One of the few records that has success because it is so predictable and useless. Its ability to be disposed of allows it an enchanting indispensibility. The first-time meetings of sine-wave specialist and contact-mic freak Sachiko M, no-input mixer freak Toshimaru Nakamura and the catch-all of his scene, Otomo Yoshihide consist of little else but random bleeps, bloops, glitches and rushing noises over the course of an hour and forty minutes. Yet, the sheer minimalism forces you to pay attention - a sound comes in, much louder than the others, or with some minute detail that doesn't quite fit right. This here, is the secret to Good Morning Good Night's success. That and the way it so perfectly encapsulates the span of a day, the mornings being groggy and discombobulated - and by afternoon, tight-knit and figured out. By evening, evened out and ready for rest.
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