Tokyo based but likely seen in other parts of the world as he’s extensively travelling/performing, Kazehito Seki is, to the best of my knowledge not yet documented with many releases. His live performances center on mouth/vocal + contact mics in a confrontational torturous, feedback-laden compositions carving ambitious sonic explorations of noise suffering, trapping the listener in discomforting, grinding passages. If it’s possible to intimidate and challenge on a recorded medium, Kazehito is the artist to pull that off. Side A features the aptly named ‘Driven Hard’ which is a live document of his 2017 End Tymes performance with Side B track culled from a live 2017 performance from Tokyo’s 20000v venue. For fans of Dave Phillips, Crank Sturgeon and Hanatarash. Artwork by Breathing Problem.
K2 ‘Rainy Tritium 1’ CD
New work from a master of long form compositional excellence, K2’s Rainy Tritium 1 comes in time for what to me seems like a most perfect match for the times; a soundtrack for bleak collapse, broken boundaries of torturous blasts yielding fluttering, caustic textures and exploring an atmosphere of sonic varieties for which K2 is been mining lately. If you’ve seen any of his ambitious Dommune broadcasts from Japan then you’ll likely be familiar with the valedictory density of K2’s aggressively satisfying noise oblivion and if you haven’t, then this full length (60+ minute) 3 track CD 1. Pollution with Huge Lies, 2. MOX, 3. Unpeaceful Song For Rainy Tritium will be most necessary listening. Artwork by Breathing Problem
Unexamine’s 2010 Deserts Dog Our Heels gets an expanded reworking with new material from Danny Costa and Charlie Mumma on this release. Harsh noise brinksmanship is the hallmark of this collaboration’s particular approach to recorded material and if you missed out on the first offering of DDOH on Antropofago Ateo, this is that release remixed, extended and includes new elements plus one completely new track of overwhelmingly violent harsh noise. Artwork by KDM
One of Tokyo’s preeminent noise genius performers, Spore Spawn delivers a release that I am more than proud to present as I’ve been a follower and collector of whatever I can find of his over the last few years. The Spore Spawn/Jah Excretionsplit from his label 16 Shots Per Secondhttp://16shotspersecondrecords.blogspot.jp/ or his blisteringly brilliant Grindcore Karaoke ‘Last Days Of The Invaders‘ release are great examples of his foremost style and delivery.
Ochitsuitara brings any fan of modern harsh noise (nostalgists won’t be disappointed though maybe not specifically catered to) closest to articulating what it is that sets Spore Spawn apart from decades of legendary noise pioneers, his modern myth building utilizing swirling loops of cacophony and squelching stabs, uncompromisingly outpacing any modern competition in his unique patterns of ecstatic jarring drunken fervor and (sometimes) vocal deliveres closely woven into and through electronics culled from homemade disused gaming controllers. Just harsh as fuck. All measurements of harsh noise enjoyment of this genuinely gifted noise artist will be vastly rewarded and on abundant display on Ochitsuitara.
Longstanding project of Los Angeles based Hungarian native Sandor aka ANDORKAPPEN who in June of 2016 delivered a set at the Los Angeles edition of INC 2016 which I later asked (and am happy he agreed) to have as a release.
The resulting cassette Temples Of The Unvirtuous contains the track as performed plus a Side B version which contains the studio elements used as source for that performance; sonic subversion- undiluted deconstructive consciousness of thick lines bursting forth in an uncomplicated march of nightmare textures, bars of tempered loudness chilling figures of black ash, muted alien settings hosting ambivalent beauty awash in a sustained muted swirl of cannon thunder.
$6 Order here
One of my favorite Tokyo based noise artists, Leecher is an artist dedicated to a modern study of harsh noise in live and recorded contexts and this release features one of each. Side A of ‘Retfa’, showcases Leecher’s instrumental powerhouse and compositional excellence delivering extreme patterns of noise salvos weaving in and out of sustained silent avenues which un-mercilessly deliver an Alien birth of multiple jagged uppercuts of blistering harsh noise in sporadic conservative blasts. Side B is Leecher unchained in a delivery of blunt and powerfully heavy vectors of a complicated but thorough death to silence and along the way breaking cranial communications over an aurel wave of nightmare patterns.