultra-violent blastbeats, shrieking high-frequency guitar noise, totally mangled anti-riffs, and putrid screams that sound like someone's trachea was hanging outside of their body by the 4:01 mark. Total fucking cyclonic annihilation, like Scum tossed headfirst into a hurricane of broken glass and scrap metal and volcanic magma. A new favorite Spacek blast, for sure. Sickeningly violent and abrasive, a perfect fusion of bestial noisecore and HNW-grade sonic obliteration.
     Which leads us to the second track "S2K2 (Ambulette)", a live collaboration between K2 and the Spacek guys, from a performance in LA in early 2014. While not as balls-out crushing as the previous atrocity, it's even more chaotic and insane, hyper-violent electronics and 1000 mile per hour noisecore colliding at top speed, loaded with staccato bursts of discordant, hideous ear-rape and sudden detours into cacophonic clatter that sound like an entire metalshop being turned upside down.
     The two-part "Lemmings March To The Abyss" closes the album, as K2 utilizes original Sissy Spacek recordings along with his standard arsenal of "junk electronics", feedback systems and synth to create a sprawling, hyperactive noisescape, shifting between brutal psychedelic electronics, violently garbled "junk noise", mutated melodic fragments, and those chunks of pre-recorded Spacek blastnoise, forming a spastic patchwork of cut-up mega-violence that leaves the source materials utterly unrecognizable. As was my face, by the end of this fuckin' thing.
Track Samples:
Sample : SISSY SPACEK + K2-self-titled
Sample : SISSY SPACEK + K2-self-titled
Sample : SISSY SPACEK + K2-self-titled



SOUTH SATURN DELTA   Experience The Concreteness   CD   (Cold Spring)    11.98



Check out this formidible lineup: Hiroshi Hasegawa of legendary psychnoise group CCCC on voice and synthesizer, Maso Yamazaki (aka Masonna) on voice and guitar, and drummer Nobuko Emi of Tsurubami. Oof. These legends of Japanese noise got together under the banner of South Saturn Delta to perform a series of live events from 2003 through 2005 in Osaka and Tokyo, and these live actions have been culled to produce the four track epic Experience The Concreteness, the bands debut full length. Compared to most live albums, though, it's as dense and violent and suffocating as any studio recorded extreme noise album. And this is extreme psychedelic noise at its heaviest. Each track honestly does sound like the ultimate meeting of CCCC's crushing walls of space noise and the sort of flamethrowing electronic harshness favored by Masonna. Huge clouds of murky feedback and deafening FX overload rise up out of overdriven synthesizers that are cranked to obliterating levels. Crazed euphoric screams and howls slice through thick banks of squelch and phased electronics and slabs of grinding low-end filth that rivals the heaviest doomdrone, and become entangled with the mangled guitar wreckage of Yamazaki's deconstructed playing. Immense, star-devouring improv. SSD have taken the space FX highs of Hawkwind even further than CCCC ever did, into a gravity crushing vortex of deep space cacophony. The fourth track "Rocket Incantation" is the only one that Emi plays on, and it's one of the shorter ones at only ten minutes, but it's also the heaviest, his clanging, violent free-improv drumming acting as an anchor for the cranked spacetronix freakout that tries to blast skyward, terrorized by Yamazaki's monstrous guitar feedback noise that, I swear to god, on this track actually sounds like the sound that composer Akira Ifukube used for Godzilla's roar in the classic Toho flicks. MASSIVE. Great graphic design for the CD packaging, too. I've been digging Cold Spring's look lately. Very cool.


SPACE STREAKINGS   Hatsu Koi   CD   (Nux Organization)    14.98

Hatsu Koi IS CURRENTLY UNAVAILABLE FOR ORDER

I'm sure a bunch of you Japanese freak-rock fanatics have already punched the Buy button as soon as you saw this one on the list - this mid-90's album from the band Space Streakings has been out of print and really hard to find for years, and has been heavily traded and swapped amongst fans of hyperkinetic Japan-blast over the past decade. The C-Blast radar picked up on the last copies of this killer disc though, and we've got about a dozen or so available.
Frequently compared to Japan's legendary Boredoms, Space Streakings played a form of spastic, speedy skronkcore that's been compared to a cross between the cult D.C. noise punk band No Trend, Butthole Surfers and Boredoms. Add into that a little bit of drum machine grind, a dozen malfunctioning arcade games, and a jazz horn ensemble and speed the whole thing up to 120 bpm, and you'll be in the general vicinity of the insane shit that this band was doing on the the KK NUll-produced album Hatsu Koi. The band members all had nonsensical names and played mutant instruments with bizarre titles that only hinted at the levels of blasting squonk they were capable of emitting, consisting of Screaming Stomach (vocals, guitar, trumpet, and "kazooka"), Captain Insect (bass,voice,programming), Karate Condor ("discoattacker","dragonballz",vocals), and Kame Bazooka (vocals, alto sax, and "bazookahorn"). The eleven songs on Hatsu Koi rush by at supersonic speed, combinging blasting drum machine rhythms that veer from funky breakbeats to full-on blastbeats, funk-rock basslines, whistling, turntables, squealing sax, thrashy punk riffage, massive brain-destroying air horns way up in the mix that blare straight into yer fucking skull, and multiple vocalists shouting, chanting, whopping and wailing all over one another. It's heavily layered, jazz damaged panic-attack collage-thrash that'll raise yer blood pressure by a good bit, exemplified by the sixth track "Hiropon Goo!!", a batshit Agoraphobic Nosebleed-meets-Boredoms drum machine funkblast. I'm amazed that I never heard this album before. Highly recommended to anyone into insanoid skronk-wave Japanese craziness like Melt Banana and Boredoms!
Track Samples:
Sample : SPACE STREAKINGS-Hatsu Koi
Sample : SPACE STREAKINGS-Hatsu Koi
Sample : SPACE STREAKINGS-Hatsu Koi



