Wednesday, 23 January 2019

Hijokaidan "Zouroku No Kibyou" 非常階段 ‎– 蔵六の奇病 1982 Japan Noise Rock,Experimental


Hijokaidan "Zouroku No Kibyou" 非常階段 ‎– 蔵六の奇病 1982 Japan Noise Rock,Experimental

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Hijokaidan ( lit. "emergency stairway") is a Japanese noise and free improvisation group with a revolving lineup that has ranged from two members to as many as fourteen in its early days. The group is the project of guitarist Yoshiyuki "Jojo" Hiroshige as its one constant member, who is head & owner of the Osaka-based Alchemy Records. Other regulars include Jojo's wife Junko and Toshiji Mikawa (also of Incapacitants). The group began at the very end of the 1970s as a performance art-based group whose anarchic shows would often involve destruction of venues and audio equipment, food and garbage being thrown around, and on-stage urination. As the group's lineup changed over time, their focus became less performance-based and more musically based, fine-tuning their sound into a dense wall of white noise created by each member making as much of a racket as humanly possible. 

Sifting through the extensive Hijokaidan back catalogue to find some jems is no easy task so this alchemy re-issue of the '20th Anniversary Edition' also known as 'Zouroku No Kibyou' is most welcome. Originally released as a limited LP in 1982 'Zouroku No Kibyou' features some highlights from their early live performances - a time when the group often had 12 or more members onstage and their sound was that of pure extremity. One thing that has made Hijokaidan more distinct from their peers is the physicality of the music and the fact that despite being noise the diffent sounds remain distinct as opposed to becoming a muddy pool of sound......~


Re-master of Hijokaidan's first album, originally released in 1982, "Zouroku No Kibyou" was a 1982 LP featuring some legendary early Hijokaidan performances, back when they had a over a dozen people in the band! The folding cd booklet includes a photo collage documenting the insanity, with much in the way of food and fluids being flung about......~

Hijokaidan's debut live record is one that captures the identity of the free-form Noise band's early form quite well, consisting of a selection of tracks from various live performances done in 1980 & 1981. 

A1 is a guy gagging in front of an audience. The applause at the end was quite funny, but I never want to hear that track ever again; gagging/vomiting is too nauseating for me. 
A2 is my favorite track here, starting off as an atmospheric Noise piece consisting of menacing electronics then slowly degenerates towards hellish chaos of not just the electronics but also harshly dissonant organ, atonal & improvised sax, and masterful usage of guitar destruction and feedback. It's a truly sinister track, something the rest of the album isn't, which does help make the track stand out more as a result, and the atmosphere on the track is truly something to behold. 
A3 is a cover of Faust's "It's a Rainy Day, Sunshine Girl," having the repetitive drum rhythm and organ line as the original but adding in a lot more playful noise and psychedelia. Sadly, due to time reasons, the noise freakout that happens for the majority of this cover is mostly absent here, which makes the track here lose a lot of its impact on me. (The full performance is on the fifth disc of The Noise ザ・ノイズ (of which its the uncut version of this album), and I highly recommend checking the full performance out as it has the best freakout on the disc.) 
A4 to B2 are pretty similar to each other in that they are the usual brand of noisy freak-outs from this band's time period, consisting of screaming, yelling, guitar mutilation & feedback, sax mutilation, sloppy drumming, and electronic experimentation; A4's got a bit of a psychedelic edge to it (alongside a rather normal bassline and (later) drum rhythm), B1's the most classic-sounding of the bunch, and B2's got a section focusing on just the screaming, yelling, sax, & drumming. All three freak-outs are great, though, lacking the issue of being too long (a problem that quite a few of the band's freak-outs from this time period suffered from) and giving each performer a solid amount of focus to help make the textures created from each performer stand out more instead of melding into a monotonous mess. 

Overall, Zōroku no Kibyō is a great showcase of the band's early sound, and for fans of free-form Noise, you should definitely give this a listen.....Bishopboy1999 .....~



Starts off with someone trying to puke and succeeding. It ends with clapping! What a great opening for a live performance that must have been! Bad idea eating breakfast while listening to this. Reminded me of college… 

Track 2 starts off with huge layers of noise, drones, sax and percussion. I figure this is the same line-up from the yesterday’s disc 4. Awesome organ 1:20 minutes in, as well as more vivid sax. It sounds very huge, very spaced-out with a lot of reverb. Harsher guitar noise pops up once in a while. The drums become more distinct closer to the end of the track. The whole track basically sounds like an air siren that is played in a dream. 

