(Sound Projector) Last heard from Chefkirk in 2012 with his We Must Leave The Warren CDR, which was mostly a sub-bass droner without much in the way of spriggly fizzy eventitude, but he’s back to his good old abrasive and itchy self with Kaiju Manifestos (EH?28), where he’s scratching up a roughly-textured mess with Andrew Quitter, both cats licking the butter with their rough tongues. Quitter is an electronic carpenter-stroke-fisherman who’s been plying his trade in Eugene Oregon since about 1998, has about eight aliases and also adds his strength to at least as many bands, and his solo album covers indicate his engagement with bleak scenery, outer-space travel, wild animals – and his dislike of Portland, Oregon. Matter of fact Kaiju Manifestos was recorded at Slithis Studios in Eugene, perhaps both fellows turning their disaffection for people and places into palpable sound-art for the audience to savour. Most of this negative excitement is reserved for the two opening tracks – both ‘Spatial Surface’ and ‘Gesundheit’ are explosions of passionate proportions, and would have fit right into the murderous Mego agenda of the late 1990s – highly suitable for disinfecting and then reinfecting most kitchen surfaces with their germ-laden assault. Thereafter the album does slow down to a more considered pace, and the two circuit-folders rub up against each other like two lonely beasts by the fire, emitting deep murmurs and regularised purrs. The final track is another delicious mess, ugly pulsations and nonsensical emissions spitting forth from crazy, untamed devices, interrupted with aggressive spits from white noise, static, and all sorts of non-musical swill. Cineastes who are expert in the field of Toho productions will spot references to Smog Monster and other gigantic beasts in the track titles here. Quite good, sometimes energetic, broken electronic noise. From June 201 - Ed Pinsent

(Kathodik) Roba aguzza di quella che taglia, registrata ad Eugene nell'Oregon. Tra frenate digitali, spippolamenti alieni, distese di desolata paranoia, progressioni e inceppamenti d'ingegno homemade, l'arte del cesello feedback, il suono del nulla che riprocessa il nulla. Cinque stanze per cinque supplizi. In cupa sospensione (The Hedorah Strut), battuta/agguato (Spatial Surface), drone/oscillazione/ossidazione (Plastic Synthesis), punente tabula rasa (la conclusiva Recreation, Multiplication, Expansion). (Trattenuto) minimalismo noise in modalità allucinatoria (incombente). Chi produca questa o quella frequenza, non è dato sapere. Il suono di mille garage o studi casalinghi in costante febbrile ricerca. Talvolta presa, poi lasciata e ripresa. Non tengo a capa a posto? Non tengo a capa a posto. (con tendenza al rialzo dopo il tramonto). - Marco Carcasi

(Vital Weekly) It's been since I last heard music from Chefkirk, also known as Roger H. Smith, who, at one point, seemed like a weekly presence in these pages. Maybe it was a rumour, but someone said: he will stop sending you music, when you are positive about it. I must admit, much of his noise releases weren't that well spent on me and I am sure he didn't like my writing. Here he teams up with Andrew Quitter, who works, besides his own name, as Lisa's Trip, Neon Dumpster, Normal Police, Regosphere, Robotnoise, Suburbia Melting, Trunkus, Vestron plus he's in a whole bunch of bands. The five on 'Kajiu Manifestations' were recorded live from soundboard at Slithie Studios in Eugene, Oregon and there is no specification as to who's doing what around here. Chefkirk, no doubt, is still armed with his no-input mixer, sampler and cassettes and Quitter also has a fine bunch of lo-fi electronic apparatus under his belt. I actually enjoy these pieces. Maybe it's because these days I am leaning towards a bit of (intelligent?) noise again, or perhaps there is something in here that made me grab my chin and go: 'yeah, these guys planned this actually quite well' and came up with an interesting variety on the subject of noise. 'Plastic Synthesis' is a raw drone piece, whereas 'The Hedorah Strut' is classic noise and chaos. In both 'Recreation, Multiplication, Expansion' and 'Spatial Surface', the starting point is the same but in the latter worked out in rhythm and noise and in the first pure noise, with some looped sounds. This is all surely quite loud and noise based, but with the variations on offer and the fact that this lasts only thirty-four minutes, one has the idea that this is enough as it is, but also with the idea that an extra track could have added another level of noise. It leaves you craving for a bit more, which is good, I think. - Frans De Waard