All hail the trans-Pacific noise continuum! Each 21-minute side of this
album is dedicated to an artist from Japanand California,
respectively. While certainly harsh, the music of K2aka Kimihide
Kusafuka and Allan Zane offers a great richness of detail, which makes
it less of a harsh noise wall than a noise mosaic. Making perfect sense
of the Split LP idea, each artist offers a different take on what it
means to make noise: while Japanoise guru K2maxes out anything there is
on his electronic equipment, Allan Zane takes to his power tools.
“Mirror for Colored Sin” by K2credits junk electronics as sound
sources next to the legendary TR-808 drum machine. There is a wonderful
irony in the fact that the famed 1980s device, adored by pop and techno
producers the world over, is used here for something so decidedly un-pop
and undanceable. After all, isn’t noise about destroying the official
signal and creating something from the remains? Aptly, Kimihide Kusafuka
credits himself as “decomposer” of the piece he performs on this record.
Allan Zane dedicates his piece “Zerstörte Musik” to two of the most
iconic noise practitioners outside of Japan: GX Jupitter-Larsen of The
Haters and Richard Rupenus of The New Blockaders. Using metal objects,
power tools, effects devices, and a good amount of overdrive on the
recording, Allan Zane creates a piece that does not sound simply like
‘destroyed music’ as the title claims, but quite psychedelic in its
textural, ambient quality. We would not go as far as calling it ‘acid
noise,’ but Zane’s years of experience in creating spaced-out audio
collages with LSD (that is, his recording project Le Scrambled
Debutante, also released on attenuation circuit) sure benefitted this
track a great deal.
File under: noise
black 12" Vinyl Album
Released in 2014
limited to 300 copies
price: 15.00 EUR (excl. postage)
design – EMERGE
photography by – www.brezenstudio.com
Limited edition of 300 hand-numbered copies.
Recorded at ONCOSONIC LABORATORY, June 2014.
Mixed on June 06, 2014.
Thanks to all people who support me.
© & (p) Kimihide Kusafuka 2014.
Recorded at home, March 2004 / May 2014.
Mixed on May 23, 2014.
Dedicated to GX Jupitter-Larsen and Richard Rupenus.
© & (p) Allan Zane 2014.
Brutal, uncompromising and simply beautiful. Those words best desribe a split release between longstanding japanoise artist Kimihide Kusafuka (K2) & Allan Zane, multimedia artist based in United States. Expect anything, except silence, because this blasting vinyl record contents all the harshness of the both artists.
K2 have the privilege to be on a A side with a track called ”Mirror Of The Colored Sin”. To be honest, this is not a typial K2 tune. There’s more to it. It’s consisted of a lots of layers of synthbox explorations, repetative sounds and almost edgy scratches and gaps without delay effect to overlay previous sounds. It’s always interesting to hear new ideas of Kimihide Kusafuka, because he have plenty of them and simply know how to use them wisely.
Allan Zane is on the B side of this piece of fine plastic and his ”Zerstörte Musik” sounds slightly different in a such a good way, beacuse it gives a variety of sound on the whole split record. It reminds me of some ambient noise wall mixed with layers of white and brown noise, but with also extra layers of small noisy movements in the background. Sounds are evolving as the time is passing by, so the whole track sounds like a evolutive process.
To be honest, this record worth every penny by all means, because it captures the best of both artists. Not to mention the beautiful cover artwork and awesome packaging which are done by Sascha from very productive Attenuation Circuit records. Grab your copy and enjoy.
monk mink pink punk:
It’s a mystery which side of the record belongs to which name. I am going to assume the first side I played is K2. The harsh noise/squeal assaults hit me with what I know of Kimihide Kusafuke’s work. “Mirror for Colored Sin” is a constantly changing battlefield of static roars, electronic whines, distorted drum machine beats and sharp fluxations between these types of sounds and other bits of noise. I sense that the piece was mixed live, not overdubbed at all, maybe Kusafuke standing at at table, surrounded by tape players and devices, turning no more than two knobs at once at any one time. Very rich, as it does not stay on any one type of sound for more than a few seconds, often jumping back and forth between two different sonic landscapes. Allan Zane’s track, “Zerstörte Musik,” feels like a mellow mix of K2’s track. Many similar sounds are used to a quieter, less frantic degree. I’ve written before that I enjoy harsh noise music to be played very quietly, so the extreme sounds become subtle and mysterious, tiny things in the corner, or locked in a box.
