Another early morning test for my speakers was conducted by spinning this CD, which comes without technical explanations or descriptions, except for the label credits and the names of the six tracks. Of course I’m familiar enough with Nakamura; instead, this is the very first time in which Bussmann’s methods are met by this side. The record begins as we would expect, with all kinds of mixer-cum-electronics-derived emissions: from the barely audible, to the voltage-controlled, to the rhythmically charged. Whirr, wheeze, mweeoow, buzz, crackle, pop, hum, hisssssssssssssss. You get the picture. Crunchy matter all over the place, this man worried about subjecting his wife to an undeserved torture at 6:30 AM, coffee and biscuits just swallowed amidst smiles and niceties. A Jekyll-into-Hyde turn of sorts. With the passage of minutes the scenery changes a bit, the noise getting progressively “musical”, even complemented by what sounds like snippets of pre-recorded material and synthesized sequences. Which probably ain’t, yet the result appears very similar. At one point, we think of Biosphere with the addition of several layers of grittiness and granular textures. Also recalling David Lee Myers (aka Arcane Device) in a couple of instances where more reverberant spaces seem to prevail. But no worry, these guys are not so easy-going: soon the auricular membranes finish their holidays, returning to a long shift of sticky high-frequencies and non-tranquilizing washes of digital din whose wax-melting effects are easily demonstrable. Confusion for almost everybody, an approach with a different kind of internal resonance for the most probing ones. Find yourselves a copy, I know you can do it.