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Compact Disc (CD) + Digital Album
“Genshi Wakusei” (“Proto Planet”) is the new collaboration between the Japanese experimental/electronic wizard and master Kazuyuki Kishino (aka KK Null) and the visual and sound Italian artist Cristiano Luciani (aka Cris X).
released January 1, 2013
Track 2 vocals and whispers by Yoko Higashi
Mastered by Rashad Becker, Berlin 2012
Includes unlimited streaming of Genshi Wakusei (Proto Planet)
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Third official release from CX records, Italy.
“Genshi Wakusei” (“Proto Planet”) is the new collaboration between the Japanese experimental/electronic master Kazuyuki Kishino (aka KK Null) and the visual and sound Italian artist Cristiano Luciani (aka Cris X).
"In between dangerously cosmopolitan intellectual quotes that threaten to slightly undermine the essential morality of his sonic art, and liaisons with both historically hyped characters of the Italian industrial vista and truly earnest practitioners of the cult of noise (that’s right, I mean Merzbow), Cris X – from Rome – seems to be perfectly aware of where he wants to go. This collaboration with KK Null – still fondly remembered on these shores for Aurora with James Plotkin – is succinctly hard-hitting and handsomely displayed. The close-packed program revolves around meticulous convergen-ces working for the improvement of an electroacoustic storybook which contains several intriguing sketches imbued with baleful abstruseness and supernal bedlam. Five tracks comprising spaced-out drones hardly disarranged by a clever use of electronics, fusillades of ill-mannered encroachments and challenging rhythmic accretions, circumstantially spiced with environmental echoes. Yôko Higashi – or, if you like, hamaYôko – contributes to a track with bewitching whispers and vocalizations. Nothing unendurable could be retrieved from the experience; the music went on in my headphones for four consecutive times and the brain seemed to respond quite well throughout: an excellent sign. The physical edition is limited to 150 CD and 200 vinyl copies, otherwise it’s got to be Bandcamp. Your attention is deserved".
Massimo Ricci - Touching Extremes, November 15 2012
"In Vital Weekly 810 I reviewed a split LP between Merzbow and Cris X and I wrote that the latter had a previous career as a drummer in post-punk bands. Cristiano, for it is he, asked me to inform my readers that he does improvisations and collaborations with the likes of 'MB, Hamayoko/Yoko Higashi, Ken Ueno, Keiko Higuchi, Sachiko, Michiko Hirayama, Gene Coleman, Eugene Chadbourne, Ben Watson, Phil Minton, Torturing nurse, Aspetc, Aspirale, etc'. As announced then here is his collaborative work with KK Null, and I assume this collaboration took place through mail. Null gets credit for electronics, birds, field recordings and piano and Cris for electronics, frogs, field recordings, samples and noises. Perhaps it's a bit of a short release, with five pieces that last about thirty-one minutes, but it's all quite an intense work. It's not thirty-ones of over the top noise, but the harsh noise elements are backed with more quieter passages of music that is not as loud, but are far from ambient either.
The field recordings are quite loud also, but that's no doubt also because some electronic treatments are used, or played along. There is fine sense of tension in these five pieces, like a dark, evil force that is lurking around the corner, with occasionally gets out through rapid editing of sounds, such as at the end of the third, untitled piece. There is a lot happening on this CD, with great care and loud force, so perhaps thirty one minutes is just about the right length. It left me without breath at least. Excellent work of intelligent noise". (FdW)
Frans de Waard - Vital Weekly number 849, week 38 2012
"The first collaboration between Kazuyuki Kishino and Cristiano Lucani is a mass of mangled samples, processed field recordings, electronics, and piano that at times resembles an understated take on harsh noise, and at other times a sloppy, yet engaging mess of sounds. While an intense devotion to structure and composition might not be here, there are more than enough pleasurable noises and small, but fascinating outbursts to more than make up for that
Across these five untitled pieces, the dynamic jumps and skips around hyperactively, never settling into one style or approach for too long. For instance, the first piece leads off with chirping noises and squelchy, spastic electronics propelled by an unconventional, yet distinctly rhythmic undercurrent that guides it along. It feels like the legion of noises someone like Merzbow might create, but with less abrasive components. The second half thins things out to clicks, piano improvisations, and odd alien atmospheres to close the piece in a much different way than it began.
The second segment immediately eschews subtlety and instead goes right into a dense insect swarm of harsh noise that eventually disintegrates into undulating electronics and a ring modulated rattling that is at times painful. This is all before settling into a glitch-ridden passage of disturbing ambience that conjures dark, obscured images of creatures lurking in the darkness. The third comes across even more of a collage feel with rhythmic throbs and a later emphasis on water and field recordings, complete with frogs and aquatic life that seemingly bounds from one setting to another.
The fifth piece especially has the most hyperactive qualities to it. Cut up and scattershot samples are thrown recklessly atop a bed of slowly pulsing electronics that makes for the only constant throughout the otherwise chaotic composition. The fourth segment demonstrates a bit more of a order to the entropy, however. Even amidst the stop/start stabbing electronics, a sense of organization can be heard, first directing everything towards an old school wall of harsh noise, but then stripping it away, leaving only the most sparse and delicate bits of the album to be heard.
Album does not necessarily feel like the most appropriate descriptor for Proto Planet. There does not seem to be any clear overarching sense of structure or composition notable throughout. Instead it comes across more as a series of sonic miniatures: captivating collages of processed field recordings and mutilated electronics that take multiple listens to pull apart. It is a case where cohesion is unnecessary, and instead it works best as a compilation of sounds that jerkily jump from one passage to the next, making it easy to dive in at any point and enjoy what is there".
Creaig Dunton - Brainwashed , June 2013
credits
released January 1, 2013
Track 2 vocals and whispers by Yoko Higashi
Mastered by Rashad Becker, Berlin 2012
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