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PULSE DEMON probably is the most iconic, most representative and best known album in the JAPANOISE scene and MERZBOW discography.
This is the edge of music and sound, here you enter a new dimension made of POWERFULL NOISE.
Recorded in 1995 and first released in 1996 on the US label REPLAPSE, this album was re-released several times in both, CD and Vinyl formats.
This is first time in which album was completely re-mastered by Masami Akita for CD re-release with the addition of an exclusive bonus track taken from the original PULSE DEMON recoding session (the original DAT) and never used up to now.
Album comes in a six panel digifile presenting the lavish original and very psychedelic holographic-waves-art-work.
PLAY VERY LOUD AND MERCILESS!
All-star quartet Last Exit garnered its reputation with a string of unrelentingly forceful concert recordings in which it pushed the energy style of free jazz to its limits. When the group went into the studio for the only time, though, a very different sort of album resulted—very different not only from all their other output, but even from anything else ever heard from anyone at that time. Because of that, when it was released in 1988, some fans and critics didn't know what to make of it. This was, in a way, understandable, because Iron Path was so far ahead of its time that perhaps only now, over a quarter of a century later, is there an audience prepared for this album's pioneering hybrid of abstract heavy metal, unsettling ambient music, and free improvisation. Back in 1988, "Darkwave" hadn't yet been conceived, much less named and niched. The brutal sonic assault of Last Exit's live albums is not banished; it lurks below the surface on Iron Path, sometimes allowed to break through for a moment of stark contrast. But the unremitting density of texture heard in the quartet's shows is stripped back in favor of more subtle and varied textures, sculpting an atmosphere of moody brooding and sinister suspense. And, of course, the studio also allowed for far greater sonic clarity, putting these virtuoso players in a setting that shows off their masterful command of myriad timbres. In a world that has since become accustomed to hearing Earth, Pelican, Blut Aus Nord, Aphex Twin's Ambient Works sets, and Oöphoi, and artists such as Whote who explore the overlap between them, Iron Path can finally get its due, and an audience schooled to appreciate what it offers.
This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives.
Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises.
It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America.
In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.
Carlos Giffoni crash lands on Room40 with an ambitious new album of collaborations with Lea Bertucci, Greg Kelley, Mabe Fratti, Zola Jesus, Ben Chasny (aka Six Organs of Admittance) and Sepultura drummer Iggor Cavalera. Since 2010, when Giffoni was a relatively prolific member of New York's nu-noise elite, heading up the No Fun label (and the legendary festival), he's only released two albums: 2018's 'Vain' and 2024's meditative addition to the Ideologic Organ catalog 'Dream Walker'. Giffoni wrote the outline for 'Pendulum' in 2024 and 2025, quickly sending off the sketches to a handful of friends, some of whom he's been working with for decades. Under-sung hero of the New England noise/improv scene Greg Kelley turns up on the title track, for example, and opens up Giffoni's pitchy synth drones with a brassy fanfare that's a million miles away from his work with Nmperign (or on Kevin Drumm's extreme music milestone 'Sheer Hellish Miasma', fr). We don't remember if Chasny ever played No Fun Fest, but he was certainly knocking around at that time. So his contribution to 'Axis', gurgling synth sequences that follow Giffoni's own, close a loop between noise, psychedelic synth music and folk that the nomadic, genre-hopping underground mainstay has been signaling towards for years. And elsewhere, Giffoni sends out the signal to more recent contacts, roping in Guatemalan prodigy Mabe Fratti to offer her touch to album highlight 'Dermis' and tapping the unstoppable Lea Bertucci for some of her immediately recognizable tape manipulations on 'Dos'. Fittingly, it's old hand Cavalera, who's seemingly on a mission to collaborate with the entire scene right now, who plays us out, roughing up 'Whirlwind', Giffoni's muckiest cut in years, with the kind of laptop-bent noise that kept us going back to his Merzbow collab 'Nocturnal Rainforest' last year. Did we mention the whole thing's mixed and mastered by Jim O'Rourke? Well worth a peep.
