A.N.P* ‎– Ultrasonic Action

Nux Organization ‎– NUX-D 3


1 H.A.E. 2:07
2 Disembody 11:47
3 Godkill 6:02
4 Emanation Nihilo 7:44
5 Killing Yah 12:24
6 Ultrasonic Baby 27:49

Companies, etc.



All tracks recorded live at
LOFT, Tokyo (10/6/1986)
EGG PLANT, Osaka (10/17/1986)
CBGB, Kyoto (10/18/1986)
KID AIRACK HALL, Tokyo (4/3/1987)

Remastered 1993.



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May 15, 2012
NULL's noisy guitar genius is joined here by ASAMI on bass & MURAYAMA on drums. The cover boasts 10 tracks while the actual disc only has 6, not making this reviewer's job easier. "H.A.E." opens play - sounding at first like an over-powered Jazz warm-up with screaming voice matching the feedback which trickles in at regular intervals. It's a freeform track reminding me a little of PAINKILLER in a passive mood. "Disembody" comes across like a cross between THROBBING GRISTLE (with their grizzling flange guitar) and GODFLESH's ponderous huge rhythmic monstrous sound. A soporific hell-spawn beast. "Godkill" is a massive, dense thing with the guitar scratching wild tracer wire guitar, all fused into a mass of impenetrable sound. "Emanation Nihilo" is less formed, again sounding not unlike PAINKILLER at one of their less driving moments. The approach towards the music - on-the-spot improvisation - is much the same, and the exchange of NULL's guitar for ZORN's sax gives them the added edge of being able to 'vocalise' simultaneously. The track moves around in ungrounded chaos, searching for direction, moving in & out of shapeless forms. "Killing Yah" is a strange sounding piece, opening with wild noise not unlike amplified short wave noises fed through a variety of filters, before becoming a loose, disconnected track with guitar twanging like breaking springs, drums running hither & thither as if searching a smoke-choked room for an exit, and the bass rumbling in amorphous chaos, all building towards some state of even more corrupted sound. "Ultrasonic Baby" is more like a Rock track with tight drums & bass while a noisy frequency sound (oh, come on, that can't be guitar) scrawls ear-scratching noise in great chaotic washes over the top. It dissolves into "Screaming Death Bird", a shrieking delta of slo-mo exploded metal noise with slowed-down freeform Jazz drums & bass making an abstract foundation, changing further, becoming an impenetrable mass of cacophonic noise for "Distortion Divine" which changes in it's density, gradually moving towards it's dissolving conclusion. The next track returns to the former lethargic monster theme of "Disembody", again like some mutant version of GODFLESH playing a 1/3rd speed cover of THE GANG OF FOUR's "To Hell With Poverty" while the vocalist (NULL) screams his words over the top. "Ultima Action" closes the album, following on from the previous piece. A long, ever-changing piece which sounds not unlike an all-out fight, with a combination of the twanging guitar & the shrieks of feedback, all becoming a chaos-machine of noises. It burns like an inferno, promising to engulf the listener in its hungry maw. Its sounds are like that Japanese monsters' which always arrived to fight Godzilla. It bashes & pads around, reminding me of the conclusion of DOLL BY DOLL's "Palace Of Love" stretched out over around 5 minutes. Its finally laid to rest in a junk pile of mutant noise, dying in agony, it's death throes managing one final scream.

Originally reviewed for Soft Watch.