KK Null – Fertile (Touch) 2007


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At the moment I’m trying t concentrate on records that I’ve had for a while but for whatever reason, I haven’t posted on yet. Fertile is my first experience of KK Null (otherwise known as Kazuyuki Kishino) the prolific and well known Japanese noise artist. I’d heard of KK Null in the  past but always in the  context of his collaborations with other noise artists like Merzbow and Z’ev. I actually bought this when I was going through a “no more noise” phase at some stage last year and it remained unplayed for some time as a result. The reason I bought it was to get a better understanding of how noise artists use field recordings effectively. At times I I’ve listened to records that are supposed to have field recordings on them and, to be honest, I just don’t hear them. I think there is sometimes a desire for noise artists to process their field recordings in such a way to make them impossible to detect. KK Null on the  other hand has a light touch to the processing of his recordings and words fail me in describing Fertile and just how much I love this record. This is the sound of growing up in the tropics of Northern Australia, the insects and the wildlife. 

I pinched this off the Touch Records website. 

“In June of 2006 i had the good fortune of visiting Darwin in the Northern Territory in Australia and explored in Kakadu National Park with some good friends. I took my digital recorder along with me and did some live field recordings there. First we encountered a flock of wild birds (Little Corella or Cacatua Pastinator) just beside the South Alligator River, and then we happened to find “bush fire” flaring just beside the road we were on. I also had a unique opportunity to record a magnificent symphony orchestra of insects, frogs and birds in wetlands just before sunset.

At that time i had no idea or no specific purpose for using these field recordings, and in the middle of working on this album [Fertile] in my home studio, suddenly came up with the idea of mixing these field recordings into some of the tracks that were unfinished.

I felt comfortable with layering & mixing different sounds from different locations and times, digital and analogue sounds into one piece. I like also the balance of spontaneity (field recording) and intentional act (studio recording).”

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