Way-above-average improv from Japan. Electric strings (guitars?), saxophones, electronics, and samples move with unexpected ease frommeditative passages to intense blow-outs to free scatter. Sax player Yoshinori Yanagawa plays with the same sort of depth and passion as Albert Ayler-no fakin, no academic rendering. But hes only part of a much larger whole. The wash of precision rumble and sound-tweaking that surrounds everything creates chaos from an intensely ordered technology. Strange (not weird), exciting music. An intensely intriguing IIIrd album from this Japanese guitar/sax/electronics trio, ostensibly in four parts; parts 01. & 04. being short nursery soundscapes, the curtain rise & fall for the mammoth central volcanic continent which is itself shattered into a flies-eye multitude of alternately blasting, then conversational fragments. 

Yoshinori Yanagawas saxophones veer between Brotzmanesque screams and the deep bowel-rumble of a severe high-colonic impaction (especially when played at 33.3rpm - later, at 45, things resumed a more distinctly saxophonic tone). Electronics dominate most of the tectonic mood swinging going on; Toyohiro Okazaki (& guest sample wrangler Syohei Iwasaki) comes on like some demonic incarnation of Ron Grainers BBC Radiophonic Workshop. Fujio Kimuras electric strings are so convincingly grafted on to electronics wall that they together describe a single, enclosed chunk of improvised airspace, which houses the fluttering horn. coyotes call is at times an intense and demanding listen, exploring a kind of electronoise-jazz (sans drums) landmass only hitherto trod by hardy souls (Borbeto/Voice Crack collabs being the obvious precedent). Definitely worthy of much further investigation.