If a new "folk music" were to be born in the urban spaces of the Japanese archipelago, what shape would it take? Listening to ZVIZMO's second album, I thought that maybe it would sound something like this. There isn't a single indigenous element in Tentenko's beats, yet those unsettling, ornament-free rhythms sometimes take on a ritual quality, and the ferocious low end seems inhabited by spirits. The OPTRON noise Atsuhiro Ito wields can sound like the hayashi accompaniment at a Bon dance, or ring out like the sacred songs of the Southwest Islands. K-BOMB, whose voice appears on "Killller FxxxxxK," is very much the officiant at a rite. Tentenko's singing on "MAVO" is like a nursery rhyme hummed by children in some far-off land. A ceremony for calling down the gods in a godless concrete jungle. Something drifting between music and non-music, between darkness and light, between the sacred and the everyday, between this world and the next, takes the form of sound and leads us to the far side of dystopia. Dizzyingly intense!
Hajime Oishi (writer)

ZVIZMO
A duo of Atsuhiro Ito, player of the fluorescent-light sound device OPTRON, and Tentenko, who ranges freely from pop kayo to noise. Released their first album "ZVIZMO" on Black Smoker Records in November 2017. In June 2018 they took part in the electro compilation "ALLOPOIETIC FACTOR" on φonon, a new label supervised by Kaoru Sato (EP-4).