Love it or hate it – or something in the middle – Koji Asano’s music always surprises one way or another. The over-prolific Japanese composer shows here his “rough minimalism” facet with an extremely simple study on the resonant power of a regular instrument (..is there a piano in there? A guitar, somewhere?…) totally modified by filtering and processing in order to amass tons of distortion while operating a frequency cutoff that leaves just a distant ectoplasmic reproduction of the original source. These experiments often seem to be born from improvisations, as Asano looks for the right angles and spots to release the tension accumulated over minutes upon minutes of repetition of a single note or phrase; one could think about illustrious lineages, say Palestine or Conrad, but Koji privileges the dirty over the limpid, which sometimes can yield very interesting results. Never mind if sometimes you would think that all your home appliances have decided to start a grumbling conversation: it’s only Koji Asano, but I like it.