THIRDORGAN / GOVERNMENT ALPHA   split   7 INCH + CD   (Dada Drumming)    5.98

split IS CURRENTLY UNAVAILABLE FOR ORDER

Here's a high-power pairing of two of Japan's biggest noise names, combined on a killer 7"/Cd set with the record pressed on bright pink vinyl and housed in a black and white sleeve with an insert.
"Counterattack Of Shine-Shine-Dan" from Thirdorgan is a heavily textural and active piece of noise splat made up of chopped-up bursts of white noise and static hiss, squelchy blurts of low end noise and high end electronic glitchery swarming around. A deep percussive judder rumbles throughout the track, and by the time you reach the end, you'll be imagining your hard drive is infested with worms. It's harsh and psychedelic electronic chaos.
On the other side, Government Alpha's ode to Fulci's bizarro splatterfest The House by the Cemetery "Dr. Freudstein" emits a churning high end jet-engine roar, shooting oscillating distortion into the stratosphere. The track moves through roiling distorted low end, roaring feedback, scraping talons of high end skree, all coagulating into a brutal noise blast. The surging waves of electronic psych end with the sound of a violin being strangled and electronic chirping that explodes into a supernova of immolating amplifier howl.
The Cd that's included here is titled Pigmon Last Stand and features the artists performing live in Japan in October 2003. The first track is Government Alpha's performance of "Tea With Redking", a thunderous fifteen minute cosmic storm, surging waves of skree and nebulous effects blasting into deep space at light speed. This set of crushing textural space-noise quickly turns violent as an avalanche of scrap metal and distorted flux comes roaring across the soundspace, insanely high pitched sine waves begin slicing through the air, and this takes on the visage of being trapped in the turbine of a space shuttle as it launches into the stratosphere. The Thirdorgan track "SAKURA Drops De Yagamania" is almost half an hour long, and opens with some sugary Japanese pop being transmitted through distorted speakers, the melody and singing slowly warping and distorting until it becomes a tangled mass of screeching noise and blown out static, and is finally consumed within the swirling storm of harsh noise. This ocean of static and metallic hum reveals occasional flashes of the original pop music breaking through the chaos, even more distorted than before, and then sucks it back into the electronic screech and hiss and distorted rhythmic throb.
Limited to 300 copies.


TOYOKATSU   Annihilation Of Artworks   BOOK (TRADE PAPERBACK)   (L.A.R.V.A.)    16.99

Annihilation Of Artworks IS CURRENTLY UNAVAILABLE FOR ORDER

    A killer cut-up crust collage attack! The name Toyokatsu may only be recognizable to the most hardcore of Japanese noise-punk fanatics, but the visual aesthetic captured in his new book Annihilation Of Artworks will probably be instantly familiar to anyone into the extreme punk that has been coming out of the Far East over the past decade. In addition to being a member of several C-Blast noise-punk faves like the dual-bass powered blastcrust outfit Zyanose and overdriven D-beat maniacs Framtid (and previously responsible for both guitar and "noise penis" for no-fi crusties Defector, whatever the fuck that's supposed to be), Toyokatsu is also a prolific visual artist who's been producing concert flyers and record sleeve designs for the Osaka underground for years, employing a mix of chaotic collage styles and crude, heavy metal-style drawings that I've been digging ever since I picked up Zyanose's Insane Noise Raid.
    This perfect-bound forty-eight page art book collects various pieces of his from the past decade, reproduced mostly in black and white with a couple of color images included, and mostly focuses on his frenzied flyer designs. There's also lots of wicked hand-drawn artwork for bands like Gloom, Zyanose, Kromosom, Laughin' Nose, Defector, Zatsuon, as well as advertisements for a number of Japanese punk labels, and a smattering of full-color photographs. Mostly of interest to those into the aforementioned Osaka noise-punk scene and serious fans of Japanese hardcore punk history, it's still a great looking book that features one of the coolest printed collections of flyer art that I've seen come out of Japan. Limited to seven hundred copies, and comes in a plastic sleeve with a large wraparound obi strip.


