KK Null/Moz – “A Split Release” CD
Limited to 500 – Released November 2000 – Available
KK NULL presents five new tracks of frenetic electronics and rhythmic experiments, ranging from cacophonous to an almost tribal atmosphere. Ever evolving within a sphere of obscure tension the details reveal themselves with a stalwart elegance. MOZ delivers 6 tracks of socially introspective Death Industrial and Dark Ambient. Drifting slabs contrast sharply with vitriolic sonics to render this misshapen pillar of sobering electronics.
Audio Samples… Coming Soon
4 – A feast of Japanese and American noise: Japan’s master of experimental guitarscapes, KK Null, opens the proceedings with a seething clash of rapidly percolating, percussive electronics and volatile bleats of noise during the belligerent, combustible dynamics of “KXYL,” succumbing to a subdued, eardrum scrapping finale. The multitude of ways his noise assaults are harshly unforgiving. From the caustic acid rain showered on the oscillating rumble of “Psychopathic Surfing,” to the frothing clatter and obscenely slurping, cannibalistic machinery foray delineated by “Quid Pro Quo,” not a moment of his half of this venture is anything less than abrasive. The USA’s Moz, on the other hand, opens with a more subtle approach, tapping a valve (tension dispersed in concentrated bursts) during the subcutaneous rumble of the appropriately titled “Release Valve.” The Moz tracks are decidedly more atmospheric, while still incorporating an abundance of noisy elements. From the spiritual, hymn-like qualities that decorate the plodding “Funeral Procession,” to the static breath of the slumbering machine invaded by slivers of elastic noise that shuffle like agitated ants on an injured beetle during “Wage Slave,” the noise here is more varied but, at times, equally as abusive. Fun stuff from one of the best young labels in the noise scene, Scott Candey’s (Gruntsplatter) Crionic Mind. -JC Smith
7/10 – KK Null begins with 9+ minutes of bizarre power electronics, complete with a background loop that nearly resembles a beat beneath fluttering noises and panning sweeps of electronic mayhem. This sets the tone, as most pieces seem to utilize either lightly distorted rhythms or rhythmic loops, along with more random layers and chaotic harshness. However, this is not as aggressive as the description may sound, it’s what might be called “easy listening power electronics”. The recording on this set of tracks is clear as day, with easily audible details. This is my first exposure to KK Null, and I’m pleasantly surprised. Not ambient, and not exactly harsh, but the symmetry of the two is a positive… Moz is next, unleashing some godly ambience. Beginning with an immense track of low bass rumblings, followed by a composition full of thin digital blips and crunching loops, Moz is a master at creating unsettling repetitive atmospheres. Musical synth tones appear on “Funeral Procession”, another quiet track with plenty of space; while “Imperialism” gets quite harsh with lots of distortion and hissing, loud volume clouding indecipherable samples. The only thing I don’t like are the two tracks of brief samples that act as interludes of sorts, which I find to be disruptive and unnecessary. There’s a lot going on with Moz, musically and conceptually, I imagine. The disc is limited to 500 copies, so grab one while it’s still easily accessible.
[Notable tracks: Giant Walking in a Tunnel of Libido, Quid Pro Quo, Release Valve, Degradation of Divinity]
Having witnessed a couple of KK Null performances in previous years, I was expecting massive doses of (post) guitar manipulated distortion, yet surprise, surprise Mr Null has taken a whole new approach to his experimental noise via using samplers/ sequencers to fuse a technoid aspect within his wall o’noise approach. While the experimental noise distortion elements are still clearly the main focus on the first track “KXYL”, it is the sampler/ sequencer that weaves clear rhythm and structure into the composition (being a sizzling molten mass of mid level distortion merged with cathartic rhythmic elements creating a modern yet tribal aspect to its repetitive aura). With only a title a Japanese artist could come up with, “Giant walking in a tunnel of libido” initiates a mid paced beat sequences that is progressively tweaked into a slow churning whirlpool of static and noise, while the disorientating fast paced speaker fading and distortion attack of “Psychopathic Surfing” is more flowing freeform experimentation. Leading onwards “Hypnocide” contains an almost psychodelic yet tribalesque percussive sound (great I might ad!) with the final KK Null piece “quid pro quo” is a short seizure inducing attack on the senses! Certainly different to what KK Null is typically know for, it is however great to see further progression and experimentation from such a well renowned noise artist. In clear opposition to KK Null, MOZ opt for ultra dense and bleak soundscapes of death ambient intension – the first track “release value” have a low bass oriented rumble that is shattered with a stunning (yet fleeting used) static pulse, being the perfect aural interpretation of the title. “Wage Slave” ups the ante a notch or two, building structure with aggressive guttural loops, mid to high end electronic feedback and gruesomely distorted vocals. Barren glacial electronics characterise “degradation of divinity” – ever ebbing and flowing with bleak tension (this is fantastic yet far to short at under four minutes). “Imperialism” on the other hand is an attacking mass of structured pulse, furnace blasting distortion and firestorm textures, being clearly inspired by the negative connotations of its name. One can again guess the aura of a track embodying the title “Funeral Procession”, with its solemn keyboard melody and the slow gait of the programmed structure. Final track for both MOZ and the CD is “Asylum” having a fantastic echoed resonance via metallic scrapings, slow chime/ gong and scarce structure all blended into a cavernous and unnerving result (fleetingly bringing to mind selected works of Robert Rich). For anyone unaware Crionic Mind are really starting to solidify their presence as a premier underground label, with such a split release only hammering home such a perception.
WORM GEAR #10
Until this disc I was unfamiliar with KK Null’s work outside of the awesome Zeni Geva and frankly, for some reason I didn’t expect a whole lot from his experimental/noise stuff. Well, I’m quite pleased to admit that my apprehensions were completely off-base. This is some of the most incredible, innovative material to come out in a long time. Meticulously composed rhythmically-based pieces that build just the way they should, noise in just the right places, everything in it’s place but in no way formulaic. None of these pieces are too overly dark or harsh, but they’ve definitely got bite and stay interesting throughout. MOZ I was likewise unfamiliar with until now and again is something much more than I expected. A very effective melding of death industrial & dark ambient, reminding me a bit of Herbst9 maybe, or even Inade, mixed with a somewhat sedate Brighter Death Now. This is definitely the darker portion of the release, and really every bit as good as KK Null’s material, though not nearly as “experimental” as Null’s and maybe not quite having the same initial impact because of that. Overall though, a very strong showing from both artists. It would really be a shame to miss this and it´s limited to only 500 copies so, well, you know the drill… – Raúl