K2 is the project of Kimihide Kusafuka, born in Shizuoka, who began his musical activity in 1981 devoting himself entirely to recording noise and experimental music — before the term "noise music" as a genre had even been established. Over the following four years he released around 20 tapes on his own Kinky Tape Collection label (later renamed Kinky Musik Institute), working across several radically different noise styles simultaneously. Alongside Masami Akita (Merzbow), Hijokaidan, and Toshiji Mikawa of Incapacitants, Kusafuka is one of the founding figures of what would eventually be codified internationally as Japanese noise. In the early 1980s, before that codification existed, he was also active in mail art and performing metal percussion solo concerts. His tapes were licensed to German labels including Schwabenstolz and Stock und Hut Records, and to D.D. Records in Japan, with contributions to cassette compilations on ZSF, Illusion Productions, De Fabriek, and Calypso Now. 1983 was his most intense year of recording. He is also the force behind Techno Menses (electronic pop and avant-garde rock, 1983/84, also documented by VOD) and the project Denjubaku (1982/83), revealing a composer who refused to confine himself to a single approach: the dark, neurotic ZombieAnatomy series sits alongside the rhythmically driven work of Dance Macabre and N.G. Musik, which Kusafuka describes as equally beloved. Several of these recordings were later collected by RRRecords in the late 1980s as the five-cassette box Pathosonico Anatomico / K2.

This double LP (VOD132.9/10) documents K2's very earliest creative phase, gathering six works from his first tapes. Student Apathy — previously unreleased, made before the K2 name existed — is described by Kusafuka himself as a form of musique concrète. The three-part ZombieAnatomy series unfolds across a 22-minute drone nightmare followed by two further extensions; N.G. Musik and Dance Macabre supply the rhythmic counterpoint, the latter performed on metals, rhythm box, organ, synth, guitar, bass, junks, and chains. Boomkat called this release a gateway into the genesis of Japanese noise: "chewy proto-techno industrialism, nightmarish drone works, wall of sound punishment and throttled motorik groove." Edition of 500 individually numbered copies in a gatefold sleeve.