VARIOUS ARTISTS   Real Japanese Underground: Grind & Noise Omnibus   2 x CDR   (Lost Rivers Product)    5.98

Real Japanese Underground: Grind & Noise Omnibus IS CURRENTLY UNAVAILABLE FOR ORDER

This double CD-R compilation is one of the craziest mixtapes of extreme noise/core we've ever heard, two discs completely loaded with over 2 hours of fucked up, utterly bizarre psychedelic Japanese noisecore, avant grind, psych drones, harsh noise, gabba pop, and other 100% mutant, 100% Japanese confections. Unfortunately, the label that put this out stuck the discs in what pretty much amounts to the most unimaginative packaging possible, a simple xeroxed sleeve with absolutely zero artwork, appearing more like a cheap label sampler than anything. That sucks, because the sounds collected here are from another fucking planet. But then again, you can't really go wrong with 2 hours of music for $6. The first disc has improv noisegrind from Sete Star Sept and Napalm Death is Dead, AWESOME speedmetal/techno from Bakans, retardedly brutal goregrind chugalug from Pultrefaction Apartment and Fuck Me Please, Aostrapos' epic blast psychedelia, freaking killer deathcore weirdness from Deathlate, amazing brutal noise/pop/gabba/hypergrind from Grind D.C.P.S., two MINDBLOWING solo-guitar post-rock/psych/hard rockin' shred instrumentals from Mindweaver (honestly, we recommend picking this sampler up for the Mindweaver tracks alone! Total lo-fi stoner guitar bliss!), plus a handful of other bands whose names we can't read because we can't read Kanji, but we can say that they deal in a variety of bizarre avant-garde J-pop noise, immolating digital noise improv. Then there is the very last track, again by someone whose name is written in Kanji, entitled "Unholy Satanic Improvisation". It's six minutes of a man alone in a room, muttering all sorts of insane nonsensical shit, sometimes letting loose with death metal grunts while he severely abuses his guitar through a tinny practice amp. Essential. The second disc has more brutal electronic noisecore chaos from Feedback Nine VOlt, spastic digital cut-up destruction from Bloody Letter, PLANET CRUSHING powerdrone rumble from Aiz, crunchy harsh noise from 666, ultraviolent feedback improv from Destructionisties and Vent, evil dronenoise from Wyrs, Wolf Eyes -esque devilgnarl from Beautiful Demise, and an awesome set of massive Sunn O)))-meets-Astromero drone metal and ambient annhiliation from Te:ch/a/os:mosis. We're talking GOBS of variety here, folks. In a way, this is a perfect companion to that Japanoise compilation CD we reviewed recently, a detailed exploration into the utterly mutant underbelley of the Japanese extreme underground.


VARIOUS ARTISTS   Japanoise   CD   (Little Mafia)    10.98



Japanoise is definitely one of the best compendiums of Japanese sonic terror that we've fed to our earholes...the lineup is all gold, with exclusive jams from PAIN JERK, K2, C.C.C.C., Melt-Banana, KK Null, MSBR, Masonna, Incapacitants, Mo-Te, and Government Alpha. This disc is a total primer in harsh Japanese abstraction, covering a range of styles and sounds from C.C.C.C.'s mind erasing psychedelic theremin/synthesizer crush, to Melt Banana's blink-and-you-miss-it ADD blast of chiming electronics and grindpop remixing, to MSBR's "Yakuza Psychedelia" that conjures swarms of robotic ants to devour the still-twitching corpse of an Atari 2600 game cartridge. Pain Jerk starts the disc out with a grinding electronic peice that begins rhythmically and then devolves into a roar of crashing metal. K2 delivers one of the most brutal tracks on the disc, a high speed junk noise cut-up that reminds us of Monde Bruit's ear frying Selected Works. KK Null's "Star Burst" is an excellent nullsonic jam, sending shimmering shards of patch-cord generated hum shooting into the atmosphere, very similiar to his work on the Datacide In Year Zero CDR, and Masonna's track is a cathartic dose of intense screaming noise and repeating static loops. Incapacitants send psychedelic vocal spew into deep space underneath a deep rumbling void. Every track on this is a keeper and if you are a fan of the Japanese noise and experimental music scene, this is a pretty essential snapshot of what's coming out of Japan's hard core noise scene in the dawn of the new century. Released in an edition of 1000, with cool visuals from Goldensect.


VARIOUS ARTISTS   Journey Into Pain   4 x CASSETTE BOXSET   (RRRecords)    18.98



RRRecords reissued this four-cassette box that had originally come out on the Japanese label Beast 666 Tapes in 1992, and it collects chunks of both the original Journey Into Pain compilation and its followup, Tourney Into Pain. The original compilations aren't duplicated in full here, rather this is a kind of "best of" comp that collects the harsher, noisier stuff from the original releases. This baby is a monster collection of extreme Japanese noise, evil post-Industrial droneworks and dark ambience, sublime musique concrete sculpture, and skullshredding noisecore, spread out across four cassette tapes. Each artist contributes a handful of tracks or a single, lengthy recording, and the lineup is pretty heavy, with tracks from Boredoms, a New Blockaders/Organum collaboration, PGR, P16.D4, Helene Sage, Merzbow, Sbothi, the Haters, Asmus Tietchens, Hijo Kaidan, Hanatarash, John Duncan, the Gerogerigegege, Masonna, Incapacitants, Odal, Das Synthetische Mischgewebe, Kallabris, Muslimgauze, Function Disorder, Autopsia, Cranioclast, Frank Dommert, and Core. Some of my favorite stuff on here includes the dark, scraping dungeon ambience of the New Blockaders/Organum collab ""Homage To Tatlin", the entire first side of tape two which pounds a ten inch sonic spike into your face via Hijo Kaidan's junk-thrash orgasm "5 Years On", an extended performance of sugar-fueled spazz on Boredom's "We Are The Law!", and Hanatarash's "We Are Hard Core", a likewise lengthy live jam of total free-noise violence and chopped up junkyard thrash carnage.
The tapes come in a 7" x 7" white box with black and white artwork from Françoise Duvivier on the outside.


