Language
Language

Pick Up

New Arrival

PAINJERK - MISSION INVISIBLE / KILL THE POOR |(2xLP)
PAINJERK - MISSION INVISIBLE / KILL THE POOR |(2xLP)
日本最速入荷!通常盤ブラックヴァイナルエディションです。 hospital productions is proud to announce the unreleased would be classic from japanese noise hero painjerk. originally recorded immediately after the canonical ‘gallon gravy’ classic, this is pure - definitive - loop heavy noise energy and dynamism that would become the signature of kohei gomi’s electronic studies having influenced two generations of underground electronics since. hailing from a background of japanese punk, kohei gomi stayed true to the fierce ethos of independence and experimentation that reached its peak in japan in the late 90’s. but make no mistake, mr. gomi never stagnated into a single platform, having worked with such diverse labels as as alternative tentacles, relapse, editions mego and so on. composed with a mysterious configuration of constantly flowing noise hardware - always recorded live without overdubs, gomi went on to risk taking computer explorations into the roots of avant garde compositions inspired by the likes of pan sonic and david tudor. having reached cult status and maintaining an air of mystery after an onslaught of now classic and highly collectible tape only releases such as the monstrous ‘cacophony of a thousand pleasures’ 3xcs which has been cited as an influence for mika vainio. never settling for stale genre collaborations, kohei gomi further went on to such divergent ends as the insane collaboration with russell haswell, psychedelic commune pioneers smegma, and power violence royalty bastard noise. we are blessed to finally have such a critical document unleashed onto the world of what 20 years on can easily sit alongside the classics of its day. raise a fist in solidarity for the inimitable punk noise of painjerk! 2x lp clear yellow vinyl with black splatter. double wide spine jacket with metallic printing. includes digital download code.
¥ 4,200
PAINJERK – Neurotten(LP)
PAINJERK – Neurotten(LP)
日本最速入荷! Kohei Gomi began experimenting with home recording in the 1980s and got so lost in extreme sonics under the Pain Jerk moniker that his output inevitably spilled out into the wider world. By the mid-90s, he was one of the most prolific and influential noise units operating out of Japan, hurling maelstroms of chaotic chunder and deranged grime at anyone who could handle the extremes. Pain Jerk became one of the leading figures in the "dynamic" style of Japanese noise or Japanoise and is also the owner of the noise tape label AMP that during the 90s releases about fifty cassettes of his amazing noise project. Among his works released in his most prolific period, Neurotten stands out without a doubt, reaching cult status and instantly becoming a classic of the genre. Recorded in 1996 and published the same year on the legendary Slaughter Productions by Marco Corbelli aka Atrax Morgue, in only 80 hand numbered copies in a special A5 tin-foil sleeve with translucent insert and instead some using a red cardboard insert accompanied by a small curved iron rod, similar to a dentist's tool and now it has become a worship object for the most avid collectors. The assault here is very high-end heavy: relentlessly aggressive. The sound severs and bleeds more than it beats and bludgeons. Side A is divided into two tracks, Gushcore and Teen-Wreckage, of incredible beauty. Nothing compares to the sounds emitted by vinyl grooves composed with a mysterious configuration of constantly flowing noise - always recorded live without overdubs. Devastating, unfriendly harsh noise: the hardest rock that is pierced by the sharpest diamond! With only one track on side B, which takes 23 minutes, we encounter one of most iconic compositions from his wide discography: Disembowel. Hearing impaired volumes that duel, bouncing sound structures displacing the ego and generating many difficulties in brain processing. There’re a lot of rips and chaos, pulsating pulses of recycled transient sounds and some loops, muffled high tones that twist into spastic shapes capable of breaking the faint speaker cones. This rare gem is restored and remastered from the original DAT master by Nobuki Nishiyama and reissued for the first time on vinyl in just 299 copies with new artwork by Koichi Nagura and an original drawing by Yukou Suzuki. Absolutely incredible and a complete revelation from start to finish, before us lays yet another crucial piece in the puzzle to emerge from this astounding world of noises. It would be impossible to recommend it enough!
¥ 2,700
Pedestrian Deposit - Nostalgia: 2000​-​06(3CD)
Pedestrian Deposit - Nostalgia: 2000​-​06(3CD)