Electrifying heavy sessions recorded in 1997 featuring the classic Mainliner + Musica Transonic lineup of Nanjo Asahito (High Rise), Kawabata Makoto (Acid Mother) and Yoshida Tatsuya (Ruins) driving into new divergently fried terrain(s). Here, Nanjo and co. are on a quest to find new directions, and while the sessions were for an abandoned Mainliner album, a good portion of Solid Static hews more closely to the moment-to-moment deconstructions of Musica Transonic. The propulsive ten-minute opening title track is a lost gem in the canon of Japanese psychedelia and rock and roll -- beginning with one of Mainliner's bludgeoning motor-psycho riffs, it veers off into auratic space, Kawabata's snake-charming guitar weaving around Nanjo's buzz-fire bass and Yoshida's multi-limbed drumming. Musica Transonic's improvised and jazz-informed take on psychedelic rock is writ across the distended rhythms and arcing bass and guitar lines that scrawl across "Prosecutor" and "Topsy Turvy," or the slurry of distorted tone that rolls through "Rot Way." Available for the first time on LP or any physical form aside from a clutch of CDR's sold at a few live dates in the late '90s. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve.
A split LP by two bands with truly singular musical identities: OOIOO, the Japanese experimental rock group led by YoshimiO of BOREDOMS, and Lightning Bolt, the noise‑rock duo from Rhode Island, USA.
Like on the early solo Haino album that shares the group’s name (released on P.S.F. in 1993), the instrumentation swims in reverb (the use of which Akiyama recalls as ‘a kind of point of the band’), often obscuring the instrumental sources. On the short opening piece, a distant reed instrument arcs long buzzing melodies over a bed of cymbals and gongs, like a psychedelic take on Tibetan music. The epic second part, occupying almost 50 minutes, begins as a splayed, near-formless cloud of electric guitar and bass, shadowed by bowed and plucked strings, the three elements working through twisting atonal shapes.
At various points in the recording, we hear what seems to be the sounds of musicians moving between instruments, their shuffling and bumps fitting seamlessly into this radically open music. Eventually, what sounds like electric guitar moves closer to the foreground, fixing on a repeated melodic cell around which hover mysterious clouds of long tones and a sporadic shaker. At the half-hour mark, the music begins to build to a violently emotive climax, Haino’s impassioned vocal cries punctuating a lumbering, bass-heavy murk, contrasted at points by what sounds like a tin whistle. Suddenly, the volume drops to a near-whisper, opening the way for the stunning final moments, which touch on the slow-motion balladry of Haino’s classic Affection, here given an eccentric twist by an occasional woodblock hit.
The third piece opens with a hazy trio of rumbling bass, bowed strings and abstracted slide guitar, the latter calling to mind some of Akiyama’s later solo work. Eventually joined by Haino’s voice, its fragile, haunted tone might remind the listener of the man in black’s documented love of the madrigals of the murderous Count Gesualdo, before the recording abruptly breaks off mid-note. In this new edition, the Nijiumu trio recording is supplemented by a piece recorded solo by Haino in 1973, a bracing electronic blowout stretching almost half an hour. Using a homemade electronics setup to unleash a barrage of crunching distortion and shuddering harmonic fuzz, it takes its place in the canon of extreme live electronics next to Robert Ashley’s Wolfman and Walter Marchetti’s Osmanthus fragrans, looking forward to extreme noise years before Merzbow. Taken as a whole, these four sides of music are a stunning document of some of the lesser-known waystations of Haino’s singular creative path.
I've just released a collaboration CD album under the name of my Agencement with Masami Akita's Merzbow, which was recorded in autumn 2024.
I hadn't been in contact with him for a very long time, but we were recontacted and considered for a collaborative project for a few years, and we finally did it this time.
We also did the cover artwork for each side.
This is not a digital-only release, so please pick up the CD and listen to it.
Recorded in 1996, Merzbow’s The Prosperity Of Vice, The Misfortune Of Virtue is one of a series of unique editions from his vast catalogue that reveals a side of his practice often under represented.
During the late 1980s and into the 1990s, Masami Akita was sometimes working on film and theatre music. In this space he created a series of recordings that capture the full scope of his sound worlds.
Given the nature of these settings, his compositional approaches were varied, seeking to create both intensely crushing walls of sound and more spatial, and at times rhythmic, pieces that plot out an approach to sound making which atomises his universe of sound, and uncovered the singular detail that is often consumed in the whole.
The Prosperity Of Vice, The Misfortune Of Virtue is the soundtrack to the theatre piece 'Akutoku no Sakae/Bitoku no Fuko' by Romantica. Based on Marquis de Sades's 'Historie de Juliette ou les Prosperités du vice' & 'Les Infortunes de la vertu’, this recording was originally released with limited distribution and remains one of the lesser available Merzbow recordings.
This edition is completely remastered and contains an additional cut from those original sessions.