Mám p?ed sebou t?i noiseová split alba: jedno LP, jedno superlimitované CD-R v jedine?ném obalu, jeden singl, na n?mž po?et vydavatel? p?evyšuje po?et ú?inkujících. Samý bezostyšný noise, takový, jaký David Novak ve své knize Japanoise z jakéhosi akademicky zaumného d?vodu považuje za jediný správný: hluk bez pevných struktur, hluk vznikající bezprost?ední interakcí hrá?e se zp?tnou vazbou nejr?zn?ji propojených krabi?ek vyskládaných na stole. Tahle n?jak – když to zjednoduším – na p?ítomných nahrávkách postupovali všichni hudebníci.
?ist? hypoteticky: mohlo se stát, že se na n?kterém titulu byla nedopat?ením prohozena autorství jednotlivých track?, to ale není v mé moci zjistit. Natolik jsou si jednotlivé p?ísp?vky podobné. Rozhoduji se ale v??it, že k chyb? ani naschválu nedošlo a vybaven informacemi z obal?, pouštím se do rozlišování jednotlivých zvukových strategií. (A op?t jsem se p?i tomto zkoumání p?esv?d?il, jak citlivým lakmusovým papírkem nálady poslucha?e zdánliv? h?motn? necitelný noise umí být.)
N?mecká zna?ka Attenuation Circuit existuje – p?edevším virtuáln? – již mnoho let a je podepsána pod desítkami titul?. Za?ínala jako label, na n?mž svá plus minus ambientní dílka vydává tém?? výhradn? majitel, Sascha Stadelmeier vulgo Emerge, postupn? se ale její roster jaksepat?í nabalil a na sklonku lo?ského roku ohlásila, že ?adu download alb a cédéerek rozši?uje o CD a LP. Split K2 s Allanem Zanem je jedním z prvního vinylového vrhu.
Japonec Kusafuka Kimihide chrlí noiseové nahrávky již od za?átku osmdesátých let, pat?í tedy ke generaci otc? japonského noise, na skoro tak vysoký piedestal jako Hijokaidan ?i Merzbow. Hraje p?edevším na „junk elekctronics“, k nimž p?idá tu a tam analogový syntetizér, automatický bubeník – což je p?ípad tohoto splitu, na kterém ale neuslyšíme jediné duc ani ?vacht – a vícestopé nahrávadlo. K2 je k poslucha?i dosti nemilosrdný, jeho p?íval hluku má až steriln? ?isté st?ny a klouby a do?ista mu chybí jakýkoli „touch of humanity“ – jako kdyby jej náhodn? generoval stroj bez operátora.
Kalifor?an Allan Zane je multimediální um?lec, ?len ?ady sestav, o nichž jsem dosud neslyšel (nap?íklad Le Scrambled Debutante, Mixed Band Philantropist), jakož i droneových Wyrm. Ve své kompozici Zerstörte Musik dochází metodou vrstvení a st?ihu k podobnému výsledku jako K2 pon?kud voln?jší improvizací. Sedmnáctiminutové dílo bylo nahráno v letech 2004 (až?) 2014 a je v?nováno noiseovým ikonám GX Jupiteru-Larsenovi (Haters atd.) a Richardu Rupenovi (New Blockaders atd.). Ve srovnání s K2 zní Zane o fous melancholi?t?ji a umí si vychutnat ne?etné okamžiky ztišení.