Track 3 is yet another cover of Faust’s So Far opener. 20 minutes long! The vocal are incredibly drenched and barely present. The synth is the loudest, along with the noise guitar crackles. It is really wild that the song structure compliments the whole harsh noise thing so well, as though it was designed for it. The freakouts misshape the whole song by the 6th minute, where the main piano tune doesn’t even show up any more. It just gets more and more unstoppable, with the screams from Jojo appearing further down the track. At some point it is reminiscent of Brotzmann Octet’s Machine Gun in terms of the intensity which is pretty damn crazy. I love how the track culminates with the return to the original piano riff. Very awesome. Seeing this live would be amazing. I think that this version is what I expected from Disk 4’s rendition. 

Track 4 is noise, feedback with a distinctive bass guitar riff. Sax slowly joins this chaos too. The bass line gets more and more drowned because of the clashing organ synth and all the guitar generated noise. Knowing that the line up is pretty big on this one, I am not surprised by how complex it actually sounds. I bet there is more than 2 guitars in this too. Drums appear at 4:40, as well as the screams from Jojo. A more steady drum beat appears at 6:30. The feedback and noise drowns the rest. The track ends with a loooong feedback drone and Jojo screaming. Applause. 

Track 5 starts off as a straight up Gerogerigegege party with off-the-hook shouting, drumming and playing. What follows is a very muddy (which actually compliments it, unlike the first couple of CDs) collection of drones and noise that was just designed to make you feel drowsy. At some points the only distinct sound you can make out is a pitch-shifting, ear-piercing drone. The rest turns into a turmoil chaos. Great crowd at the end. A lot of cheering. 

The closing track is a 16 minute trip that starts off like a punk rock tune and ends in complete shambles of harsh noise. Once again I am sensing the “Machine Gun” vibes with the saxophones being especially relentless. And we are only 3 minutes in! Jojo’s screams, the noise and the saxes all merge into one force and it is just so incredibly overwhelming. At around 4 minutes he drops the mic (or maybe drops with the mic, I can easily see him uncontrollably jumping around the stage). The drums come in to what already was a big noise party and spices up everything. By the end of the 6th minute it got progressively more percussion driven, with only 1 sax remaining to solo over it. It goes on and on without any breaks, with things being tossed around the stage 12 minutes in. At the 14 minute mark, one of the guitars becomes much clearer and powerful, almost like a cello in terms of the sound. Maybe it’s a synth? No idea. Everything is in such chaos at this point, you really cannot tell. It cuts off very fast and the CD ends right there. 

Very good fun performances. I am loving this whole free jazz vibe from them with a lot of analog noise thrown in.....by.....bksbeat ....~






Hijokaidan was formed by Jojo Hiroshige and Naoki Zushi in 1979 in Kyoto, 
and it is considered the first noise band in Japan and perhaps in the world. 
They have played full volume improvisational noise for more than 25 years, 
and have become well known in the world as "King of Noise". Naoki Zushi 
left the band in 1980. However, in the same year the band got a new member, 
T-Mikawa. Around 1980 to 1982, Hijokaidan had various people playing in the 
band, and it got great attention by the media for their destructive 
performances. In the latter half of the 80's, JUNKO and Fumio Kosakai became  
regular members. After these additions, Hijokaidan settled with 4 members 
who are Jojo, T-Mikawa, JUNKO and Kosakai, though they occasionally perform 
with guests. They played with Nao Shibata, the drummer in 2004. Their 
popular album "Zouroku No Kibyo" came out in 1982 and has been a 
longstanding hit. Hijokaidan have done many shows overseas, and have 
released their works on labels in England, the United States and Spain.....~















Line Up

JOJO広重 / JOJO HIROSHIGE (Guitar/Vocal) 
T.美川 / T.MIKAWA (Electronic sound) 
JUNKO (Voice) 
岡野太 / FUTOSHI OKANO (Drum)


Tracklist 

A1 マントヒヒ(大阪) April 26, 1981
A2 磔磔(京都) April 19, 1981
A3 創造道場(大阪) November 3rd, 1980
A4 新宿ロフト(東京) August 29, 1981
B1 慶応大学日吉315教室(神奈川) June 27, 1981
B2 同志社大学至誠館24教室(京都) November 27, 1981 

Ami Shavit "Yom Kippur 1973 Israel Electronic,Synth,Drone,Ambient,Experimental


Ami Shavit "Yom Kippur 1973 Israel  Electronic,Synth,Drone,Ambient,Experimental

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Released in Sub Rosa's Early Electronic series, Yom Kippur 1973 is a previously unheard masterpiece of Israeli multimedia artist Ami Shavit. As a professor of both philosophy and art and established kinetic artist in the 1970s, Shavit was fascinated with new and interactive technologies. While mostly focusing on visual art and mixed-media installations, a trip to New York in 1972 introduced him to synthesizers and triggered his curiosity to do some explorations into the world of music or "sound" as he preferred to call it. Ami's research was focused on the concept of meditative music that would help people to relax and create a cozy mood associated to the alpha brain waves and biofeedback. Before starting his artistic career, like all Israeli citizens, he had to serve in the army to his personal regret. Shavit had an operational position, which meant a high probability to get involved in a so called "hot situation". When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words "the dead". Being an operation officer, he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview. "I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully." Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. It is an extraordinarily strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories......~


