Gorgeously packaged, gorgeous dronemusik! Hitoshi Kojo is a Japanese sound artist and drone-centric expressionist who has recorded in the past under the moniker Spiracle and performs in the jubilantly psychedelic but still quite droned-out project Juupala Kaapio. Omnimoment is a collection of edits from Kojo's sound installations and site-specific work dating from 2006 - 2009, all of which extract and manipulate elemental forces of wind, fire, water, metal, wood, sand, etc. into blossoming thrums of sublime minimalism which run parallel to the works of Andrew Chalk, Loren Chasse, and John Grzinich. "Shiranui" was originally conceived at the MoKS residency program in Estonia, sourced mostly from the blades of an abandoned Soviet turbine left inexplicably out in the countryside. Kojo extracts pensive, metallic overtones from those blades that sound more like an ancient gong than some hulking industrial machine; and he amasses those sounds into semi-melodic phrases and ritualized acoustic dronings that Organum mastered in the mid-'80s. "Sea Migration" is an excerpt from an installation involving a feedback system and a bunch PVC pipes that hung from the top window of Germanic castle, looking sort of like a weird plastic octopus playing the part of Rapunzel. Those pipes captured the sound of the wind and the various frequencies of that feedback system creating a tactile, generative composition of pure tones and haptic events not too far from those far more composed works from Andrew Chalk's once prolific project Ora. The last three tracks demonstrate Kojo's ongoing strategies involving found objects through a process which he calls 'molecular communication' where extended vibrations and dense beds of accreted drone broadcast outward from Kojo's scraped metals, clinked glass, and rubbed sand. There's definitely some type of alchemy at work in Kojo's sound design, with mysterious energies transforming the commonplace into something sublime, otherworldly, or divine.