It has been twenty-five years since the seismic events of 2001—when twin towers collapsed under terrorist attack and Coventry's sonic insurgent Russell Haswell launched his inaugural salvo on the original Mego label with Live Salvage 1997–2000. The intervening era has delivered unrelenting turbulence: protracted wars, institutional corruption, a global pandemic, the resurgence of fascist currents, rampant media distortion, and omnipresent surveillance. For Haswell, a lifelong admirer of 1970s and 1980s dystopian cinema, the verdict is unequivocal: "Science Fiction is now!" In the face of this darkening reality, LET IT GO arrives as both acknowledgment and antidote. This new full length on Editions Mego extends an olive branch through defiant sonic diversity—an unpredictable mosaic that embraces everything from propulsive rhythms to radical abstraction and enveloping ambience. True to Haswell's core practice, the material draws from the same tactile, free-improvised electroacoustic framework that powers his live sets: immediate, powerful and unscripted. The album weaves reverent echoes of 1990s Detroit techno's hypnotic pulse and the abrasive, metallic edge of the Birmingham sound into fractured generative territories. Haswell returns to his computer-generated origins while integrating his recent modular-synthesis experiments. During a residency at the Bergen Centre for Electronic Arts (BEK) in Norway, he harnessed the latest GRM Tools suite to conjure the volatile, "rapidly fluctuating pitched sounds" that characterized Iannis Xenakis' late electronic works—resulting in pieces such as Fall 3 and Fall 2, where instability becomes a form of vitality. The tracks Exit Downwards and The Anxieties Of Our Time whilst reflecting the currents of the release also offer surprisingly melodic patterns over jagged rhythms. The wryly titled Thu 25 Dec 2025, (recorded in Glasgow after a solitary post-Christmas-lunch walk home) is a vast drone which evolves according to the random walk model—known more evocatively as the drunken walk—each sonic step veering unpredictably, mirroring the disoriented lens of contemporary existence. LET IT GO is liberation. Amid the cacophony of crumbling certainties, Haswell deploys a full arsenal of resistance: kinetic drive, disorienting rupture, quiet refuge, raw aggression, and tentative hope. In an age where dystopia has shifted from fiction to lived fact, this music asserts that possibility endures.
Lasse Marhaug's arsenal of devices are fed through video artist Kjell Bjørgeengen’s volatile A/V system on this latest despatch from Smalltown Supersound’s ‘Le Jazz Non’ series, a fierce sequence of hard-as-nails sheet noise x outsider techno that’s essential listening if you're anywhere on the line from Pan Sonic to Merzbow or PITA. Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe's pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input and a telephone pickup. Jones named it the "Flood Coil", and it's that instrument you can see on the album's front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form. Bjørgeengen's video feed is generated by oscillators, then routed into Marhaug's pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound change the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone and peculiar rhythmic snippets to show the scope of their technique. A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow's metal-inspired screams into 'Aaltopiiri'-era rhythmic noise. It's remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundystem-subs and grinding blast beats that sound like Napalm Death's 'Scum' piped through a broken amp stack. It ain't pretty, but noise/industrial freaks will revel in the fierce delights inside.
Carlos Giffoni reconnects with Thurston Moore for the first time in years, blazing through two sides of loose-limbed axe noise, oscillator worship and hard-phased, Spacemen 3-style feedback. Giffoni's been on a roll recently. Since the No Fun founder returned to the scene with 'Vain', a genius set of synth mutations that appeared in iDEAL back in 2018, he's been slowly ramping up the activity, dropping the celestial 'Dream Walker' on Stephen O'Malley's Ideologic Organ in 2024 and following it with 'Pendulum', a bumper compendium of collaborations, just a few weeks back. For those who remember Giffoni's first trip round the block, he was always able to hold his own chopping it up in person, not just by mail. Just scrub through his early catalog and you'll see collabs with Nels Cline and Chris Corsano, Merzbow, Jim O'Rourke and Lasse Marhaug, and of course, Thurston Moore. The two rekindle their thing on 'IGUANA', picking up where 2001's fabled '4 Guitars Live' performance left off. Here, Giffoni straddles a tabletop synth and FX while Moore attacks his signature Jazzmaster with a drumstick and a screwdriver - vibes fully intact. Moore is on blistering form, sounding as if he's taken a step back to refresh his approach since the early '00s when he could be spotted moonlighting on any number of basement-adjacent noise sides. Sawing at his strings and turning the guitar into a shrieking resonator, he leaves only faint vapours of the classic Sonic Youth sound as opiating accents on his animalistic wails and rumbles. On the opening half, his whammy-assisted shreds are balanced out by Giffoni's off-world whirrs and airlocked vibrations, building a dense wall of noise towards an unexpectedly elegiac conclusion. At some point, Giffoni's rasping churr transforms into a simmering shudder and Moore's into hymnal drones - squint a bit and you could almost call it pretty. Of course, they ramp things up on the flip, dissolving the melancholia with smokey white noise and twangy, post-Derek Bailey chimes that Giffoni accompanies with aggy oscillations. Like every great taped noise set, the recording quality is crucial - 'IGUANA' was captured from the pit by Guillermo Hernandez Avendano, the dad of Lia Miranda who provides the cover photo. It's that kinda show.