00's以降の(ハーシュ)ノイズミュージック最重要ユニットの一つと見て間違い無いであろうPedestrian Deposit、その活動第一期となる2000から2006までのスプリット、コンピレーション、EP等の音源を44トラック3枚のCDに納めた超ボリュームディスコグラフィー! clipping.のWilliam Hustsonによるポストノイズ世代のノイズ観についてめちゃくちゃ芯を食ったライナーも素晴らしい。 Finally complete after 13 years of attempt. 44 tracks across 3 full discs, compiling all the essential non-album cuts from phase one PD -- including 7 previously unreleased and never before heard -- totaling over 3 hours of pioneering visceral, dramatic, fast-paced and constantly engaging brute-concréte electronics driven by urban dread, isolation, culture shock, social detachment and coming-of-age desires. Composed with the most primitive of means from the outside looking in. Guest appearances by Viodre, Sewer Election and Circuit Wound. All tracks have been remastered from their original digital files in 2020; throw away your mp3 rips and submit to a dense cerebral world of dimly lit street lights and exposed collarbones. "I asked Jonathan Borges to let me write the following blurb. Although I think I said “press release” when I made the request, this will not be quite that. While these early Pedestrian Deposit tapes contain some of my favorite music ever made (and I would happily write a bunch of nice things about how they sound) what I actually want to do is contextualize what, I think, these specific recordings meant to the development of Harsh Noise. I recognize that this is not the way most people in our community talk or write about what we do, but the recent interest in archival CD releases has inspired me to endure all accusations of pretentiousness to try to explain, from my perspective, why certain recordings deserve their place in our canon. The first Harsh Noise recordings and performances were not good. They were not bad either — taste is a bourgeois concern. What mattered was that they were disruptive, loud, invasive, unwanted, unmusical. To ask whether The New Blockaders, or The Haters were good was to miss the point. It would be like asking if Duchamp’s Fountain (1917) was on display because it was a particularly beautiful toilet. But as Harsh Noise grew, and as a younger generation began participating in its evolution, that generation, in a way, misunderstood. They listened, and heard beauty. They discovered that some sounds were, to their ears, better than others, and that some performers were good at making Noise. In a sense, this initial, inevitable misunderstanding began the process of re-musicalizing Harsh Noise. A tension between noise and music animated the first inklings of the genre’s aestheticization. If people actually listened to these tapes for pleasure, was it still noise? Artists were making compositional choices in their work — does that mean it is music? Masami Akita — a person who is undoubtedly very good at making Noise — explained: “There is no difference between noise and music in my work. I have no idea what you term ‘music’ and ‘noise.’ It’s different depending on each person. If noise means uncomfortable sound, then pop music is noise to me.” Kazumoto Endo’s While You Were Out (1997) elaborated on Akita’s quote by using sampled Japanese Pop music intercut with the artist’s own blasts of distortion and feedback. The Pop music samples — collected refuse of an overstimulated culture, so abundant and invasive that it felt inescapable — became the “noise,” while Endo’s own contributions — thoughtfully composed, virtuosically performed, meticulously edited Harsh Noise — must have been the intended “music.” Jonathan Borges, heavily-influenced by Endo, made the jump-cut — the jarring, unexpected edit between two unlike sounds — the defining compositional principle of his project Pedestrian Deposit. But unlike Endo’s playful multi-genre collage, which mocked Pop music and the cultural baggage that accompanied it, Pedestrian Deposit’s sonic language was built on juxtapositions between quiet/loud, pure/over-modulated, tonal/aperiodic. Utilizing elements of Harsh Noise, Power Electronics, Drone, Dark Ambient, and field recordings, Pedestrian Deposit’s palette remained consistently within established experimental music styles, and all of the sounds were authored by Borges, with equal amounts of care. The quiet parts were just as important to the composition as the loud parts. Their contrast was not a joke. Edits were not surprising in their absurdity, but revealed a continuity — a logical, stylistic through-line. By comparison, Endo’s cuts were like flipping channels on a television, while Borges’s were like a surprising event occurring within the movie you’re watching — a shocking twist, a sudden shift of emotion —masterfully calculated to surprise its audience, without betraying it. Pedestrian Deposit’s work was no longer about music versus noise — every part was music, and every part was, in some way, noisy. Following the avant-garde art movements of the 1950s and 60s, the performative and conceptual Harsh Noise of the 1970s resisted all accepted markers of artistic value. This radical form created its own culture, out of which developed new modes of expression, in a sense, transforming itself into music. I have called this process “misunderstanding,” but it is this aspect that has inspired artists and listeners ever since. I have also called it “inevitable.” This particular trajectory is not the only path one could describe from Noise’s origins to today. Another possible route of re-musicalization centers The Rita, and the development of Harsh Noise Wall — a subgenre that, in my experience, inspired more passionate discussion about what noise actually sounded like than any other. But to my ears, these early Pedestrian Deposit recordings best illustrate this story of the genre’s development. Contemporary Noise is unthinkable to me without Borges’s contribution, without the equals sign his jump-cut installed between the pretty parts and the harsh parts." - William Hutson
¥ 3,500