I have no idea what’s going on half the time here. Otomo worked with glitches in CDs so early on (this came out in 93) that he needed to explain to people what was going on. What is now an everyday thing was not so common place, even in the experimental Japanese noise scene.
None of this gets coherent. Samples ranges from random Japanese advertisements to harsh noise. There is no in between, no melody, no development. This is some of the most nothing music ever, it is as you’re listening to the sound of infected pop culture.
Despite this lack of coherence, there’s something very appealing in it. Even after so many people have attempted this same sort of fragmentary structure, it sounds fresh. Maybe it has to do with the amount of freedom he gives each sample. Or perhaps by having 77 tracks, some of which are only a few seconds long, things never get stuck in a rut.
Oddly appealing for anyone with an interest in experimental electronic or free jazz (of which it shares a similar disregard).