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(CD, Silentes Minimal Editions, 2009)

  1. In
  2. Alone
  3. Intramuscolo
  4. Slowly, under
  5. 18
  6. Not fade away
  7. La vertigine dell’immobilita’
  8. Beyond
  9. To

Penetrating “Hi-tech” music, always on the border between sound,silence and noise… Splinters of sonic fragments, buzzings, electronic hisses, pulsations, hypnotic loops, ambient textures, sudden rays of light… 

A kaleidoscope of syntethic sounds and digital glitches, in a universe dominated by binary codes, that evolves through the cold-hearted control of sophisticated algorhythmic mutations programmed by human entities that already reached a level beyond the borders of our earthly knowledge…

Kazuyuki Kishino : electronics, sounds 
Deison : sounds, slectronics, tapes 
Tracks composed and decomposed by KK.Null @ Prima Natura, Japan and by Deison @ #1st Floor, Italy 2008.


‘m sure many of you have already both the musicians but for those lucky (or unlucky) readers under thirty, we must remember that Cristiano Deison beside being involved directly with Final Muzik and after having put out a good amount of interesting releases during his solo career, has also been a member of those Meathead where one of his band mates was mighty Mauro Theo Teardo. KK Null for those who don’t know him is one of the three Zenigeva heroes: noise masters, industrial rockers and famous for having records out on Neurot, Alternative Tentacles and with Steve Albini. This is a freak power work, you can get it right from the cover, I was sure it would have been an interesting collaboration but it really blew me away. I’m sure many of you could have expected both of them would have gone along with the peculiarities of each other. If you add their characteristics are quite complementary you can imagine the result could have been easily guessed, infact if the japanese musician was more oriented toward cold electronic sounds, the italian was more drone oriented. This collaborative recording gave us a dense blend of music that instead of following the noise route like everyone else is doing drifts voluntarily toward electronic music. Cold electronic music, sure, but at the same time really expressive, I’m tented to mention Panasonic above all for their audio profile and not exactly for the music they play, heavy and dense electronic shapes that you usually expect on labels like Touch. An high profile release, listen carefully to the production and to the recording where every frequency doesn’t cross the scene with leaving a sign. Every track is meant with the clear idea to put out something that sounds differently if compared to the plethora of releases overwhelming the experimental musical scene. This all happens without becoming one of those self-indulging work searching for “originality” at every cost, every song has its own identity both individually that as a whole. The title track itself is the epitome of this cd, but the sharp sounds, the digital layers and the crepuscular drones leave room to some quasi melodic solutions there to alleviate the listening difficulties. A real orgy of good taste that moves linearly in suspension between the finnish forests and the twilight zone and at the same time able to be “warm”: amazing release!



KK Null, tra le massime istituzioni dell’area sperimentale del sol Levante, ha approntato con un’altro, a questo punto, veterano, il nostro deison, una collaborazione a distanza concretizzatasi in “Into”. L’album ha partenza eccellente con la cupa “In”, colma di inquietanti presagi e non tradisce la suddetta premessa con l’assai elevato spessore della drammatica e ascendente “Alone”, del loop trance di “intramuscolo”, della malcelata profondita’ romantica di “Not fade away”, degli ondeggiamenti cosmici di “Beyond”, della visionaria “To” che con baluginii cristallini ha il compito di chiudere l’alchemico circolo, uniti in una persistente sensazione di continuativo tragitto recata da glitch che pressoche’ costantemente si agitano sullo sfondo come creature aliene che attraversano le invisibilita’ tra un brano e l’altro. (7/8) 


Meticulously put together over the last twelve monts by italian electronic/noise artist deison and japanese avantgarde polymath KK Null, Into is a borderline ambient synthesis of processed sounds and electronics that ultimately does little to bolster the back catalogue of either partecipant. A series of pieces created from layer of digitally manipulated loops, field recordings, tapes and undisclosed sonic sources,….!!!


