01. Zero Wave
02. Voice of Eternity
03. Cosmic Rape
04. War Dance
05. Terminal Beach
Kazuyuki K. Null – guitar, voice, loop, nullsonik
Recorded at Prima Natura Studio in August/September 1996
No drum-machine, synthesizer or keyboard on this disc
Inspired by a J.G. Ballard story, Terminal Beach consists solely of K.K. Null’s guitar/vocal loops, treatments and live playing, all multi-tracked. It’s an impressive achievement that moves from the abstract sound sculptures of « Voice of Eternity » to pummeling machine-trance on the 17-minute « War Dance. » Though the range can be astonishing and difficult to cope with, Terminal Beach is a revelatory listen. (John Bush, All Music Guide)
A spiritual calm in terror emanates from the impressions beneath the vivid and often cryptic patterns of this album, which is crafted from electronic noise, voice and sporadic but concise percussion with emphasis supplied through the layering of gentle and harsh sounds together in a nihilistic ambience of synergy. Where it is beautiful is in its understanding of tone and rhythm together, as if a product of each other in the system that generates their placement, and its overall composition to generate context to its seeming randomness through careful centering in emotional peaks and variations.
Drifting winds of desolation open in a feedback and percussion piece entitled « Zero Wave, » the epitome of a modern isolation in a multitude of sounds fed from the same source and recursing to similar conclusions in a shifting wave of resolution. Its peacefulness profound, this song hides an aura of death and acceptance within its folds and sets the tone for this postapocalyptic masterpiece as a whole. Next comes the dreamlike introspective « Voice of Eternity, » composed of backward fragments of aria interlaced with clashing placeholders of percussion time wrought from buttressed columns of noise. Fading visions of reality are replaced with metaphor, and then ploughed under into a sea of renewed creation. After this is the interlude « Cosmic Rape, » an ephemeral vision into exploding noise without continuous rhythm which places its drive on a self-infused, self-subtracted energy transfer which mimics the relentless life-harvest of modern social structures. The eerily happy and techno-inspired « War Dance » follows, with a shifting hypnosis of rhythm that undulates through the listener’s brain to produce a motion on which the other elements of percussion and tone in the song can act a scenario of organized confusion. The final epic from which the album’s title is derived wraps up the bunch with a majestic statement of alienation and loneliness in sounds drifting through a backroom of gentle machine and wind noises, a vastness unplumbed in a nostalgia for a life not yet spent in the passing of meaningless days. Although impressive individually, in collusion these pieces speak a unison of dissonant emotions arising from the clash of life-impulse with a disassociative perception of human reality. However bleak they become, they affirm the drive to realization and growth which impels the behavior common to all forms of life.
A project of Zeni Geva mastermind Kazuyuki K. Null, these ambient textures explore a primal side of the human soul before it can declare its impulses to pacificity, violence or sadness; as a result, these songs enwrap a multitude of partially-formed emotions in a single front, much as each fragmented and timbrally-distorted note encompasses all possible notes in resonance within itself. In a world of noise music that is mostly anti-logic and anti-theory, this is a refreshing work that achieves far more of an organic and divergent understanding of life than raw intent to randomness and blast could muster. (Spineza Ray Prozak / Groin.com)
Incontestablement le meilleur album de K.K. Null (quoique… j’affirme ça avec aplomb, mais je n’ai pas le courage de me replonger dans l’imposante discographie du bonhomme pour vérifier). Comme la bande-son d’un film de science-fiction post-apocalyptique rattrapé par la réalité.