In keeping with the tradition of not being able to expect what anything bearing Pratt's name will sound like, we have this cd. My first impression of KkrakK!! is that it's like eai meets Barry Bonds' personal trainer. Or his trainer's secret stash, anyway. There's elements of electro-acoustic to be found, but where silence and minimalism comprise a large part of that genre, these two take maximalist approaches. There's plenty of layers and sounds, the amps are up to eleven and they're havin' a ball. The name of this (which reminded me of the kkringg tracks off of the flying luttenbachers' album, systems emerge from complete disorder), as well as the track titles, made me assume that this was going to be more along of the lines of your standard fare noise, you know, onomatopoeias and all, so I was pleasantly surprised with how this turned out. The disc will begin with splank. The clattering that both have exhibited previously bleeds over into this project as well. The squealing guitar (?) noises in the background as well as the haunting delayed vocal moans in the background will tie everything together really nicely. Eeeoooooooooo brings drones, screeches and audio samples together with drumming. The samples and percussion are the most prominently featured aspects to the piece. My favorite part of this will come towards the end when there's several different layers of samples at once, one is of a demonstration where the crowd's yelling 'fuck you' repeatedly and added to that is a nice sample of an older sounding song and then there's the appropriate percussion accompanying it. It's really, really good. Zzwuumph is a sparser track that centers around guitar playing and manipulation along with sporadic and clanging percussive noise. The eight minutes of tzzeeoow is where the influence of eai can most strongly be felt. As far as noise goes, it's scaled back. There's haunting atmospheric sounds in the back, as well as percussion that's pushed so far back it sounds like it was mic'ed up from the next room over. Additionally, we have whirling and pulsing synth sounds and screeches emanating from a violin. I dig this a lot. The tone is a darker one, the pacing is slower and there's just the right amount of noisier things happening (mainly with that background layer as it fluctuates in amplitude) to keep it interesting. Immediately after that is the nearly thirteen minute long pflatch. While it's like minded with its acoustic instrument manipuation, it's also considerably more chaos-based. Amidst string tweaking there's a great deal of clamor. It's less synthy electronic sounding and more like a cluster-fuck of noisy racket. Crank Sturgeon would surely approve of this. No surprise here, the most focused piece of music on the cd, tzkatooosssh, is the one I like the most. The oscillating background layer that establishes the colder mood is wonderful, but there's some great synth noise that's catchy as hell that they'll repeatedly use. I'm in love with that sound. They could've relied solely upon it, allowing it to continually play out for all five minutes, but instead they'll switch it up and opt for light atmospheric noises. Tzkatooosssh is a flash of cohesive brilliance and really points at what this duo's capable of, beyond what's an already great showing. The disc will end with oooootskratkkooooooo, which is nearly an encompassing of the broad range of sounds heard throughout the disc. I enjoyed how in the beginning of this, the pace of the percussion (forefront) was a lot slower than that of the noise in the background. Eventually, the two will come together to kick up a dust storm of clamor. The vocal noise that permeates most of this is pulled off very well, too. Affected enough to not be so obvious, it meshes with the other elements and still has its own distinctness. (Taken from the Smooth Assailing blog, review by Avant Gardening)

Another recent Pratt release from his own Midori label in collaboration with Terence Fuller and his Abandoned Records, 'KkrakK!!' is a tribute to cartoonish onomatopoeia as well as a reflection on noise music itself. Eight more tracks, now with names (sort of) and substantially longer length, the disc enjoys a far more human quality. Made from live percussion and feedback, and surely improvised, songs like "Splank" and "eee oooooooooooo" are raw, noisy, and raucous, anchored by old-timey radio snippets and plundered music. “ZZWUUMPH!” and the eight minute "tZZEEOOW" both center on live percussion and spare electronic sequencing with a touch of strings (provided by Fuller), suggesting that this set is more live than not, presented in order as the artist moves through the stations of the instruments. The 13 minute centerpiece "PFLATCH" and finale "oooootskratkkoooooo" continue to embrace the pots and pans disorder of percussion, now with extensive guitar mangling and slight vocal discharge. In the end, later track "TZKATOoosssh" appears best in line with Pratt's 'Leaking Brain Fluid' as it would be performed live: slower, more calculated designs which better approximate the mimesis of the album's 2D muse, plus an entirely badass saxophone line fed-out like machinegun Beat haiku. CDr comes in a thin clamshell with full-color comic collage art, hand-numbered to 50. (From Animal PSI)