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 前作から2年、ベルリンを拠点に活動するイタリア人プロデューサー Shapednoise (Nino Pedone) が放つ最新作 Absurd Matter 2 は、単なる続編ではなく進化そのもの。ノイズ、ヒップホップ、クラブ実験音楽、アンビエントが自在に交差し、破壊と再構築を繰り返すサウンドは、幻想と現実の境界に揺さぶりをかける。2022年、メニエール病による突発的な聴覚変化を経験し、Pedone は表現の基盤そのものと向き合うことを余儀なくされた。喪失感はやがて静寂の持つ表現力へと姿を変え、過激さではなく奥行きと繊細な歪みを通じて、感覚の再調整を描き出している。ゲスト陣も強力。Armand Hammer の billy woods と E L U C I D を迎えた「Repeater」は、反転するリズムとストリングスの緊張感の中でラップが交錯。Fatboi Sharif が不穏な語りを乗せる「Bandage Chipped Wings」、ICECOLDBISHOP の攻撃的なフロウが金属質のドローンとぶつかり合う「Crash Landing」など、緊張感に満ちたコラボレーションが並ぶ。さらに Loraine James との共同制作で Moor Mother が登場する「I Saw The Light」では、轟音ベースと崩壊寸前のビートの中に鋭い言葉が刻まれる。ダンスフロア志向のトラックも進化。「X」ではデンボウを解体し幻聴のようなノイズを重ね、「Splintered」ではケニアの才人 Slikback と共にトランスとトラップを融合。「Oblivion Step」では 2-step を歪んだ視点から再構築してみせる。そして Kaitlyn Aurelia Smith を迎えた「Viel」は、霧のようなシンセと幽玄なヴォーカルが漂い、ポップの気配すら覗かせる異色の美しさを放つ。前作がトラウマへの直接的な反応だったとすれば、本作は感覚の再定義とその過程の記録。混乱や眩暈を抱えながらも、それを音楽として昇華し、変化を力へと変えていく。Absurd Matter 2 は明快な答えを提示するのではなく、霧の中に踏み込むための道標であり、暗闇を突き抜ける笛のように響くアルバム。

ベルリン拠点のイタリア人プロデューサー Shapednoise 4年ぶりのニューアルバム!!エクストリーム・ノイズの極北とアブストラクトヒップホップのレフトフィールド性を突き進むビート・ラビリンス!!!‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hip-hop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.The album arrives after a period of severe anxiety for the producer when he unexpectedly lost his hearing.For a professional sound designer it's a nightmare made flesh, and Pedone was suddenly left unable to produce music, DJ, or even attend events. Now in recovery, he was forced to reconsider his output, struck by the stress of mortality and his body's precarious materiality. So ‘Absurd Matter’ tells a critical narrative that's cut with visceral pain and panic, from the unsettling intro that features David Lynch's longtime collaborator Dean Hurley, through the cautious cacophony of the unstable 'Swash' all the way to the album's isolated but dizzying conclusion.The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers, Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward-thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.