My evidence for this case:

Exhibit A: Kenji Siratori, whom I confess up until now I had minimal admiration for. Mostly because I'd read--correction: tried to read--one of his "books", which are like a cross between William S. Burroughs and one of those automatic poetry-writing programs. But he's much more interesting on record, where he puts down rising and falling waves of differently-textured noise that commands the attention quite capably. There's a lot of analog-synth buzz and squeal, and what sounds like the kind of heavily treated feedback Steve Stapleton got when he plugged all those stomp boxes into each other for Soliliquy for Lilith. Now I'm curious to hear what else Siratori has done that didn't involve trying to re-open the Cut-Up school of literature (which was, let's face it, shut down decades ago for a good reason).

Exhibit B: Endometrium, um … yeah, I admit, I feel embarrassed just typing that name again. But no matter; the results are at least as much Merzbow as they are Dissecting Table. Here, one loop after another joins the mix, rising and falling and then finally all rising together again in a crescendo surprise ending. Said ending is also very D.T.-esque; compare with the odd left turn thrown in at the end of the track "Never Ending Road to Hell" on his Hypocrisy album.

Exhibit C: N.R.Y.Y., whose thundering, white-noise-y percussion gives way to buzzing, shrieking noise and percussion once again. There's just enough contrasts between segments to keep it from getting lazy, and again it brings to mind the Table on albums like Life and Memory. And once again it's capped off with an out-of-left-field ending that closes off the whole collection on a good note.

Verdict: Siratori appears upfront for a reason, but the other two are not disposable. More from all parties concerned, but especially Siratori, who might well be one of the few people to actually pick up where Dissecting Table have apparently left off.