[Column] Zeni Geva – 30 years of history as the pinnacle of Japanese experimental noise rock

Column en Experimental Hardcore Noise Underground

24 Nov 2025

[Column] Zeni Geva – 30 years of history as the pinnacle of Japanese experimental noise rock

Introduction

Text: mmr｜Theme: Deciphering the evolution of sound where violence, precision, and structural beauty intersect

Zeni Geva is a band that occupies a very unique position in the history of Japanese experimental noise rock/hardcore. Since their formation in 1987, their sound has been consistently violent, yet at the same time incredibly structured, encompassing precisely calculated mathematical rhythms. The wide-ranging sonic philosophy of leader KK Null (Kazuyuki Kishino) continues to form the core of the band, and has had a strong influence on the underground scene in Japan and abroad.

Their music is layered with noise, metallic guitars, destructive drums, repetitive structures, and electroacoustic textures. The history of Zeni Geva, which has been active intermittently from the 1990s to the present, is extremely important as a nexus between Japanese noise culture and overseas underground.

1. Formation period (1987–1990): origins of violence and structure

Zeni Geva was formed in 1987. The central character is KK Null. He had already established a highly experimental musical style through previous activities such as YBO2, and was a person with cross-disciplinary knowledge of noise/hardcore/avant-garde music.

Initial members

KK Null (Vo/Gt)
Fumiyoshi “NP” Suzuki (Gt)
Ikuo Taketani (Dr)
Elle (Vo)

The band’s name is said to be derived from the word “Zeni” and the German word “Gewalt” (violence), and is embedded with the social concept of Money Violence.

Early works

How to Kill (1987)
Vast Impotenz (1988/Cassette)

In their early works, while centered around noise rock and hardcore, we can already see the beginnings of the repetitive structures, destructive riffs, and mathematically irregular time signatures that would later become their hallmarks.

In 1988, Mitsuru Tabata joined the group, further increasing the quality of the guitars. Since then, Tabata has been the pillar of Zeni Geva’s sound for a long time.

2. Leap (1991–1995): Encounter with Albini and international recognition

In 1991, Zeni Geva reached a major turning point. It is a collaboration with American engineer/producer Steve Albini. Due to his recording philosophy, Albini is known for his recording methods that capture the vivid atmosphere of a space.

“Total Castration (1991)”

The first full-length album recorded by Albini. Zeni Geva”s violence and Albini”s dry, direct sound meshed perfectly, earning them strong reviews overseas.

“Desire for Agony (1993)”

Released from American label Alternative Tentacles (organized by Jello Biafra)
Overseas tour begins in earnest
Released many EPs and singles around the same time (Nai-Ha, Disgraceland, etc.)

Expansion of live activities

Since around 1992, he has been actively performing live in America and Europe, and has also appeared at the John Peel session in England. Peel highly praised Zeni Geva’s musicality, further increasing their international recognition.

“Freedom Bondage (1995)”

An important work produced with Albini again. It is said to be the album with the most well-balanced integration of acoustics, structure, and violence.

3. Deepening experiments (1996–2001): Longer length, electronicization, pursuit of structural beauty

In 1996, there was a change in drummers, with Blake Fleming joining the band for a short time. Later, Masataka Fujikake joined the band, and Zeni Geva’s rhythms became more complex, faster, and more layered.

Strengthening structural musicality

During this period, Zeni Geva’s songs became longer and more structured, including songs over 16 minutes.

Multiple parts diverge and reconverge
Contrapuntal riff with two guitars
Increased use of electronic devices such as Nulltron

“10,000 Light Years (2001)”

Increased electronic textures
Noise/metallic guitar/unusual time signature/electronic sounds intertwine in multiple layers
Zeni Geva as a sound sculpture, different from the 1980s-90s period

The band reached musical maturity during this period, but at the same time, Null’s solo activities and other projects increased, and the time between releases as a band became longer.

4. Hiatus and restart (2002–2009)

From 2002 to 2004, works containing overseas live performances were released, but their activities as a band stagnated.

Last Nanosecond – Live in Geneva 2002 (2004)
Members go to their own activities
KK Null expands globally with noise/electroacoustics/collaboration

2009: Reunion

After a long stagnation, a full-fledged reunion took place with the rejoining of Tatsuya Yoshida (Ruins). For Zeni Geva, the addition of Yoshida once again had a strong impact.

5. Second period Zeni Geva (2010–): Re-evaluation and global renewed attention

“Alive and Rising (2010)”

Live sound source from the 2009 lineup
Tatsuya Yoshida”s perverted drums and Null & Tabata”s guitar duel are spectacular

Since then, live activities in Asia and Europe have resumed. Zeni Geva is receiving renewed attention from the noise/metal/hardcore/avant-garde music scene, and its historical value is being evaluated once again.

6. Zeni Geva music analysis

6-1. Characteristics of riff structure

Bass riff repetition
Two guitars intertwined contrapuntally
Structure that suddenly breaks in the middle, cut-up modulation
Non-4/4 beat relentless loop

6-2. Role of drums

In the beginning, it was more hardcore.
Mathematics and polyrhythm in the 90s
After joining Tatsuya Yoshida, an intense and unusual approach

6-3. Thematic nature

“Money,” “violence,” “domination,” “body,” “demolition,” etc.
Lyrics are abstract and symbolic

6-4. Production

The recordings by Steve Albini are representative of Zeni Geva’s acoustic beauty.
Vivid dynamics and metallic overtones of the guitar stand out
In the latter half, electronic sound increased with the introduction of devices such as Nulltron.

7. Position in Japanese underground history

Zeni Geva is an almost unique band in Japan that has created a combination of ““noise x hardcore x metal x experimental music.’’

1980s Noise Culture (Hijiki Kaidan, Merzbow, YBO2)
International Noise Movement of the 1990s
Experimental sound/electroacoustic from the 2000s onwards

It continues to be evaluated both domestically and internationally as an entity that crosses these lines.

Chronology (Zeni Geva main chronology)

Year	Events
1987	Zeni Geva formed. How to Kill announced.
1988	Vast Impotenz (Cassette). Mitsuru Tabata joins.
1990	Maximum Money Monster announced.
1991	Total Castration (Albini recording). Overseas tour begins.
1992	Live in America announced.
1993	Desire for Agony (Alternative Tentacles).
1995	Freedom Bondage (Albini recording).
1996	Drummer withdrawal/replacement. Blake Fleming → Masataka Fujikake.
2001	10,000 Light Years announced.
2004	Last Nanosecond (Live 2002) announced.
2009	Tatsuya Yoshida rejoins and reunites.
2010	Alive and Rising (2009 Live) announced.

Discography + Period Chart

flowchart TD A["1987 Formed
How to Kill"] --> B["1990 Maximum Money Monster"] B --> C["1991 Total Castration
Albini Recording"] C --> D["1993 Desire for Agony
Alternative Tentacles"] D --> E["1995 Freedom Bondage"] E --> F["2001 10,000 Light Years"] F --> G["2004 Last Nanosecond (Live 2002)"] G --> H["2009 Reunion"] H --> I["2010 Alive and Rising"]

Conclusion

The history of Zeni Geva is “Violence” x “Structure” x “Experiment” This is a trajectory in which the three elements continued to expand alternately or simultaneously for more than 30 years.

They are a rare entity that has remained unrelated to commercial activities, yet continues to receive solid praise from underground music circles around the world. That is Zeni Geva, and at its core has always been KK Null’s sonic philosophy.

Even now, their music has not aged well, and it is clear that they even anticipated the framework of modern noise/metal/experimental music. I hope this article provides an opportunity to rediscover Zeni Geva.