HR180 - Japan - C46 — 1990
** NOTE that these are 1990 addresses
SIDE ONE: Bloody Cum: MMMMM!! Toshiyuki Hiraoka: Yoshikawa Techno Temple Choir: Catholic Ghetto #23 Yximalloo: A Fire #12 Bloody Cum: Parlui Memme |
SIDE TWO: Hedlah Musica: Volcanic Slut Toshiyuki Hiraoka: Ore Bloody Cum: Beating of the Grind 1000 (Live) Yximalloo: The Great King of Horror #4 |
Review by Jerry Kranitz
The Harsh Reality country series continues with five Japanese artists…
Bloody Cum were originally the duo of Mikio Wakabayashi and Ryuzi Kagaya, though it eventually became Kagaya’s solo project. It’s unclear whether their contributions are duo or solo. Regardless, we’ve got three interesting sound constructions. The first is an oddly rhythmic cacophony of percussion and fluttered flow of windy bird whistling. The next is a rhythmically similar symphony of bell tones, bleeping and whizzing effects, and spacey melody. And a live track that starts out with soundscapes that rumble along calmly before being joined by anguished screams, some spoken word, and keyboard runs that are like Sun Ra at his most free-jazz experimental. I especially enjoyed the live track.
Toshiyuki Hiraoka was active in the hometaper network and later went on to become a film composer. When I interviewed the late Lord Litter many years ago he talked about Hiraoka visiting him in Berlin from Tokyo where they recorded and traveled Germany visiting other musicians. He contributes two tracks, one a blazing slab of King Crimson-ish prog-punk rock, and the other an angularly punky and somewhat dancey rocker that sounds like guitar, bass and electro percussion.
Yximalloo is a long-running solo project of Naofumi Ishimaru. We have two tracks. One is a simple but enjoyable tune that lays down a foundation of plinkity Kraftwerk bits and hints of Berlin school electronics. But then it adds tribal chant vocals that make for an overall cool and strange combination. His second track is very different but equally musical, sounding like an early Residents brand of pop song.
Techno Temple Choir’s one short contribution is a strangely whimsical song that’s noisy yet pleasantly melodic. The contact address is c/o of Naofumi Ishimaru’s Sakura Wrechords. But this may be Yximalloo himself, as the same ‘Catholic Ghetto #23’ track appears on the 1984 Yximalloo album titled Techno Temple Choir.
Finally, Hedlah Musica is another mystery artist who is similar to Bloody Cum in their use of discordant yet flowing rhythm. It sounds like a symphony of merrily rolling chains and screechy wheels.
The Harsh Reality country series continues with five Japanese artists…
Bloody Cum were originally the duo of Mikio Wakabayashi and Ryuzi Kagaya, though it eventually became Kagaya’s solo project. It’s unclear whether their contributions are duo or solo. Regardless, we’ve got three interesting sound constructions. The first is an oddly rhythmic cacophony of percussion and fluttered flow of windy bird whistling. The next is a rhythmically similar symphony of bell tones, bleeping and whizzing effects, and spacey melody. And a live track that starts out with soundscapes that rumble along calmly before being joined by anguished screams, some spoken word, and keyboard runs that are like Sun Ra at his most free-jazz experimental. I especially enjoyed the live track.
Toshiyuki Hiraoka was active in the hometaper network and later went on to become a film composer. When I interviewed the late Lord Litter many years ago he talked about Hiraoka visiting him in Berlin from Tokyo where they recorded and traveled Germany visiting other musicians. He contributes two tracks, one a blazing slab of King Crimson-ish prog-punk rock, and the other an angularly punky and somewhat dancey rocker that sounds like guitar, bass and electro percussion.
Yximalloo is a long-running solo project of Naofumi Ishimaru. We have two tracks. One is a simple but enjoyable tune that lays down a foundation of plinkity Kraftwerk bits and hints of Berlin school electronics. But then it adds tribal chant vocals that make for an overall cool and strange combination. His second track is very different but equally musical, sounding like an early Residents brand of pop song.
Techno Temple Choir’s one short contribution is a strangely whimsical song that’s noisy yet pleasantly melodic. The contact address is c/o of Naofumi Ishimaru’s Sakura Wrechords. But this may be Yximalloo himself, as the same ‘Catholic Ghetto #23’ track appears on the 1984 Yximalloo album titled Techno Temple Choir.
Finally, Hedlah Musica is another mystery artist who is similar to Bloody Cum in their use of discordant yet flowing rhythm. It sounds like a symphony of merrily rolling chains and screechy wheels.