A pivotal force in the foundations of Noise music in Japan, Fumio Kosakai is half of The Incapacitants, and has recorded with other acts such as Hijokaidan, CCCC, and Club Skull. Originally released on cassette in an edition of fifty copies in 1993, "The Warm Garden" is a pinacle for collectors of 90s noise and the outer realms of Japanese psychadelia. The work steps away from the denshi zatsuon (electronic noise) of his other groups and instead comprises two pieces of minimal electronics, percussion, and treated violin. The result is engrossing, hypnotic gothic psychadelia and scorched earth cosmic sound. The cassette source was carefully remastered by Alex Nagle in consultation with Fumio Kosakai himself."
20th Anniversary Repress!
Merzbow's Merzbeat is one the most unique and legendary titles in the artist's vast archive. This 20th anniversary repress is being issued at the same time as CD reissue of his 1983 album Material Action 2 and a brand new collaboration with Arcane Device, all on Important Records....
Paulownia by Merzbow is a 2025 full-length statement comprising two lengthy compositions that fuse intense electronic manipulation with Merzbow’s enduring fascination for natural phenomena. Across both pieces, the album merges organic inspiration and harsh digital process, producing a hypnotic yet confrontational experience. **Edition of 200** With Paulownia, Merzbow (Masami Akita) delivers a formidable new addition to a catalog already legendary in the experimental music world. The 2025 release spans two extended pieces—“Paulownia part1” and “Paulownia part2”—each developing a dense matrix of sound where digital noise entwines with subtle references to organic structures. The album’s name, drawn from the paulownia tree, hints at Merzbow’s long-standing environmental preoccupations; here, they are rendered less as representational themes and more as evocative textures and forms. The compositions surge with layered feedback, haunting drones, and micro-rhythmic fluctuations, evoking an ambiguous, immersive environment that rewards attentive listening. What distinguishes Paulownia is its ability to generate tension and release from the interplay between ferocity and fragility. The music neither settles into a predictable assault nor dissipates into formless ambience; instead, it sustains a meticulously sculpted intensity. As always, Merzbow’s commitment to tonality, texture, and structure resists easy classification, maintaining a delicate balance between repetition and change, aggression and atmosphere. For those prepared to let sound define its own territory, Paulownia is a compelling testament to Merzbow’s ongoing innovation, fortifying his place at the core of the noise tradition while persistently opening new vistas for exploration.
Black Editions present the first vinyl reissue of Keiji Haino's stunning debut album Watashi Dake?, originally released in 1981. This first ever edition released outside of Japan features the artist's originally intended metallic gold and silver jacket artwork. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. For all this, his 1981 debut album Watashi Dake? has remained enigmatic. Originally released in a small edition by the legendary Pinakotheca label, the album was heard by only a select few in Japan and far fewer overseas. Original vinyl copies became impossibly rare and highly sought after the world over. Watashi Dake? presents a haunting vision -- stark vocals, whispered and screamed, punctuate dark silences. Intricate and sharp guitar figures interweave, repeat, and stretch, trance-like, emerging from dark recesses. Written and composed on the spot -- Haino's vision is one of deep spiritual depths that distantly evokes 1920s blues and medieval music -- yet is unlike anything ever committed to record before or since. Produced in close cooperation with Keiji Haino and legendary photographer Gin Satoh. Coupled with starkly minimal packaging, featuring the now iconic cover photographs by Gin Satoh, the album is a startling and fully realized artistic statement. Housed in custom printed deluxe Stoughton tip-on jackets, including black on black inserts, extras, and hand-colored finishes; Remastered by Elysian Masters and cut by Bernie Grundman Mastering; Pressed to high quality vinyl at RTI; Includes download code.
