Long out of print, this 1991 compilation from RRRecords has recently been re-issued on Cd-r by the label, although it unfortunately does not include a reprint of the RRReport Japan magazine that came with the original release. I'd kill to get my hands on a copy of that zine. On it's own, though, this disc still offers a cool mix of extreme Japanese sonic warfare from the early 90's, with material from some legendary artists like The Gerogerigegege, Incapacitants, and Dissecting Table, wrapped up and presented in that signature style of Xeroxed collage-sleeve that RRRecords does.

The disc starts with a super short track of free improv squeal from the duo of Junji Hirose and Yoshihide Otomo that sounds like a extreme free jazz outfit jamming on some Japanese folk melodies for a minute, then goes into "The Ritual Mask" from Vasilisk, a creepy, shadowy bit of freak-folk twang and drone that has a Sun City Girls/Pearls Before Swine feel to it. There's a killer song from Dissecting Table called "Transfer The Object By The Spirit" that mixes together monstrous vocals, weird cybernetic electronics, pounding drums and clanking piano into a very strange and disturbing noise rock jam that is very different from what I'm used to hearing from this project, especially towards the end when the horror-movie string sections come in and the song transforms into this nightmarish future-prog workout, almost sounding like a blackened. industrialized Univers Zero. Another short interlude of murky samples and noise abuse comes via the Emil Beaulieau side-project Needles and their track "Including Eye Injection", a re-working of some Hanatarash material.

That's followed by a nearly seven-minute blast of repulsive masturbatory groaning and extreme noisecore/junk noise violence from the mighty Gerogerigegege titled "Violence Onanie" - while Gero frontman Juntaro Yamanouchi faps away mercilessly, avalanches of rusted metal crash down from above while bugle calls and terrifying air raid sirens howl across the horizon.

Violent Onsen Geisha's "Hey Bo Didley!" is a feedback-damaged rockabilly loop repeated ad nauseum beneath ultra-distorted vocal noises and screaming, and Keiich Inoue (one of the more obscure artists featured here) presents a ear-wrecking piece of extreme feedback and noise called "Your Mothers Cunt". "Ecologist" from Takell-Kizimecca is another extreme noise track, a swarming mass of squealing feedback and harsh glitch that splices in distressed chunks of traditional Japanese folk singing, and Japanese noise gods Incapacitants unleash one of the compilations most bruising noise assaults on "Live At 20,000", another long (seven-plus) minutes exercise in brutal feedback/junk noise/amplified chaos that sounds like it was recorded live in a machine shop where every object in the room is beaten and bashed simultaneously.

Solmania's "Drive Time" is one of my favorite tracks on Omnibus, with its squalls of ultra-distorted guitar howl erupting in cloudbursts across the pounding tribal drumming and murky feedback. It's really low fi, with a sound like it was recorded in a basement on an overdriven 4-track, but it�s crushing and skull-scraping all at once.

KK Null's "Infinity" is a hypnotic cluster of phased distortion and melodious droning guitar notes swirling together in a nebulous cloud of warped sound, and Hideaki Shimada's Agencement project contributes a track of his amplified violin-based noise sculpture called "Maceration" that will appeal to fans of the more ambient-type stuff that you might hear from Aube or The Haters, a chiming, clinking waterfall of tiny metal pieces crashing and swirling over each other endlessly.

The disc finishes with the return of the Hirose-Otomo Duo, who end the album with a longer improvisation that blends together creepy bass pulsations, Japanese folk singing, fragments of ancient dust-covered swingtime 78 records, field recordings, and swathes of ghostly ambience.

There's an hour of extreme skull-abuse here, much of which isn't found anywhere else.