VARIOUS ARTISTS   Herz Aus G.R.O.S.S. Best Of G.R.O.S.S.   4 x CASSETTE BOXSET   (RRRecords)    19.98



Reaching way back into the RRRecords catalog, we've dug up this four-cassette boxset that features eight sides of heavy analogue earblast from the legendary Japanese noise label G.R.O.S.S.. G.R.O.S.S. was operated by Akifumi Nakajima from AUBE and released tons of exquisitely crafted tape releases from some of the biggest names in the harsh noise scene, but is nowadays focusing primarily on his releases as AUBE. Most of the original G.R.O.S.S. releases have been out of print for ages, but the Herz Aus G.R.O.S.S.: Best Of G.R.O.S.S. - Japanese Noise compilation collects eight of these tapes from 1992-1993 in a single boxset and is actually still available as a domestic release via the RRRecords/Statutory Tapes vaults. The tapes feature one side each from a handful of Japanese noise artists that I've been following for awhile (Aube, Monde Bruits, Thirdorgan) as well as some as-of-yet unheard groups that I heard here for the first time (Dislocation, Mortal Vision, Club Skull, Shida, A.M.M.T.). With each side averaging around 25 minutes of material, there is plenty of hard-edged noise here for fans to sink their molars into.
Here's what you get with this tape set, in order of appearance:
The first side is Akifumi Nakajima himself as Aube, and his "Spinning Re-Mix" is a super dense dronescape constructed from recordings of water that have been processed and manipulated into heavy swirling drones and textural grinding. The sound here isn't all that loud, but it's definitely heavy, with deep low-end rumbling echoing across the soundfield of Aube's liquid noise sculpture. Early on, this piece is actually kind of hypnotic, with bubbling rhythms and dripping sounds looped into mesmeric patterns, but as this progresses Aube contorts the sound of water into a roaring mass of distorted, deafening noise.
"Cubic Remix" from Monde Bruits showcases another one of Shohei Iwasaki's monstrous distorted dronescapes, a wasteland of throbbing bass-noise loops and grinding guitar generated feedback, hissing electronic wind and swarms of chirping noise. Dark and ominous and heavily psychedelic, like hearing a Total cassette melted and muted and spliced into layers of endless loops. Iwasaki died in a motorcycle accident several years ago, but he left behind an impressive body of work that anyone into harsh noise should check out.
The Dislocation side is my favorite of the bunch. Their "Distilling Mix" erupts into massive clouds of improvised noise with saxophone, electronics, and guitar all battling for air, creating a dense, crushing free-noise jam that's in the same vein as their CD on PSF. The fiery sax blowing and skincrawling high-end squeals point towards Borbetomagus as one reference, but the guitar noise that the band generates is off the hook, obliterating everyone in the room with huge squalls of grinding, scraping, ultra distorted amp sludge and monstrous black drones. This rules! Totally violent, cathartic extreme-free-jazz-noise destruction, abstract and beautiful, and a must hear for fans of Borbetomagus and Exias-J.
Mortal Vision is a lesser known project from CCCC's Hiroshi Hasegawa. Instead of the hyperdense cosmic noise blasts that we get from his work in CCCC and Astro, Mortal Vision sounds like it could be almost entirely guitar generated. "Nacht Dream Mix" emits a lengthy freeform guitar noise jam with crushing distorted drones and sheets of wavering leaden feedback, all buried under a mountain of murky tape noise and electronic grit. It's like listening to a cassette tape of Sunn O))) playing free jazz guitar that has been baking in the sun for a month, the massive tones and feedback blurred and smeared into a monstrous abstract ambience. So cool.
Next up is Club Skull. I had never heard of this group before I picked this set up, and it looks like this tape is the only thing that the band ever recorded. It turns out that Club Skull was a one-off project with Hiroshi Hasegawa (CCCC, Astro, South Saturn Delta) on synthesizers, and Akifumi Nakajima (AUbe) and Fumio Kosakai (Incapacitants, CCCC, Hijokaidan) on electronics, and their cassette for G.R.O.S.S. is a masterpiece of delirious cosmic noise, an epic flight through sparkling kosmiche drones and haunting deep-space ambience, whooshing synth blissouts and ominous black drift that has more in common with the sounds of Klaus Schulze and Cluster than the hardcore noise blowouts that they share this boxset with. Wow! By far the most beautiful and dreamy piece in this set, and a must-hear for fans of Hasegawa's other projects.
Then comes Thirdorgan, and we're sucked straight down into the mouth of hell. "Cyclic Re-mix" is a brutal demonic noise blitz from one of the more vicious practicioners of second wave Japanese noise. Akihiro Shimizu's approach to harsh electronic noise is to pile on sound upon sound upon sound until he ends up with a churning miniature universe of monstrous roaring, exploding machinery, shreiking guitars, oceans of murky distortion, endless squeals of feedback and crushing psychedelic FX. It's the sound of a thousand cracked death metal tapes playing simultaneously while a chemical plant explodes nearby. Brutal.
Shida is a ambient drone side project from Toyohiro Okazaki, who also plays in Dislocation. A far cry from the ecstatic earth-shaking nuclear improv of his other band, Shida instead crafts an ominous dronescape of muffled voices, looped rhythms, subterranean drones, and washes of decaying noise.
The set closes with A.M.M.T. and "Hi-Density". Another project that I didn't know anything about before picking up this set, A.M.M.T. is apparently another project from Akifumi Nakajima, but it's hard to verify this as there is no info on this project anywhere to be found. All I'm going on is that the contact info for A.M.M.T. that is included in the packaging is the same that is used for Aube. Whoever is in charge, they sure wrap this up loud. Grinding improvised free-noise, quivering theremin manipulations, super-heavy guitar grind, screaming, melodies...is that a free jazz band in there? Sounds like there might be. Also sounds like there's a couple of death metal guitarists somewhere buried underneath all of the wreckage, shredding into infinity. Definitely borders on Borbetomagus territory, and further investigation is required.
The four cassettes are packaged in a white hinged box with labels attached to the front, back and spine, and it includes a postcard with contact info.