Junko Tange's second and final album is a minimalistic, phantasmagoric masterpiece of distant, dreamlike voices woven through pulsating, dubbed-out drum machines, synths and static, originally issued by Osaka's Vanity Records in 1981. Did this unassuming dental student (who vanished from the music world following this release) inadvertently invent dub techno? You be the judge. Label head Yuzuru Agi said this was his favorite Vanity release, and it's not hard to see why. Remastered by Stephan Mathieu from brand new transfers of the miraculously well preserved original analog tapes, this fully authorized 2LP (@45rpm) is the definitive edition of this landmark electronic work. Packaged in a deluxe, gatefold Stoughton tip-on jacket.
psalmist of longing i surrender to the sanctitude pour of a slicing of suns, the flood of the suns' un-skinning You begin from me just as i begin to end, i purify the spill of the blood of the forgotten. - St Agnis +++++ Recorded in Jamaica Queens, New York 2023-2024 Mastered by Dima Ibrahim
ノイズ界の二大巨頭、Merzbow と Bastard Noise が真正面から激突したコラボ作『Brick Wall Evolution』。Merzbow の流動的で有機的なハーシュノイズと、Bastard Noise の低域重視のパワーエレクトロニクスが融合し、圧倒的な密度と質量を持つ音響が立ち上がる。高周波のきらめきと地鳴りのような低周波が層を成し、混沌と秩序が同時に存在するノイズの地形が刻々と変化していく。タイトル通り、進化した音の壁！！
This is a collaborative work by Kodo’s Masayasu Maeda and Hida Onkyo Ha, featuring selected extracts from a four-hour improv session in Hida Takayama, up in Japan’s northern Alps. It captures waves of electronics, voices, taiko (Japanese drums), gongs, and other instruments as the sounds enter, entwine, and meld in the mountain air. The title ‘On-myaku Kyo-myaku’ evokes sounds (on) and echoes (kyo) that undulate like a pulse (myaku). Layering upon one another, over and over, conjuring reverberations, rhythms, ambient sound, noise, and moments that are tribal, spacey, and intoxicating. Lean into the sways and flutters of fleeting, pulsating, resonant sound.
One of the first artists iDEAL wanted to work with was Japanese noise legend Masami Akita (b. 1956) aka Merzbow and we consider his 7” for us as the first release on the label. His work is of course very well documented since his start in 1979 and we have been obsessed by his noise since we first came across it in the late 80s through that double LP on RRR. Merzbow is unique and has always kept his own corner in the experimental music world. ”GAREKI NO NIWA” is harsh, psychedelic and rewarding. It’s great listening and to us an essential Merzbow album!
All music by Merzbow & Akio Jeimus
Recorded at Munemihouse & Avant Chop Studios 2025
Mixed by Masami Akita at Munemihouse
"Fusia's Joule 1" and "Fusia's Joule 2" recorded live by Ki Moon Song at Polaris, Tokyo March 2, 2025
Mastered by Cedrik Fermont at Syrphe
Photo by Akio Jeimus
Inner poster artwork by MA AI generated
Design & Layout by Parker Thiessen
Since adopting the Merzbow moniker in 1979, Masami Akita has collaborated widely with artists across noise, free jazz, and experimental music. 2025 saw him recording with Akio Jeimus, a Chicago-born, Japan-based drummer who has worked with Toshimaru Nakamura, Akira Sakata, Tetuzi Akiyama, and Otomo Yoshihide, and currently performs as a member of the Osaka group goat (jp). Jeimus approaches the drum kit with restless, intuitive physicality, marked by a fondness for chance interplay and extended techniques. Consisting of studio sessions as well as recordings taken from a live performance in March 2025 in Tokyo, Any Other Utterance captures noise and drum set locked in motion, where patterns continuously form, self-destruct, and collide.
Opening with the studio track “Florescent Silhouettes,” the record bursts out of the gate with a flurry of cascading drums as Masami’s electronics roar and churn. Midway through, the noise condenses into a stuttering, squirming pulse as cymbals and snare drum volley in response. By the end of the track, the electronics pierce through the percussion, a high-pitched squall stretching into a sustained howl.
The B-side, comprised of “Fusia's Joule 1” and “Fusia's Joule 2” (perhaps named after the color of the dynamic lighting at the venue that night), captures the duo in raw, unrestrained form on stage — a storm of noise introducing itself immediately and refusing to relent. But the storm suddenly cuts out six minutes in, leaving only Jeimus’ clattering percussion, unrelenting in its own way. He moves between percussive bursts and crashes of cymbals and bells, scraping and smearing the kit to draw out blurred textures. Masami soon returns with sharp, surprising stabs of sampled piano. Interlaced with blasts of distortion, the piano punctures the air of the 70-person venue in downtown Tokyo, as the performance mutates into a kind of twisted free-jazz duo.
Across both halves, Any Other Utterance documents a shifting relationship between the drum set and noise: two forces chasing, interrupting, and reshaping each other in real time. What’s left isn’t resolution, but the sense of motion itself.
- Jake S.