Huren / Tomohiko Sagae – NOISE AUSSTELLUNG [FLUX Musical Art]

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FLUX Musical Art is an offshoot of Flux, the record division of a multidisciplinary platform with interests in various types of artistic expression, although always linked to electronic music and the countercultural scene. Precisely, from this kind of ramifications between its informative work as a means of communication, as a record label and as a validator for interconnecting different artistic fields, NOISE AUSSTELLUNG was born, an album that takes us back to the idea of confronting two different artists under the same concept, seeking to associate any element, however distant it may be.

For this occasion, FLUX Musical Art recruits Huren, Tomohiko Sagae, Imminent and Sirio Gry J, four reliable artists who have already appeared on the Italian label’s first album. But NOISE AUSSTELLUNG has nothing to do with the previous release because this time it is a work of four different authors created as a single block of sound.

The album is divided into two parts. The A-side is for Huren’s performance. With $UPERVI$ED BEATING$! we get straight into a rough sound, but first of all with a rhythmic background that starts off clean and crisp, in fact, it’s hard to believe that its progression is going to be affected by a huge mix of frequencies. This adulteration of textures is the very concept of the album, noise as a common denominator, with its different interpretations and adaptations. My dwelling is a donation box is the second cut, and on this occasion it leaves no room for surprise, but rather takes on a thunderous character. Finally, Sirio Gry J creates a reverse version of $UPERVI$ED BEATING$! in which the rhythm, which already appears slightly distorted from the start, takes control of a large part of the track until it succumbs to the noise.

On the B-side, Japanese artist Tomohiko Sagae is more forceful. Pile Driver #1 is a cerebral track, a creative feat in which the noise doesn’t appear as a pad or as heavy distortion, but rather, the author artistically combines innumerable rhythmic elements, and what at first seems to be an industrial cut, ends up disorienting any listener. Pile Driver #2 continues to show the same compact and hard nature, but this time opts for the binary techno rhythm and the same procedure to create a noisy atmosphere with the addition of rhythmic lines, however, its level of alienation is not as exaggerated. The album ends with the remix of Pile Driver #1 by Imminent, a mental track, with an extended development and a less abusive procedure in terms of the addition of elements, as the sound lines involved are better distinguished.

Release date: May 10th, 2021. Bandcamp

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