• Ratskin Records 2019

• CD

• Limited edition of 100

1 Great Attractor 1

2 Great Attractor 2

“For his Ratskin Records debut, Japanese underground music legend Kazuyuki Kishino aka KK NULL of Zeni Geva fame announces “Great Attractor”. Slated for release this November 2019 on CD, cassette and digital, KK NULL’s newest full-length album blends two ”live”performances into a cinematic, sonically diverse sandstorm of electronic chaos. “Great Attractor” pulls from numerous compositional and sonic strategies, including Japanese harsh noise, “high-speed” industrial, dance music, free-jazz and musique concrete. Throughout the sixty-minute journey, NULL creates a mirror-world look into the unknown; a post-apocalyptic sonic journey into the epicenter of an erupting volcano. Through complex use of a wide scope of instrumentation, NULL synthesizes slithering, hypnotic rhythms, reminicinent of robotic snakes giant pools of boiling magma; pulsing and bubbling, the splitting of crystalline shards stab through the mix and send a piercing shiver into bone. Controlled chaotic blasts of twisting drum machines slice through walls of spastic, sputtering synthesizers, choking blasts of noise, and sharp stabs of vocal-percussion manipulations. On “The Great Attractor” NULL has channeled both the nuances and chaos of the void, compressing it into a near hour-long cinematic representation of the darkness and psychedelic breath of outer space.” - Ratskin Bandcamp

(real name : KAZUYUKI KISHINO) was born in Tokyo, Japan. Composer, guitarist, singer, mastermind of ZENI GEVA. One of the top names in Japanese noise music and in a larger context, one of the great cult artists in experimental music since the early 80’s.

In 1981 KK NULL studied at Butoh dancer, Min Tanaka’s “Mai-Juku” workshop and started his career by performing guitar improvisations in the clubs in Tokyo. He continued by collaborating with MERZBOW for two years, and joining the band YBO2 (with Masashi Kitamura, the chief editer of “Fool’s Mate” magazine and Tatsuya Yoshida, the drummer of RUINS) and starting the improvised noise/rock trio ABSOLUT NULL PUNKT (with Seijiro Murayama, the original drummer of Keiji Haino’s FUSHITSUSHA), and also GEVA2 (GEVA GEVA) with Tatsuya Yoshida (RUINS) and Eye Yamatsuka (BOREDOMS)

In 1985 he established his own label NUX ORGANIZATION to produce & release his own works and subsequently the bands such as MELT-BANANA and SPACE STREAKINGS. He also produced the series of “Dead Tech” (compilation albums by Japanese bands) which heralded Japanese alternative music boom internationally from the early 90’s to date.
In the early 90’s he gained world-wide recognition as the mastermind, guitarist and singer of the progressive hardcore band ZENI GEVA, releasing five albums produced by STEVE ALBINI (two on Jello Biafra’s Alternative Tentacles label) and a few more on other labels such as NEUROSIS’s Neurot Recordings. Also ZENI GEVA recorded twice for JOHN PEEL SESSION on BBC, and immensely toured throughout Europe, USA, Australia, New Zealand and Japan, playing hundreds of concerts.

All the while, KK NULL has worked on his solo career and collaborated with other musical innovators such as Z’EV, CHRIS WATSON, KEIJI HAINO, JON ROSE, MATMOS, FRED FRITH to name a few, and has been invited to perform at international festivals such as “Presences Électronique” in Paris (France), “Sonar” in Barcelona (Spain), “All Tomorrow’s Parties UK“, “Radar” in Mexico City (Mexico), “International Sound Art Festival” in Mexico City (Mexico), “Sergey Kuryokhin International Festival (SKIF-6 & 8)” in St.Petersburg & Moscow (Russia), “Elevate” in Graz (Austria), “X-peripheria” in Budapest (Hungary), “Liquid Architecture” in Sydney, Melbourne, Brisbane (Australia), “Totally Huge New Music Festival” in Perth (Australia), “Avanto Helsinki Media Art Festival” in Helsinki (Finland), “Roadburn” in Tilburg (Holland), “International Festival Musique Actuelle” in Victoriaville (Canada), “Electron” in Geneve (Switzerland), and more.

After playing the guitar as his main instrument for nearly thirty years, KK NULL has gradually moved towards a more electronic approach. Since the late 90’s he has concentrated his efforts on his solo & collaborative recordings, exploring the outer territories of electronica, creating intense clashing wave of noise, structured electro-acoustic ambience, broken down rhythmics, scattered pitch sculptures, droning isolationist material which could be described “cosmic noise maximal/minimalism”

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