azumoto Endo is an interesting character. While IDM artists the world over have been introducing noise (or, at the very least, their perceptions of it) to their ever-growing fanbase, Kazumoto is really the only harsh noise artist to return the favor. His albums’ mixtures of texture and rhythm are always a treat to listen to. Don’t break out those intelligent dance shoes just yet though. While he definitely brings the funk, Endo spends more time burying it under six feet of static then letting it stand alone, and this is no bad thing.


Before proceeding I’d like to clarify exactly what Endo’s sound is for the uninitiated. If what you have in mind is a mix of Pita and Merzbow, try more along the lines of Massimo and Masonna; with maybe just a little pinch of Abba. Other noise artists have done perhaps a track or two like his before, some even an entire CD, but it always comes across as a joke. Like rich kids dressing poor, experimental artists often have a tendency to flash their love of the mainstream for bragging points. This is obviously not the case with Endo, though. He doesn’t need to sample Missy Elliot or Christina Aguilera. Any old beat will do. It’s just going to get destroyed anyways.


The tracks here are all titled in a somewhat cryptic manner. As far as I can tell, each song’s title corresponds to where each song starts, chronologically. Confusingly, there are six tracks, but only five are listed. The first of which is “5:32.17” (the point on disc where the second track starts), which I guess makes my favorite the unlisted opener “0:00.00.” It starts the album off right with what could pass for either your little bro’s drum machine or your dad’s tool kit being terrorized as loud as redbook mastering standards will allow. This stops abruptly and suddenly it’s Bollywood time, for what is seriously less than a second - just enough time to recognize what you’re hearing. The chaos rushes back in, then the soundtrack to an unknown blaxploitation flick makes a cameo. Cut back to noise, then a vocal sample: “It’s brutal. And inexcusable.” This all happens within the first minute of the disc. This makes for great noise because the cuts are so quick and unexpected. They are also remarkably clean and excellently timed. The transition from all-out sonic attack to clean, unprocessed sitar and back honestly doesn’t seem like it should work this well.


The next two tracks employ subtle rhythms and polished attacks. They hint almost at a user-friendliness not as apparent on the first track. This is offset by the fact that they are for the most part sample-free, at least the type for which he’s best known. This doesn’t make them bad, and in fact I appreciate that Endo holds back with the sampling. As much as I’d love it, I’d hate to see him play it out or make it a routine. His withholding of the goods seems even more intentional when he finally brings them back on the fourth track “14:18.45.”


The disc ends with a layered track that ties everything up. Underneath his unique noise is a distorted conversation, or at least a bit of one, that varies throughout in both volume and clarity; in some instances barely audible, others brought into the foreground and rattling the speakers. It’s a new avenue for Kazumoto and promises for interesting future explorations, if he chooses to pursue it. And this is perhaps where Brick and Mortar stakes its claim as an important release for Kazumoto. It manages to both expand upon Endo’s While You Were Out and leave the listener with quite a few questions. Like film sequels, those who expect a replica of his previous offering won’t find exactly what they’re looking for, but will probably be amazed by the new plot twists and the special effects.


Of particular note with this release, in addition to the music is the artwork. While it is unclear as to who is responsible (both Tim Koh, owner of Rhystop, and Kazumoto are talented in graphic design), it is damn fine regardless. The brickwork theme is applied here with an illustrated human (a soldier?) and a laptop composed of brick & mortar rather than their organics or plastic & wires. The centerfold, much like While You Were Out, is a large, motion-blurred photo of Kazumoto doing his thing in a presumably live setting.


Finally, those looking for Endo’s website (it’s actually printed different twice and both are wrong) should check http://ka.zumo.to. Despite this minor flaw, the audio presentation is superb and the packaging beautifully done. Like those epic movie buffs, I can’t wait to see what Kazumoto’s got in line for his next installment.