INDEX
A Captivating Experience of Tension and Release
What’s truly remarkable is how, as you absorb the fragmented sounds and visuals, they begin to transcend music itself. Take ultratronics02, for instance, where voice sampling is seamlessly integrated—tracks with booming bass seem to detach from conventional music, entering the realm of pure “sonic experience” that deeply resonates with the body. In minimal electronic music settings, the overwhelming power of sound often calls to mind thunder or the roar of jets. However, during this ultratronics performance, the heavy bass felt more akin to the deep rumble of fireworks. The explosion of fireworks spans a wide frequency range, with the low frequencies reverberating through the air and delivering a physical shock to the body, as if the sound itself is altering the environment. The sound and visuals cascading through the expansive KT Zepp Yokohama space felt like monochromatic fireworks, synchronized and amplified, igniting an adrenaline rush throughout the venue.
This live set built to a thrilling peak, surprising the audience with sudden bursts of intense sound that gradually led to an intense sense of pleasure. The sensation mirrored the ebb and flow of fireworks—tension and release in perfect harmony. The fact that such a metaphor so easily comes to mind underscores how deeply the bass vibrated the body, making the entire experience feel unexpectedly pop. Ryoji Ikeda’s trademark of creating sharp yet smooth soundscapes further heightens the effect. In every twist of tension and release, the experience is nothing short of captivating.
Before I knew it, the main performance was over. The final moments saw the volume and intensity escalate, exploding like a big bang before drawing to a close. I won’t spoil the visuals for those attending future shows, but the ending was incredibly dramatic. Contrary to expectations, an encore was performed, and Ryoji Ikeda seemed to wave a penlight toward the audience, although this could have been a mere impression. Throughout the show, however, there was no unnecessary sound, and the commitment to stripping the sound down to its most minimal form was nothing short of astonishing. This approach dismantled the music itself, leaving behind sharp, refined sounds that paradoxically felt almost pop-like—a return to a primitive sensory experience unique to his live performances.
