Search - K.K. Null, K. K. Null :: Extasy of Zero-G Sex

From Farway Elsewhere to the Intimacy of Your Viscera

lianas | St. Louis, MO United States | 09/23/2001

(5 out of 5 stars)

"What is so amazing to me about KK Null's pieces is that they are startling, alien landscapes that quickly enter a very intimate dimension of my being. This album is an incredible array of high oscillating pitches that create four-dimensional dropout and shifts that repeat themselves. The net effect is a feeling that either the listener is in motion or that something unseen is in motion in the vicinity of the playback."

One of the hardest-working men in rock and roll.

Robert P. Beveridge | Cleveland, OH | 06/21/2004

(4 out of 5 stars)

"K. K. Null, Extasy of Zero-G Sex (Vinyl Communications, 1998)Extasy of Zero-G Sex was K. K. Null's sixtieth full-length release. Yes, you read that right-his sixtieth. One wonders when the man finds time to tour. Null, who started his solo career in 1982 and works on and off with three other acts (Zeni Geva, ANP, and Monster DVD), continues to be just as prolific today (twenty-seven full-length CDs have been released since, with a handful of LPs and tapes as well).The majority of Null's work is guitar-based, but a handful of discs recorded in the late nineties went off on more experimental tracks, like using a cord, without the guitar, hooked up to various effects pedals and such. I'm not sure, but I think Extasy was one of the albums recorded this way; it certainly sounds like what we was doing on his tour of the U. S. soon after. He is space rock, but not that new age kind of stuff you find on the Hearts of Space label. No, this is the kind of stuff that you listen to while staring out the porthole of your spaceship contemplating emptiness so incredible there are huge (relatively, anyway) spaces even between the atoms out there. Most of it is the patented K. K. Null high-register looped bounciness that sounds like nothing so much as a danceable symphony for a chorus of fire alarms, but in the center of the album lies a very surprising, quiet track. It's as if Gyorgy Liegti took the stage for a bagatelle in the middle of a Merzbow show. Quiet, contemplative, and never letting you forget that pretty soon, the man will get back to tearing your face off while poking various of your extremities out the airlock in order to freeze-dry them. In other words, wonderful. *** ½"