VARIOUS ARTISTS   Dark Side Of The Brain I   LP   (Endorphine Factory)    9.98

Dark Side Of The Brain I IS CURRENTLY UNAVAILABLE FOR ORDER

Here's an interesting older LP that was released through the Endorphine Factory label out of Japan, run by Hiroshi Hasegawa from C.C.C.C. The Endorphine Factory label has been out of commission for years, but we've obtained some copies of their last available titles for C-Blast from a distributor, including the Chaos Of The Night Live At KFJC disc, this limited edition LP, and the Monde Bruits Selected Noise Works 93-94 disc.
Dark Side Of The Brain I was released in 1994 and offers four different artists who deal in strange, spacey noise minimalism - for the most part, this compilation is a lot less abrasive than the other music I've heard from the label (like C.C.C.C., for instance). There is some cool stuff on here though. It opens with two tracks from the creepy Industrial collective Telepherique, titled "Schweinepest" parts one and two...glitchy computer blips are looped together over abrasive feedback sounds and creepy animal-like noises, and at one point it sounds like I'm hearing a mangled Kraftwerk sample being overrun by field recordings of ravenous feral pigs. Then there's "Space Hippie" and "Theme Of Christine", two awesome tracks of trippy Japanese psych weirdness from Christine 23 Onna, the space/psych/kraut worshipping band that features Maso Yamazaki (aka Masonna) and Fusao Toda (Angel N' Heavy Syrup). Both of these tracks also appear on the album Space Age Batchelor Pad Psychedelic Music, although these are different recordings. Druggy psych guitar lines and haunting flute meanders around stoned drum circle rhythms, and trancey synth-murk grooves ooze through a thick fog of cosmic troniks. MUCH different from the fierce noise we're used to hearing from Masonna, but very cool and spaced out and stoned.
On the other side of the record, we get one long piece from Australian sound artist John Watermann called "Music From The Bunker", a claustrophobic musique concrete collage of voices and noises and music that sounds like a radio dial spinning through a million radio stations at light speed while a thumping rhythm loops endlessly and growling, demonic voices flit around the chopped up bits of sound. That's followed by "Aurelia" from Trance, the solo-guitar/industrial/dark ambient project of Mason Jones from Subarachnoid Space/Numinous Eye. This track is a drift through epic dark ambience and creeped out orchestral music, filled with creeping synth drones, ominous strings and chiming melodies, percussive clatter kind of like distant Japanese taiko drums and clanking metal rhythms- an amazing bit of horror-tribal-industrial-ambient that sounds like it would be right at home on the score to an arty splatter flick. Hell yeah, this one is my favorite of the comp.
Surprisingly, I was able to get the super-limited version of this record that was packaged in a black sleeve with a die-cut square in the middle of the jacket that is covered with a bright orange piece of textured paper that has the album title and some abstract artwork printed onto it. Only 300 of these were made and each one is hand-numbered out of 300.


VARIOUS ARTISTS   Dead Tech 3   CD   (Charnel Music)    11.98

Dead Tech 3 IS CURRENTLY UNAVAILABLE FOR ORDER

We just managed to get the LAST TWO COPIES of this killer compilation from the label - once these are gone, this title is sold out for good!
Dead Tech 3 is the, uh, third in a series of compilations that started out on the Dossier label out of Germany in the late 1980's, but this final comp came out on Mason Jone's Charnel imprint back in the early 90's. All were curated by K.K. Null (Zeni Geva), with his handpicked selection of extreme Japanese underground bands, so you know you're getting a massive dose of weirdness here...Dead Tech 3 features exclusive jams from bass/drums prog maniacs Ruins (they drop about six minutes of insane precision destruction on here, AWESOME)...a titanic live jam entitled "You Suck" from Zeni Geva that sounds like your house getting sucked into another dimension...bizarre, awesome garage/grindcore/noise rock from Copass Grinderz...Space Streakings blast a medley of Boredooms-meets-Big Black-on crack avant-punk destruction ...killer carnivalesque Japanese psychedelia from Daihakase...and lots of Melvins-inspired metal weirdness from Ixa-Wud, Avalanch, Funhouse, and Te No Kanshiyoku. Heavy shit. Jewel case packaging. As far as we can tell, this is pretty hard to locate nowadays.