VITAL WEEKLY 974:
And then we turn to vinyl for the final new release, a split album by Japanese K2, also known as Kimihide Kusafuka, and Allan Zane, the latter sometimes works as Le Scrambled Debutante. K2 has by now a 20+ year career of playing japnoise at it's very best, using 'junk electronics' and, these days, the Roland TR 808, which he doesn't use to produce beats but rather uses as a generator sounds which he feeds through his junk electronics, which of course I have no idea what it is. Unlike say Merzbow, K2's music isn't a wall of noise but rather a vivisection of sounds in which everything is dissected and thrown around in a vivid and vibrant manner. A most tiring piece, and I mean that in the most positive way. Allen Zane on the other side of the platter dedicates his eighteen minutes to The Haters' GX Jupitter-Larsen (although wrongly spelled on the insert) and Richard Rupenus of The New Blockaders. He uses 'various metallic objects, various power tools, various effects processors and Cool Edit Pr 2.1' and it's all about the destruction of music. Unlike K2, but like many other noisemakers he storms ahead with one massive slab of on-going noise, in the tradition of Harsh Noise Wall, but not as harsh, although it is actually quite noisy. It has very little to do with Le Scrambled Debutante, I guess, and is quite psychedelic in its own way. (FdW)
YEAH I KNOW IT SUCKS:
while K3 is a Flemish/Dutch girl band aimed at entertaining pre-adolescent children, K2 is aimed to entertain the more adult like masochists from around the world. The music of K2 is the stuff that does its best to rip your skin of your body, bleach your ears. shoots you up with lasers, electrocutes the mind with impulsive high form of voltages and drags all what is left behind a incredible fast speeding formula one racing car. It really feels that on every corner that the race chooses to go, the pain factor gets a little bit more challenged. This K2 is at this part of the split very good at being very hard and effective in creating some kind of action based rush that isn’t for the faint hearted, but more for the adrenaline addict that likes to be thrown of a more than 21 minutes long rollercoaster of noise stabbing wild actions.
More ‘relaxed’ is the side occupied by the work of Allan Zane. This artist is also not steering away from the harsh noise side of music, but does come across more digestible (I write this in a very weird way of perception) compared to the tormented form of the wild raging race of harsh noise action from K2. Allan Zane goes more for a harsh smooth screeching work, inserting hisses, smooth rusty noise and if my ears still can be trusted; field recordings. At times I can hear voices, creating some kind of alternative realm of harsh noise ambient with an imaginative industrial element; but it just might be a fragment of the mind being triggered into hearing things that aren’t there to save myself from the harsh treatment of this strange anti-music that successfully seems to trigger the mind into craziness.
This split isn’t for children as this is serious traumatizing noise material with enough harshness to leave its willing victim deaf and possible brain dead. But if that is something you had always wanted to achieve, or perhaps wanted to inflict on others’ than this might be a dream split for you.
It got everything really, from a masochistic harsh noise action full of adventurous corners, painful but exciting.. to a more spreaded sane noise piece with hallucinative friendly side-effects.
The split is nicely captured on a stunning looking limited hand-numbered edition of black vinyl,
and really does come across as a great gift to give to someone you dislike, or even to your masochistic self!
AMBIENT NOISE WALL:
K2 is Japanese noise musician Kimihide Kusafuka who was active since the early 80s and produced a number of tapes and CDs, particularly for his own label "Kinky Music Institute". And the other side of the album was made by Allan Zane better known as ARCANUM and SIR BEAR TRAPPER, who comes from Sylva, North Carolina (USA). Both have made this album but not together, but as an split, each side is different. Something about the simmering, shrieking attack of noise adds to already destructive music. It gives everything an edge and burn and cuts straight to the bone like a blade steeped in fire and left to whiten. Suddenly all flesh becomes butter beneath the blade. And noise is working its way into everything. But you know what? Good. Even though it's been being incorporated for a long, long, long time. K2 noise (and also ALLAN ZANE no doubt) resides in the background and I'll admit I wish it were turned up some. However, once tracks like “Mirror For Colored Sin” come on the extreme electronic harsh noise is fully lunched. “Zerstört Musik” might even better, but is impossible to me to choose a favourite track, because both working in the more extreme side of noise. It's frantic with skipping, scratching noise. Walker's distant, blistering screams add to the dark, blip laden atmosphere. The two songs evokes the feeling of a late night television gone full static to a snuff film. It's totally chaotic and disordered, not structured at all. I have not seen this release on physical format yet, but it looks nice and awesome.