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葬(Sou) - Obsèques (C-60)
葬(Sou) - Obsèques (C-60)
2009-2013の間活動したDeath industrial/Power electronics “NEGATIVE CLIMAX”。数本のカセット作品とライヴを行った後長い沈黙期間に入ったが2021に入りオリジナルメンバーが突如として再浮上。ソロユニットとして新たに冠された名が”葬”である。 制作開始最初期の小品3篇8曲を一本のカセットに纏め上げた本作品は、全体を通してクラシックピアノの旋律を断片化したテープ・ループと絶望的な呻きを構成要素とし、それ以外の余分な情報は一切排除されている。死体の温もり、抜け出せない朽ちた螺旋階段、生気を絶った魂を通した色褪せた視界は、異なる視界に生きるものの力を奪い、同じ視界に生きるものを惹きつけるだろう。 モノラル・マスター・テープからヴィンテージ・デュプリケーター・ダビングによる自然な劣化を経てノーマル・テープに納められたことで本作は初めて「葬の目指した音」に到達、レーザープリントのトナー感にこだわった装丁と合わせてフィジカルで手に取られるべき仕上がりとなった。 Death industrial/Power electronics "NEGATIVE CLIMAX" was active between 2009 and 2013. After several cassettes and live performances, the band went into a long period of silence, but In 2021, the original members suddenly reappeared and took on a new name as a solo unit: "Funeral". This work, which consists of three sections with eight tracks in the beginning of the Sou’s activitiy on one cassette, is composed of tape loops of fragmented classical piano melodies and desperate moans throughout, and is devoid of any other superfluous information. The warmth of a corpse, a decaying spiral staircase from which one cannot escape, a faded vision through a lifeless soul, will disempower those who live in a different vision and attract those who live in the same vision. Dubbed from the mono master tape to the normal tape by the vintage duplicator, corrupted in natural deterioration, this work reaches for the first time the "sound that Sou was aiming for", and together with the laser-printed toner-focused binding, it is a work to be picked up in physical form. This is the first time the album has been released of Sou.
¥1,100
黒パイプ - ろんぐばけいしょん(CD)
黒パイプ - ろんぐばけいしょん(CD)
既存のどこにも属さずオリジナル・アンダーグラウンドを東京から世界に向け発信して来た国産音楽と舞台表現の特異点集団“黒パイプ"7年ぶりの2ndアルバム。ニューウェーブの狂気とハードコアパンクのスピード感を兼ね備えたサウンドに現代社会の歪みと其処に生きる人々の如何ともし難さをユーモア混じりの暗喩たっぷりで痛烈に描き出す。 ゲストボーカルとして文筆家の五所純子が参加。カバーアートには広島オルタナティブ文化のキーパーソンにしてアーティストの葉朗を、バンドロゴデザインには実話ナックルズなどアウトロー系雑誌の表紙イラストで知られるタカミトモトシを、タイトルロゴデザインには台中拠点の孤高のアーティスト料燕尾(Liao Yen-Wei)を起用。 初版ロットはフランス・マルセイユの出版芸術集団“ル・デルニエ・クリ”の全面協力のもと彼らの工房で一枚毎にシルクスクリーンプリントされたフランス直輸入7インチサイズ紙ジャケット仕様! K/A/T/O MASSACRE主催のカトーとジャカルタ拠点の映画監督Adythia Utamaによるライナーノーツを封入。 Track: 01. LUFF 02. Auto-Da-Fé 03. 誕生/汚名 04. 十年 05. interlude1 (Vacation in Cambodia) 06. 味噌 07. PASSION 08. 薬の傷 09. マニラの夜 10. interlude2 (Gentleman of Monday) 11. 債務&スイム 12. ハエ 13. ヴィジョン ◎(全13曲/約24分)
¥1,980
RNA - A Taste of...RNA(CD)
RNA - A Taste of...RNA(CD)
電子音楽からシンガー・ソングライター、映画・アニメーションのサウンドトラックなど多岐にわたる活動で知られるマルチ・インストゥルメンタリスト石橋英子、非常階段・C.C.C.C.・インキャパシタンツ等日本の重要ノイズバンドを遍歴するノイズ奏者としてまた宇宙エンジン他でギターを手に取ってきたコサカイフミオ、日本インダストリアル・ノイズ史の黎明期より今尚新境地を求め続けるK2こと草深公秀によるスーパー・ノーウェーヴ・バンド”RNA”、エクスペリメンタル・ミュージックの殿堂・六本木SuperDeluxeでの2018年の演奏が音源化!ドラム、ギター、エレクトロニクスによるドラスティックなインタープレイが冷たく白熱する驚異の40分。マスタリングエンジニアには宇都宮泰、アートディレクションは大野雅彦を起用。 ◆略歴 2013年頃、SNSで知り合ったK2草深と石橋英子のコラボ作と、同時期に発表された旧知のF.コサカイと草深とのコラボ作とから全ては始まった。2015年のレコ発で、石橋がDrを、コサカイがGを、草深がelectronicsを演奏する3ピース・バンドが結成された。それがRNAである。RNAは、年に1回だけ集まってライブをすると言う悠長なペースな活動を続けてきている。毎回、打ち合わせなどはなく、その場の空気感で演奏を決めるという特異なスタンスでの即興的演奏は、ノイジーだが、紛れもなくロックであり、ノーウエーブである。
¥2,200
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 SOLD OUT
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 SOLD OUT
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