VIOLENT ONSEN GEISHA   The Midnight Gambler   CD   (RRRecords)    5.98



This is the cult 1996 full length of crazed psychedelic noise collage from Japan's Violent Onsen Geisha, released as part of the essential Pure Series by RRRecords. Violent Onsen Geisha was always somewhat unfairly lumped in with the likes of Merzbow, Hanatarash, Masonna, etc., even though VOG mastermind Masaya Nakahara's 60's kitsch/ambient found-sound-meets-stand up comedy routine with rabies-meets-earsplitting distortion and feedback cut-ups are situated on an entirely different brain-damaged planet. This stuff ranges from super surreal sound events to brutal feedback shriek, a neverending stream of epileptic noise seizures and ultra spastic tape-splicing insanity that is sort of like Boredom's Yamatsuka Eye screaming over Negativland cassettes that have been left by the radiator for way too long. Sounds like heaven to us. Also includes killer live material. Comes packaged in a black wallet sleeve sealed with a junked multicolor label, Pure Series style.


YINGFAN / DARUIN   Hair Peach   CDR   (Neus-318)    5.00

Hair Peach IS CURRENTLY UNAVAILABLE FOR ORDER

More intense Japanese hard-drive carnage from Neus-318! I discovered this Japanese CDR label a few months ago, and while much of their catalog is made up of kooky abstract computer noise and glitch collages, some of their stuff is straight up skullripping digital noise that leans towards the psychedelic ends of the Japanese noise scene. I scoured their catalog and picked up their most aggro, brain wasting releases for Crucial Blast, which Japanese noise fans should definitely check out.
An hour long split disc of brutal digital noise and whacked techno/beastscapes from the Far East: The Taiwanese noise artist Yingfan starts this off with seven tracks of mostly-harsh electronic noise, nothing high-concept, just constantly shifting speheres of brutal synthesizer overdrive, sheets of liquid white noise textures, ancient videogame terminal sounds, damaged computer sounds ricocheting off of distorted quasi-beats and abstract rhythmic loops formed out of bits of ultradistorted noise. There are a few moments where Yingfan injects some deep space synth tones and cosmic drift in his brutal noise attacks, which like several other releases on Neus-318 bear some resemblance to the psychedelic space-noise of groups like CCCC and Astro, but mostly Yingfan forges pure harsh digital chaos that is more in the Merzbow/Kazumoto Endo school of violent hard drive skree.
Neus-318 house band Daruin makes another appearance and offsets the chaotic loudness of the Yingfan side with four tracks that are for the most part quite a bit more subdued. These tracks (with titles like "Dance With Russian In China" and "Very Nice History Of Victorious Country" ) are tiny mutant panoramas of life inside of a hard drive, weird soundscapes filled with a teeming mass of chirping tones, glistening organic pulses, insectoid chattering, aquatic bubbling sound, and occasional blasts of looping computer noise that drift overhead. At times this is like listening to a field recording of an alien swamp filled with the sounds of unimaginable creatures that are made out of silicon, steel, and flesh; elsewhere, the music approximates a deranged Nintendo game disco soundtrack, a type of fractured low-fi techno/noise hybrid. Daruin definitely keeps me guessing with each one of his releases.
Packaged in a full color paper sleeve with weird abtracted Japanese paintings.
Track Samples:
Sample : YINGFAN / DARUIN-Hair Peach
Sample : YINGFAN / DARUIN-Hair Peach
Sample : YINGFAN / DARUIN-Hair Peach



ZAIDEN   Virus   7" VINYL + CDR   (Hjuj'd Tyrusgr)    5.98

Virus IS CURRENTLY UNAVAILABLE FOR ORDER

��� Ultra-obscure Japanese synth brutalist Sou Hayano makes his first appearance here at C-Blast with this new 7" from his Zaiden project, released by the fine freakazoids over at Hjuj'd Tyrusgr. Not knowing much about this project as there's virtually nothing to be found online about either Hayano or Zaiden, I had initially expected this to be in a similar psychedelic vein as Hiroshi Hasegawa's extreme synth-generated walls of electronic noise. Hayano delivers something a bit more deranged, though, spewing a nine minute eruption of monstrous synthesizer mutation.
��� "Virus" starts off as a cluster of frenzied signal sweeps and violent glitchery that slowly builds over a bed of soft, crackling static. As the track progresses, Hayano gradually contorts his cracked and tortured electronics into a series of severely deformed melodies that unfurl into jagged, atonal forms, sinister strains of discordant creep that rise and fall through the swirling distorted signals and rhythmic loops of bleeping noise. Doesn't take long before this transforms into a surreal, nightmarish din of mangled electronics, like some evil Stockhausen piece being force-fed fistfuls of methamphetamines and jammed through a particle accelerator and set against a panoramic backdrop of squirming Cronenbergian mutations and crawling flesh-horror. Solidly abusive stuff that does a nice job of rending your nerve endings before it's all said and done. Issued in a limited edition of one hundred copies, each hand-numbered and comes with a CDR copy of the entire uninterrupted track.
Track Samples:
Sample : ZAIDEN-Virus
Sample : ZAIDEN-Virus



