An event at Tokyo's antiknock venue, that featured incapacitants, masonna, c.C.C.C. And schimpfluch gruppe in 1997, is when hiroshi's and dave's history began. Geographical distance allowed for few connections over time but when they happened, they were always profound. In 2012 the swiss luff festival initiated a japanese edition of their festival, and it asked for swiss-japanese collaborations. Naturally, hiroshi and dave re-connected, first at a studio in koenji, then collaborating live at the luff event in tokyo. The resulting recordings were analyzed and processed and enhanced with additional material - the result is "insect apocalypse".-Monotype

"[...] Much longer pieces are to be found on the release by Dave Phillips and Hirsohi Hasegawa, which is also recorded in 2012, with additional material by Hasegawa from 2013 and edited by Phillips late 2013 and early 2014. Part of this is recorded in concert. To the table Hasegawa brought filters and effects and Phillips field recordings from Vietnam, Ecuador, Thailand and Indonesia. Both of these musicians have a solid base in the world of noise music, Phillips mainly under his own name and Hasegawa as a member of C.C.C.C. and Club Skull, while working solo as Astro (these days actually a duo). In much of Hasegawa's work there is loud noise, but from a more psychedelic angle: lengthy passages of on-going sounds at a high volume. It's brain piercing but in a very pleasant way.

Phillips unearthed from his tapes, minidisc, DAT tapes and hard disc recorders some field recordings that fit very well. In each of these tracks he creates a mixture of them and feeds off the sound to Hasegawa who treats this further. I am merely guessing here, but I think what is captured on this CD is both Phillips' mix, dry as it is, along with Hasegawa's additional effects, and those two are mixed together by Phillips when putting together this release. Clocking in at seventy-seven minutes this is quite a tour de force, I think, especially if you decide to go along and play this at the loudness that is required. Lots of high end piercing frequencies, but occasionally also dropping at the bottom of the sound spectrum. Definitely not easy listening music, but it's something that worked rather well. Not over the top noise, not Phillip' more usual approach of cut-up but also not Hasegawa's monochrome approach, but a fine mixture of both their interests in some fine music."-Frans De Waard, Vital Weekly