Pia-Noise
A fierce soundtrack to end times featuring Masami Akita wreathing french pianist Nicolas Horvath’s improvised keys in barbed distortion and scintillating digital shred - RIYL Reinhold Friedl’s Zeitkratzer, Stockhausen, staring into the abyss
Proposed a decade ago and only now coming to fruition, the key to ‘Pia-Noise’ is in its apt title. For 44’ in two parts the franco-japanese duo wreak sophisticated yet primalist havoc from their respective ends with a ceaseless stream of extended melodic thought and elemental, high-register noise might that perhaps comes unnervingly close to emulating the psychic distress of the world in 2024. Posited in Horvath’s own words as “an ode to our ruin!”, it pays witness to them grasping the nettle and thrusting it down your ears with a clear-eyed intent to at least wrest some sense of beauty from calamity. It really depends one’s prerogative whether that’s the case - one person’s beauty is another’s ugly, and vice-versa - but there’s definitely something invigorating and exhilarating to their efforts when viewed from any angle.
In ’N9512MIX’ they both go an it, hammer ’n tongs, with a sustained attack on the senses, complex keys seducing to the centre whilst digital electronics flay across the stereo stage, sometimes burying the piano, at others allowing it to break thru the blizzard, at other appearing to mimic each other. ’914 For Horvath’ is a slightly more reserved affair, both dialling down the mania to a ruminative tension, with Merzbow swapping out pure squall for what sounds like shredded radio interceptions and giving more room in the mix to Horvath’s quiet-loud cadence in an organismic, empathetic symbiosis that’s weirdly soothing, immersive, if you ask us.
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A fierce soundtrack to end times featuring Masami Akita wreathing french pianist Nicolas Horvath’s improvised keys in barbed distortion and scintillating digital shred - RIYL Reinhold Friedl’s Zeitkratzer, Stockhausen, staring into the abyss
Proposed a decade ago and only now coming to fruition, the key to ‘Pia-Noise’ is in its apt title. For 44’ in two parts the franco-japanese duo wreak sophisticated yet primalist havoc from their respective ends with a ceaseless stream of extended melodic thought and elemental, high-register noise might that perhaps comes unnervingly close to emulating the psychic distress of the world in 2024. Posited in Horvath’s own words as “an ode to our ruin!”, it pays witness to them grasping the nettle and thrusting it down your ears with a clear-eyed intent to at least wrest some sense of beauty from calamity. It really depends one’s prerogative whether that’s the case - one person’s beauty is another’s ugly, and vice-versa - but there’s definitely something invigorating and exhilarating to their efforts when viewed from any angle.
In ’N9512MIX’ they both go an it, hammer ’n tongs, with a sustained attack on the senses, complex keys seducing to the centre whilst digital electronics flay across the stereo stage, sometimes burying the piano, at others allowing it to break thru the blizzard, at other appearing to mimic each other. ’914 For Horvath’ is a slightly more reserved affair, both dialling down the mania to a ruminative tension, with Merzbow swapping out pure squall for what sounds like shredded radio interceptions and giving more room in the mix to Horvath’s quiet-loud cadence in an organismic, empathetic symbiosis that’s weirdly soothing, immersive, if you ask us.