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HAINO KEIJI & YOSHIDA TATSUYA
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Boomkat Product Review:
A sequel of sorts to their New Rap album, this new offering from Japanese underground heroes Keiji Haino and Ruins drummer Tatsuya Yoshida finds the long-term collaborators scaring up some heavy going 21st century blues, and noise-fuelled prog-jazz with more than a hint of manic psychedelia.
The two musicians switch instruments and musical styles and disciplines at a rate that's difficult to keep up with, but the combination of Haino's screaming guitars and the punishing drums of Yoshida makes a formidable central format for the record - these two make unfeasible amounts of noise, but significantly it's never indistinct. There's no reliance on feedback and distortion for the kind of mess these two make.
A theme running throughout the album is a tendency to cut up short musical phrases, repeating them arrhythmically, this can be a bit distracting, sounding a bit like someone just discovered a sampler for the first time, but these unceremonious stutterings only serve to highlight the relentless strangeness of the album.
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Boomkat Product Review:
A sequel of sorts to their New Rap album, this new offering from Japanese underground heroes Keiji Haino and Ruins drummer Tatsuya Yoshida finds the long-term collaborators scaring up some heavy going 21st century blues, and noise-fuelled prog-jazz with more than a hint of manic psychedelia.
The two musicians switch instruments and musical styles and disciplines at a rate that's difficult to keep up with, but the combination of Haino's screaming guitars and the punishing drums of Yoshida makes a formidable central format for the record - these two make unfeasible amounts of noise, but significantly it's never indistinct. There's no reliance on feedback and distortion for the kind of mess these two make.
A theme running throughout the album is a tendency to cut up short musical phrases, repeating them arrhythmically, this can be a bit distracting, sounding a bit like someone just discovered a sampler for the first time, but these unceremonious stutterings only serve to highlight the relentless strangeness of the album.
Boomkat Product Review:
A sequel of sorts to their New Rap album, this new offering from Japanese underground heroes Keiji Haino and Ruins drummer Tatsuya Yoshida finds the long-term collaborators scaring up some heavy going 21st century blues, and noise-fuelled prog-jazz with more than a hint of manic psychedelia.
The two musicians switch instruments and musical styles and disciplines at a rate that's difficult to keep up with, but the combination of Haino's screaming guitars and the punishing drums of Yoshida makes a formidable central format for the record - these two make unfeasible amounts of noise, but significantly it's never indistinct. There's no reliance on feedback and distortion for the kind of mess these two make.
A theme running throughout the album is a tendency to cut up short musical phrases, repeating them arrhythmically, this can be a bit distracting, sounding a bit like someone just discovered a sampler for the first time, but these unceremonious stutterings only serve to highlight the relentless strangeness of the album.
Boomkat Product Review:
A sequel of sorts to their New Rap album, this new offering from Japanese underground heroes Keiji Haino and Ruins drummer Tatsuya Yoshida finds the long-term collaborators scaring up some heavy going 21st century blues, and noise-fuelled prog-jazz with more than a hint of manic psychedelia.
The two musicians switch instruments and musical styles and disciplines at a rate that's difficult to keep up with, but the combination of Haino's screaming guitars and the punishing drums of Yoshida makes a formidable central format for the record - these two make unfeasible amounts of noise, but significantly it's never indistinct. There's no reliance on feedback and distortion for the kind of mess these two make.
A theme running throughout the album is a tendency to cut up short musical phrases, repeating them arrhythmically, this can be a bit distracting, sounding a bit like someone just discovered a sampler for the first time, but these unceremonious stutterings only serve to highlight the relentless strangeness of the album.
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