"Only a few noise albums are remarkable at one-listen, and only a fewer are strong enough to keep being puzzled and interesting after many plays. And that's the starting point of why do I love this album. Anatomy also differs itself from standard noise music by the method of its production. The album's skeleton is a collection of almost-musique concrete songs, supplied by field-recordings, tape loops and self-built electronic instruments. Then you add the muscles: the touch of electronica music, with added ambient-like synths; and the skin: the post-produced and modifier noise. Lots of layers of noise. Stripped down, Anatomy would sound like a 50s avant-electronics recording. But fully armoured, it stands strong as a huge monster of experimental noise. An extremely well-produced and excellently crafted album, Anatomy is one of the most innovative and avantgardist albums to come out from Brazil, when it comes to electronic music. Embryological and Anatomy are as massive as Merzbow's best stuff. Lumen starts off as an affair of musique concrete with ambient music, before entering in a shrieking reign of abstract pain. Centers of Vomiting and Rash are collections of sonorous puzzles, which will mostly like blow your mind off before you put the pieces into place. And the intro, Ribcage Introduction, holds a funny story within: It's a recording, with post-production, of course, of an acoustic guitar burning in flames."