Gate, also written as |˟˟| creates a wild environment in his debut on Fluttery Records. 'No Exit' is a path to discover his music which stands somewhere between noise and jazz, but which is also influenced by drone, industrial and Mongolian traditional music. In this Tokyo based project everything is product of solo improvisation without any overdubbing; it is completely free music without plans, themes, or melodies; and the music on the CD is - except for some fade-in or out - exactly the same as when it was first created. 'No Exit' is an expression of discomfort, restlessness and oppression. Lajos Ishibashi-Brons (the person behind the |˟˟| project / pronounced as 'gate') says “Modern society expects - even demands - people to be happy. Vast numbers of people walk around with a forced and fake smile, pretending to be what society wants them to be, until they break down. Such fake happiness and its commercial products, such as most pop music, is depressing and nauseating more than comforting. Perhaps my music is a response to and expression of the discomfort caused by this euphoritotalitarianism.”
Abolute Zero Magazine
Ah Jap Noise its always an adventure no matter who creates it Merzbow, Masonna, Melt Banana and Incapacitants etc. Gate is just the same where they try to add a bit of freeform jazz elements into there nutty collection of tones, rumbles, blips, feedbacks other forms of various broken and rewired pedals and odd laptop effects. No Exit will drive most to the point of ultimate madness but to the fans of this style myself loving this . I would say if the brilliant Jap noise label of SSSM was still around this would be a highlight to its roster. So I'm glad a newer label like Fluttery Records is keeping this style out there to the masses even if there are just a few thousand of us out there. I look forward to many more challenging releases from Fluttery and Gate...
Devil Has The Best Tuna
Gate, also written as |˟˟| (if it was good enough for Prince it's good enough for Lajos Ishibashi-Brons The person behind |˟˟|) creates a improvised masterpiece on his debut on Fluttery Records. 'No Exit' is pitched somewhere between noise and jazz, between drone and industrial with a dose of Mongolian traditional music thrown in for good measure. This Tokyo based project is as close to pure music as you can get.
Seven minutes of deafening, near-formless noise opens No Exit. Two minutes of something akin to electronic whale song follows. Track six sounds like some megalithic spacecraft grinding slowly past your window. The improvisational project of Lajos Ishibashi-Brons is certainly not easy – this is an hour of droning, freeform, unsettling noise; anti-music that you might admire, detest, or both.
Music Musings and Miscellany
Noise as a genre is something I confess to having limited knowledge about. The only regular exposure to it I have is at the annual Instal shindig in Glasgow. In my experience, done badly it just becomes a cacophonous, shapeless and pointless din. Done well, though, it sucks you into an alien environment where rhythms and melodies exist, but only become apparent through careful listening. Sometimes they may not exist at all, but the brain creates them as it tries to make sense of the hostile aural environment.
(pronounced Gate) is the project of Japanese artist Lajos Ishibashi-Brons, based in Tokyo. He uses his own home built instruments including a sousen, an electric four string instrument used to create drones, and an electric morin khuur, an adaptation of a Mongolian stringed instrument played with a bow, as well as guitar, radio distortion and bass.
Some of the music is fairly abstract and (gasp!) quiet, such as “38 ss.mk” (all titles list the instruments used). Most is intense, with pulsing drones overlaid with sheets of noise. What surprised me is just how melodically rich a lot of the music is, even if the melodies are often buried deep. The rhythms, too, are hypnotic if relentless. Even at its most full on, where intense screes of noise cascade out of the speakers, there are rhythmic patterns to hold on to. The brain battering “8 ss.rd.mk” is a fine example where a dark and menacing slow march emerges from a seemingly random squall of feedback.
The most effective track is “29 ss.rd.gt” which looms out of a fog of white noise as a slow, alien pulse surrounded by distant drones of stark beauty. Absolutely hypnotic, at its heart there is a surprising serenity that pulls you into its sound-world. Then, towards the end, the darkness closes in and the nightmares start. The closing 28 minute epic is not, as you might expect, a total freak out, but on the whole a quiet, almost reflective piece centred around bass guitar notes with snippets of noise appearing and evaporating as quickly, with alien sounds like squeaking hinges and distressed geese adding to the mix.
No Exit is an impressively varied work that uses subtlety and force in equal measure. At times fierce and ugly, there are plenty of moments that are mesmerising, almost blissful.
Rudolf Vavruch [7/10]
The album is a very diverse one. Lajos starts it off with dirty drones and a primitive melody scratching itself out in "28 ss rd". He brings in strings on "38 ss mk" with what I guess is the morin khuur being bowed, the piece later develops into a delightful grating loop which keeps time with an ominous drum beat. "13 ss rd gt" is a complete surprise as it bursts onto your speakers with vigorous pounding rhythmic noise. This is followed by "44x ss rd bs", an introspective piece dominated by echoing plucked strings. Again on a completely different vibe "29 ss rd gt" is a noise ambient piece with claustrophobic engine room sounds and haunting drones.