ZENI GEVA   Freedom Bondage   LP   (Alternative Tentacles)    14.98

Freedom Bondage IS CURRENTLY UNAVAILABLE FOR ORDER

Long out of print on CD, we've tracked down some of the super-rare vinyl for Japanese art-metal trio Zeni Geva's 1995 album Freedom Bondage. Produced by Steve Albini and featuring the addition of keyboards, acoustic guitar and the surprising appearance of melodic singing on a couple of the album's tracks, these nine songs deliver ZG's trademark angular math-metal with those weird time signatures, disjointed but crushing powerchord riffage, and frontman K.K. Null's intimidating drill sargeant/samurai battle shouts. There's plenty of weird shit here too, like the spacey dub percussion hit on the title track, or the frequent nods to keyboard-heavy King Crimson style prog rock, and the clean singing that shows up on the last track "Ground Zero" is, well, pretty fucking breathtaking - that tune has a very 70's prog feel. But as proggy and psychedelic as Freedom Bondage often gets, Zeni Geva never let up with their ferocious metal, which aside from maybe Ratos De Porao has got to be the heaviest shit that Alternative Tentacles ever put out. An awesome fusion of Swans' trudging nihilism, math rock chops, cosmic prog, and blistering Slayerized thrash slowed down to a (mostly) crawling stomp. We only have a few of these LPs, and once they are gone they are gone for good.


ZENI GEVA   Desire For Agony   CD   (Alternative Tentacles)    12.99



Just found some more copies of this hard-to-find 1993 album of absolute grinding heaviness from Japan's Zeni Geva that has been out of stock for awhile. This is bludgeoning machinelike crunch delivered with a singleminded intensity on par with bands like Godflesh and Swans. Desire For Agony has slipped in and out of print over the years and I just managed to get another batch of this crusher back in stock-Zeni Geva are one of the more sorely missed Japanese underground outfits, and this Steve Albini-produced album is one of their finest.
Dual guitars engage in brutal locked-groove mathmetal riffs played in slow motion over some of the jazziest drumming of any Zeni Geva album, while ZG frontman K.K. Null lets loose with a onslaught of fierce samurai war-shouts delivered in a mixture of Japanese and English, and the song titles like "Stigma", "Dead Sun Rising", "Heathen Blood", and "The Body" continue to paint a morbid vibe that has continued to arc over ZG's albums. Songs like "Autopsy Love" speed it up with double bass drumming racing alongside some ripping speed metal riffs and chiming clean guitars; elsewhere Null and second guitarist Tabata drop in little melodic flourishes that reveal brief respites of prettiness in between all of the angular pounding, which only end up making the music sound even more paranoid and psychotic.
The result is something like Cop Shoot Cop, Swans, Godflesh, and Slayer rolled into one and fronted by an enraged Toshirô Mifune - yep, Zeni Geva are heavy and grim almost to the point of ridiculousness, an over-the-top industro noise-metal killing machine, but that's why I love 'em. Killer album artwork from prison researcher and editor of the now defunct zine Primary Concern, Marc Fisher.


ZENI GEVA   Disgraceland   7" VINYL   (Alternative Tentacles)    5.98



This tough-to-find 7" from 1993 features two crushing tunes from the Japanese noise/math metal gods, "Disgraceland" and "Autobody". Released by Alternative Tentacles (and easily one of the heaviest goddamn things the label has ever put out), this EP is primo angular crunch; "Disgraceland" unleashes a lethal groove and machinelike drumming and then drops a weird noise passage in the middle before kicking back in with that steamroller riff, and "Autobody" is a vicious atonal assault in Zeni Geva's speed metal/samurai style, all angular thrash riffing, energetic fast paced drumming, and K.K. Null shouting battle commands over everything. But then ZG kicks you square in the jaw halfway through with a droning math rock break and a disturbing slide guitar solo. This stuff still crushes. On black vinyl.


