Fuck yeah, some more Kohei Nakagawa stuff! I'm a fan of all of the various projects from this prolific Kyoto artist, not the least of which is his punishing Guilty Connector project, which has been fusing brutalizing harsh electronic noise with rapid-fire editing and musique concrète elements since he first ripped into the Japanese noise scene in the late 1990s. Man, I grooved on everything about this project, the use of hardcore punk visual aesthetics and wicked-looking collage art, strange field recordings and the sense of intense speed and internalized tempo that permeated so many of his recordings; like his pal (and frequent collaborator) Eric Wood in Bastard Noise, this was an approach to extreme sound that explored a world of sensual, psychedelic textures, frequencies, speeds and sounds while mainlining a kind of violent, pre-apocalyptic energy. And much like BN's work, Nakagawa makes use of hand-assembled electronic equipment to produce his brutal skree, with names like "Shibaki" and "Utsu" electronics.

So this ten-minute EP Gold Land Trash popped up on Kitty Play in 2016, using what appears to be his new "Guilty C." moniker, with little attention from the electro-hive-mind. It is top-tier GxCx to be sure, however; but these two brief pieces ("Lies" and "Vain") at least at first pull you into a mysterious, potentially accursed sound field of distant hum, nocturnal urban murmurs, odd knocks and scrapes, building as additional layers of screaming distorted waveforms and ghastly subterranean howls pile on top of each other, inhabiting a space somewhere between the full-on psychedelic skree / feedback violence of Kohei's earlier work and a liminal territory at the edge of vast, crushingly oppressive industrial installations.

That concrete quality instantly opens the b-side as well, forming a dull rhythmic clanks while Kohei starts firing off spurts of vicious, tactile noise that he proceeds to keep caged somewhere in the middle of the mix. That track ("Vain") is one of GxCx's more interesting "recent" assemblages, with several moments that make you feel like his sound has physical forms, and is attempting to throttle you through the speakers amid an array of weird poltergeist knocks, crazy fluttering oscillator signals, and raw percussive clutter.

Trippy but aggressive, with moments of almost meditational ambience scattered throughout.

Released in a limited run of one hundred copies.