KK Null and The Noiser 16 October 2013 Magasin 4 Brussels
(courtesy to Keys and Chords magazine)
In September and October, the musical scene in Brussels brings the Japanese dimension closer to the Belgian public. Magasin 4 dedicates three evenings to the Japanese rock scene of progressive jazz, noise and space rock, during the European Tours of some of the most appreciated masterminds artists of the field. After the September show of Korekyojinn and Ruins Alone, the scene was open on 16 October for live electronic contemporary music and noise given by KK Null who performed together with The Noiser.
Kazuyuki Kishino, known as KK Null, is an excelling Japanese artist of the noise music scene. Born in 1961, active since the 80s, he owns an impressive career: more than 100 albums till now, live performances and collaborations with great artists including John Zorn, Fred Frith or Steve Albini, just to name a few, and supporting acts on tours for Sonic Youth and Mike Patton. His main instrument was for almost 30 years the guitar. But in the 90s, he started exploring the electronic territories where he becomes a master of transforming the improvised noise and extreme post-punk sound into art and poetry. Key words: cosmic noise maximal/minimalism.
The Noiser, aka Julien Ottavi, was born in 1977 in Marseille, France. With a Bachelor’s degree in arts and a Master’s degree in art specialised in sound, composition and computer music, Julien Ottavi dedicates himself not only to electronic music but also to research, media activism (he was wearing a “Hacking for Freedom” t-shirt), technological development and new aesthetics. He has released more than 30 albums so far. Key words: art ideology.
Although it’s been several years already since they have been performed together, this tour is marked by the issue of their first collective album, KKNULL / THENOISER at Monotype Records in September 2013.
KK Null and The Noiser were building narrative rhythms and vibes from waves, clashes and motion beats. The loud sound kept us to a considerable distance from stereos but the noise texture was so attractive, engaging us into a magnetic environment which was pulling us back.
The laws of physics were challenged on the stage too, having no chance against two players creating narrative lines which continuously stayed on the edge of the other. A philosophical music game, with questions and unexpected answers, reaction and calm unbroken action harshing together in contrapuntal motion or just lustrous harmony. A total intellectual-meets-the-senses delight.
The next Japanese act at Magasin 4 will be Acid Mothers Temple on 27 October. Be there!