The record you are holding in your hands is a previously unheard masterpiece of Israeli multimedia artist Ami Shavit. As a professor of both philosophy and art and established kinetic artist in the 1970s Shavit was fascinated with new and interactive technologies. While mostly focusing on visual art and mixed-media installations, a trip to New York in 1972 introduced him to synthesizers and triggered his curiosity to do some explorations into the world of music or "sound" as he preferred to call it. Ami's research was focused on the concept of meditative music that would help people to relax and create a cosy mood associated to the alpha brain waves and biofeedback. Before starting his artistic career, like all Israeli citizens, he had to serve in the army to his personal regret. Shavit had an operational position, which meant a high probability to get involved in a so called 'hot situation'. When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words 'the dead'. Being an operation officer he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview. 'I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully.' Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. We believe that this is an extraordinary strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories....~


Ami Shavit 
Born in 1934 in Tel Aviv-Jaffa. Known as visual artist, his work involves in creating virtual environments with optic and kinetic art, including structures worked by electricity, moving tubular configurations illuminated by colored lights. He published In Alpha Mood in 1977 on Amis records, his own record company, at 500 copies, republished by Finders Keepers Records in 2015 and Neural Oscillations And Alpha Rhythms in 2018. Yom Kippur is his ultime recordings....~


"When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words 'the dead'. Being an operation officer he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview: 'I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully.' 
Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. We believe that this is an extraordinary strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories."....~



Song list 
1 Yom Kippur, part 1 (1973) 
2 Yom Kippur, part 2 (1973) 6: 29) 
3 Yom Kippur, part 3 (1973) 

Tuesday, 22 January 2019

I Bertas ‎"Fatalità" 1968 Italy Pop Rock,Beat


I Bertas ‎"Fatalità" 1968 rare Italy Pop Rock,Beat

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The Circolo Culturale Sardo Logudoro of Pavia for Saturday, February 13 at 16 offers a free concert at the Cesare Volta Theater in Piazzale Salvo D'Acquisto, a concert by Bertas , the beat and rock band of Sassari. 

The group consists of Mario Chessa (vocals, keyboards), Carlo Costa (vocals, bass), Enzo Paba (vocals, guitars) and Marco Piras ( guitars). 

The Bertas were born thanks to the initiative of the three brothers Carlo, Antonio and Edmondo Costa in 1965 and they performed for the first time on December 20 of the same year in a club in Sassari. 

In 1966 , after the victory in the competition for young music ensembles and singers Sardinia sings , they signed a recording contract with the ARC, label distributed by the Italian RCA, and they released their first 45 rpm, Fatality / I forgave you I know , in 1967 , followed by their first 33 laps, Fatality, in 1968. 

Fatality, by the duo Sergio Bardotti and Piero Pintucci , is their most famous song: he recorded an Ornella Vanoni cover and will be used, even recently, in various television commercials. 

The group is then signed up by the RCA Italiana and obtains a good success, also in the foreign market. 

In 1969 he participated in the Cantagiovani , an itinerant music event organized by the RCA, where they performed with artists such as Gabriella Ferri, Ugolino, Le Voci Blu, Rosalino Cellamare, Christy, as well as taking part in the television program Settevoci , conducted by Pippo Baudo, and the following year their song Come away with us is chosen as the theme song of the television program Ci sai fare? 

With 45 laps Badde fara / Ma eri donna in 1974 began their musical production in Sardinian, which will become their hallmark, recording for the City and other labels, while in 1977 the Italian RCA will publish in a 45 laps version in Italian by Badde farana, entitled Valle lontana . 

In 2006, the La Nuova Sardegna newspaper attached the Bertas collection to celebrate their 40-year career. 

Among the collaborations of the group there are Mark Harris for the recording of their album Unu mundu bellissimu and the Choral Canepa for the album Sa missa of 2007. 

L ' 8 December 2015 the Bertas celebrated the 50th year of activity with a concert at the Municipal Theater of Sassari....~










Tracklist 

1 Fatalità
2 Come Vuoi Che Io (How Can I Be Sure)
3 Valerie
4 Vuoi
5 Le due strade
6 Ma non c'eri tu
7 Arrivi sempre ultima
8 Ma Tu
9 Mi Hai Perdonato Lo So
10 Dondolo
11 Lisa
12 La Donna Del Sole 

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