Atsusaku, by Gareth Davis & Merzbow

Atsusaku

by Gareth Davis & Merzbow

supported by

b_severns This record arrived shortly before quarantine began for me. It has been a wonderful companion to the noise and other sounds permeating everyday life - Kyouhan has been a source of inspiration and introspection throughout Favorite track: Kyouhan.

Dan Otto / Don Henson It fills my head with stars. Quite a beautiful noise.

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€7 EUR or more
Limited LP in edition of 300
Record/Vinyl + Digital Album
Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow.

A massive wall of sound over two tracks that moves from the shifting low-end structures and the ricochet of howling reeds to the blistering haze of dense white noise and rapid-fire electronic tones.
The title Atsusaku, suggests pressure or mechanical compression and it was from this starting point, the idea of Davis' reed sound being compressed and constrained by the saturation of Akita's textures, that the album was born. The acoustic sound almost suffocated beneath the sweep of sonic overload, but through limitation and pushing the mechanics of the instrument itself, finding a space to cut through with layers of self-distorted screams.

Haihan, a furiously abusive maelstrom of coloured-noise, digital cross-fire and distorted bass clarinet is unrelenting as it searches for moments of pulse within the haze only to move abruptly back into the mechanical barrage of looping textures.
Kyouhan is is far more open in its texture, the low-end layers of reeds moving across the sound space as the squall of chirps and mechanical screeches build slowly into a dense mass of reverberated pointillist details.

Includes unlimited streaming of Atsusaku via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ... more

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	1.	Haihan 16:53		buy track
	2.	Kyouhan 20:12		buy track

about

Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow.

A massive wall of sound over two tracks that moves from the shifting low-end structures and the ricochet of howling reeds to the blistering haze of dense white noise and rapid-fire electronic tones.
The title Atsusaku, suggests pressure or mechanical compression and it was from this starting point, the idea of Davis' reed sound being compressed and constrained by the saturation of Akita's textures, that the album was born. The acoustic sound almost suffocated beneath the sweep of sonic overload, but through limitation and pushing the mechanics of the instrument itself, finding a space to cut through with layers of self-distorted screams.

Haihan, a furiously abusive maelstrom of coloured-noise, digital cross-fire and distorted bass clarinet is unrelenting as it searches for moments of pulse within the haze only to move abruptly back into the mechanical barrage of looping textures.
Kyouhan is is far more open in its texture, the low-end layers of reeds moving across the sound space as the squall of chirps and mechanical screeches build slowly into a dense mass of reverberated pointillist details.

credits

released March 21, 2016

Artwork is by Rutger Zuydervelt
Mastering by Jos Smolders.

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Gareth Davis Amsterdam, Netherlands

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