Review: http://www.connexionbizarre.net/reviews/r_sunaoinami_aioa.htm "An Impulse of Acoustic" spans realms from IDM to ambient, crunchy glitches to delicate drones. Japanese synthesizer guru Sunao Inami modestly understates the album's title, as he embarks not on a mere impulse, but on a lengthy voyage of hypnotic proportions. The predominant techno-minimalist instrumentation parallels that of Richie Hawtin and Dominik Eulberg, though the overall sound falls rather far from the proverbial beat-driven tree itself. Instead, imagine that Inami sets a course similar to electro-minimal devotee Hugo Girard (Vromb), yet with sharper percussive sails and an abundance of stretched, grumbling bass stowed in the holds below deck. Eye-catching on the album sleeve, "Denomination" is over twenty minutes in length - by far the longest of the nine tracks on "Impulse." It begins in heady and mystical ambience, with waves of melodic drone and crackling undertones eventually giving way to psychedelic machine stuttering and slow-motion permutations of clicks and rumbles. Later these sounds are mirrored in the chirping and morphing of the oddly unsettling (and aptly named) "Precision," which in turn builds into new atmospheres and abstract cadences consistent with Inami's inspiration. "Urchin" and "Quarantine" are funky -heavy and syrupy with rhythmic indulgences. The pulsing grooves they feature are downright infectious, opening channels to the imposing, broken mechanics of "Rectifier" and the shimmering strangeness of "Convolution." From "Open" to "Close" there is without doubt an ancient and spiritual element buried deep within Inami's constructions. "An Impulse of Acoustic" is a masterful incentive that propels the listener along astonishing vistas and lurks in hidden shrines of stone and moss. -- Sandswept [9/10] __ The music made by improvisation sound sketch and cut up,after that editing and constituting that it same method of his album "DELAYED", but a greatly different matter from before is the following,the multiple use of the irregular beats by the samples chopped up by filtering and Granular synthesis especially with a complicated thing characteristic this time. The sounds influence from IDM and glitch or electronica stuff of these days, and also German electronics or experimental of the 70s and the early '80s industrial music. Sunao used NI Reaktor 4,Absynth,Ableton Live4, Waldorf synthesizers mainly. __ Inami mines a unique vein of exploratory ambience here, dipping occasionally into throbbing, masterful beats. The fourth track, a masterful 21 minute piece titled 'Denomination', flowers out from throbbing waves of drone, into mechanical power, rumbling and straining, overflowing against the prettier beginning. Other tracks are strict drone, deep and grey, with the occasional passing of a distant train or phantom. Then other works explore this same feel but then pull rhythm out from the darkness, and suddenly it's crunchy beats, like Ocosi or Quoit, ripsawing against a textural, floral background, both swirling around the other. Japanese experimental is known mostly for Noise, but Inami is into chilled Darkhop, Avant-Garde expressions of a sort I've not seen anyone from his country or another do quite the same way. __ Sunao Inami official site http://www.cavestudio.com Myspace http://www.myspace.com/sunao __ == JAPANESE ==