Quite an extended part of the work of KK Null deals with collaborations, such as with Z’EV, Alexei Borisov, Zbigniew Karkowski, Jim O’Rourke and loads more. His primary instrument was once the drums (as with his bands Zeni Geva and Absolute Null Punkt), but in these collaborations Null deals with electronics. Here he teams with a man who met him fifteen years ago, when he was setting up concerts for Zeni Geva in Italy: Deison. He has worked with Lasse Marhaug and Sshe Retina Stimulans and ran the Loud! label. They collaborated, I guess, through mail, sending back and forth sound material. If you’d expect some heavy noise based stuff, then you are mistaken about the work of Null (and perhaps of Deison too, but I must admit I don’t know his work that well). It moves these days from brutal noise attacks to very clean, mild, almost ambient like works and this work is a fine example of that. The closing piece is ‘To’ and quite brutal, feedback like. In the nine pieces before this we have been on a great journey of electronic music. Always abstract, always electronic, but almost never the same thing twice. From soft passages to loud ones, from clicking, rhythmic sounds to dense fields of waving electronics. Its all there. A great variety is presented here, which for once doesn’t stand in the way: this remains a very coherent release. It may not appeal to the pure noise heads, but it should broaden their mind a little bit, I guess. Great one.


Per festeggiare un lustro di attivita’, la Silentes Minimal editions di Stefano Gentile ha curato un monumentale box limitato con tredici nuovi albums e vari bonus. Tra i cd, disponibili anche singolarmente, si segnala la collaborazione italo-nipponica di Deison e KK Null in “Into”, raccolta di preziose texture, loops e astrazioni elettro-rumoriste, combinando glitch e registrazioni sul campo con la grazia di origami cibernetici in continua, simmetrica metamorfosi. 


K.K. Null e Cristiano Deison avevano già avuto modo di collaborare nel 2003: in particolare, una delle innumerevoli sortite discografiche del primo (Helium Flash) aveva trovato ospitalità nel catalogo dell’etichetta personale del secondo, la Loud!. Con Into, la liaison si fa artistica – oltre che logistica. Il disco, che testimonia una volta di più sulla spiccata attitudine del giapponese alla cospirazione – ne avevamo parlato in sede di articolo -, è il frutto di una collaborazione a distanza che ha però in un incontro vis-a-vis (durante una tourneè italiana di Kazuyuki Kishino) le proprie radici. La musica qui contenuta, cosa abbastanza prevedibile, si nutre di rumore, ma lo fa senza passare attraverso le soluzioni massimaliste di certi lavori solisti del leader di Zeni Geva. Piuttosto, è con i trucchi tipici dell’isolazionismo dark ambient che l’elemento primario di tutte le composizioni – il noise – viene triturato (In), smaterializzato (Intramuscolo), centrifugato (Alone), sottoposto a processi di denaturazione spazio-temporale con o senza l’utilizzo di macchine del tempo (che sono qui computer). E’ proprio una fenomenologia dei processi di trasformazione della materia – e successiva riconversione di energia – quella che, in fondo, si rivela più efficace per descrivere un disco come Into: proprio perché come materia – come organismo vivente sorpreso nel pieno del proprio (micro)dinamismo – è inteso, dai suoi fautori, il suono e il suo irradiarsi.


“Into” is the fruit of the common efforts of 2 long-time servants of the experimental scene. This is the union between Deison (Italy) and KK Null (Japan). “Into” starts with mysterious sound vibes surrounded by dark, tormented atmospheres. The debut is quite fascinating, but this is just a prelude to a well-conceived and achieved piece of music. Tormenting, linear sounds hold onto the listener from start until end. A selection of glitch sounds and other experimental outbursts have been implanted to the dark compositions. The linearity of the composition is a constant element running through the tracks, but it always ends in pure stupor and tormented sonic manipulations. That’s for sure what makes the attraction of this work. It sometimes gives the impression to endure sound waves from outer space. “To” is a quite representative cut in the genre, but I also want to mention the efficiency from other tracks like “18” and “Beyond”. I’ve not always been convinced by artists working over the net, composing and decomposing music tracks, but this duo did a great job. “Into” is an accomplished piece of modern experimental music!(