ZENI GEVA   Maximum Money Monster   CD   (Cold Spring)    14.98

Maximum Money Monster IS CURRENTLY UNAVAILABLE FOR ORDER

Back in stock - and according to the label, some of the last copies of this reissue!
A reissue of legendary Japanese heaviness that could not have come one minute sooner, Zeni Geva's first album Maximum Money Monster from 1990 has been resurrected by Cold Spring for this new CD release and beefed up with three devestating additional tracks that are appearing here for the first time. When this album first came out on Pathological almost twenty years ago, it decisively put Zeni Geva on the map of monolithic heaviness that was being charted by likeminded dirge technicians like Godflesh, Swans, and Big Black at the time. I can't imagine how punishing it would have been to hear the slurred opening blast of "Slam King" for the very first time; K.K. Null's monolithic grinding riffs were joined by Mitsuru Tabata on second guitar and fit like machine teeth to the irregular rhythms that drummers Ikuo Taketani and Tatsuya Yoshida (also of Ruins) were laying down (the album features each of the drummers on alternating tracks), and abrasive psychedelic noise and feedback is piled on top in huge amounts, and occasionally shot through with searing, screaming guitar solos on tracks like "Sweetheart" that'll strip the enamel right off of your teeth. K.K. Null's vocals combine crazed shrieks with his patented "samurai warrior" battle roar that still sounds every bit as terrifying today as it did in '90. There's a relentless martial intensity much like that of early Swans at work here with each song being comprised of just one primary riff that the band bashes out over and over in search of the ultimate mindcrush heaviosity, but Zeni Geva were in their own way a vastly heavier beast than any of their peers, almost undefineable as they combined elements of atypical time signatures, atonal thrash metal melted down into a hypnotic trance, sludgy death metal and arty industrial-psych noise, blasting way out beyond anything going on in metal at the time and harnessing some of the most crushing music of the time. An absolute devestator of an album that meshes perfectly with the current zeitgeist that is producing a renaissance in harsh experimental rock forms and reissues of seminal albums like our redux of Skullflower's IIIrd Gatekeeper. This new edition of Maximum Money Monster combines the original album tracks with three bonus live jams ("War Pig", "Skullfuck", and "Dead Car, Sun Crash") recorded in Tokyo in 1990, and all three sound crushing.
Track Samples:
Sample : ZENI GEVA-Maximum Money Monster
Sample : ZENI GEVA-Maximum Money Monster



ZENI GEVA   10,000 Light Years   CD   (Neurot)    14.98

10,000 Light Years IS CURRENTLY UNAVAILABLE FOR ORDER

We've got some more crucial Zeni Geva action if you've missed out before! When Zeni Geva dropped 2001's ultra-crushing 10,000 Light Years on us, it had been six years since the band's last album (1995's Freedom Bondage), and saw the Zeni geva returning with a vengeance to wreak some of the heaviest, most jagged metallic noise/math rock on the planet. 10,000 Light Years was their first (and to date, only) album for the Neurot imprint, and it's as bonecrushing as anything they've ever bestowed on us. By this point, Zeni Geva's intimidating architect K.K. Null had been focusing heavily on his solo avant-guitar work and some other band projects he had kicking around, but he slipped back into Samurai warbeast mode efortlessly for this album, constructing eight jams of lumbering, crushing metallic math rock, heavily influenced by Swans but also having a bit of that Shellac/Dazzling Killmen sound. Once again, Zeni Geva went to Steve Albini to record their album as they had with their previous full lengther, and the album is actually one of their sparser efforts in their catalog. It's almost entirely instrumental, although we do get to hear Null deliver the few lyrics he does have in that awesomely over-the-top samurai growl, and the songs have lots of dynamic, quiet-to-loud shifts, the song structures themselves feel more contorted than on previous albums, and Null's guitar playing is pretty fractured, with lots of dissonant chords and skronky riffage as well as lots of his trademark bleeping, fractalized "Nullsonic" guitar noise. I can't help but hear that Chicago post-rock influence in there as well as some elements of traditional Japanese music that I don't remember hearing in older ZG releases, and combined with their already punishingly heavy metallic crunch, this all makes 10,000 Light Years probably the band's most progressive sounding album so far. It's been years since this came out, and I'm not sure if Zeni Geva will ever rise up again to pummel us with their brutal percussive avant metal, but at least we were able to get this killer album from them before they fell back into slumber. Comes in a nice full-color, 6-panel digipack with lots of K.K. Null's abstract computer artwork .


ZENI GEVA   Total Castration   CD   (Public Bath)    14.98

Total Castration IS CURRENTLY UNAVAILABLE FOR ORDER

this rare 1991 full length is one of my favorite albums from the Japanese trance-metal trio Zeni Geva, featuring the legendary avant-guitarist KK Null alongside second guitarist Tabata and drummer Eito. Released on the long-gone Public Bath label and produced by Steve Albini, Total Castration rolls right over you from the first crushing, angular guitar riff, unleashing eight tracks of monstrous, mathy hypno-metal that seem to sound all at once like a tightly-wound fusion of early Swans dirge, art/prog rock, Motorhead, twisted syrupy thrash metal, and the hardcore industrial pummel of early Godflesh. Null bellows over these songs like a seriously pissed off samurai warrior, while the band locks in on a grisly, percussive slowed-down speedmetal riff for minutes on end, over jagged, deceptively complex rhythms that frequently push their music into strange timings, and dissonant guitar-noise textures. Powerful, seriously heavy stuff. There's even a song on here called ""Godflesh"", but who knows whether or not it's a tribute, since all of Null's imagery and song titles are firmly rooted in similiar themes: ""Total Castration"", ""Shoot Me With Your Blood"", ""Bloodsex"", ""New Flesh"". Massive.

  




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