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5 Jul 2017

Les Rallizes Dénudés "Mizutani" 1991 bootleg Japan Psych Rock


Mizutani Takashi in 1976




Les Rallizes Dénudés "Mizutani" 1991 bootleg Japan Psych Rock

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Les Rallizés Dénudés managed to leave with Mizutani watertight lakes to submerge the white water; What is ironic is how the leap happens: from noise to kind cut psychedelia, next to folk. Risk is also assuming less risk. Its acquired simplicity, hardly if adorned with guitars and percussions, voices and silences, is costly. Which does not mean that they do not impose their law; From the six minutes to the twenty-two, or already moving in the fork less than two, defy all generic convention by twisting its proposal in form through classic elements: repetitions, alliterations and minimal variations, besides an evident inclusion of certain leave to the Enka, endow the whole with a disruptive force: they manage to transcend the noise as an experimentation to situate itself in the purely musical. Without concessions. They return to classic forms, even old ones, getting in such a process to pervert the message.
Sometimes re-reading the past is re-reading our present. There is more vanguard in these compositions, only in appearance classics, without risk, that in any noise noir of young people who hardly know the contemporary tradition of popular music: they appropriate the cult and the popular, the high and the low , Of the coming and coming, to compose his own legend. They do not conform to repeat formulas, to drink of the noise when it is exhausted, or to return to the psicodelia when this one is no longer the same in the 90's that in the 70's; Assume their position from the strict margins, from the only place that art can arise: where there is no external interference, where no one can manipulate interests. Genius comes in the margins. As in margins arises, we should then question what we consider experimental in a time obsessed only with a recent past; Past which is not such, because the same unimagined traditions are always repeated.............by ÁLVARO MORTEM......................

As more and more previously obscure Japanese noise rock bands and bootlegs were unearthed and distributed via music blogs, Les Rallizes Dénudés remained my favourite for sticking to the formula of a simple repetitive bassline followed by waves and waves of feedback. They never fucked with my head as much as anything Keiji Haino was involved with, and had sweet album titles like Heavier Than a Death in the Family and Blind Baby Has Its Mother's Eyes. The White Light/White Heat worship was always strong, but there was something soothing about their sound too. 

Mizutani! Exploring the Velvet Underground (not the one with Nico) side of their VU worship rather than just the Sister Ray one, Mizutani's first side is primarily melancholy folk. Side two features The Last One which you can find different recordings of in LDR bootlegs. Here it fits with the rest of the album, starting like it has emerged out of the fragile folk before building steam and ending up wonderfully noisy...............

Les Rallizes Denudes, 裸のラリーズ (Hadaka No Rallizes), Fucked Up and Naked, no matter what the language, this is the ultimate cult band. Members involved with terrorist plots, playing with amp stacks “30 meters high” at a middle school while handing out communist/nihilist propaganda to the students, shows that were the Exploding Plastic Inevitable x11, and nearly all of their releases being either homemade tapes or CDs, and mostly just bootlegs of live shows from fans….yup, LRD have remained the kings of underground experimental music in Japan, a country that has no deficiency in producing these types. I guess it partly comes from the wild, almost mythological aura surrounding the band and their leader Mizutani Takashi, but the main thrust has to be the fact that they present some of the heaviest, most progressive sounds, and thus the most copied sounds, of their era. When Mizutani started the band in the late 60s he was inspired mainly by The Velvet Underground, who at the time were one of the most obscure “garage bands” in the world, only benefiting in popularity from Andy Warhol’s own strange fascination with them. Like a lot of Japanese artistic expression, Mizutani took a good idea and brought it to a level that no one thought of or could even stomach at times (they lost a lot of touring partners with their complete sensory overload at shows: blinding lights reflected off hanging disco balls, ear piercing volume, etc.)
Their brand of psychedelic noise rock is typically to be most personified in the recording ’77 Live (Also going by the bootleg names of Fucked Up And Naked ? Live ’77, and Le 12 Mars, 77 a Tachikawa), part of a few official, archival releases from the band in the 90s after decades of nothing but live shows. With most LRD material, you are hearing different live versions of the same core group of songs to begin with. They don’t have a definitive studio album like most bands, even like the other obscure and mystery cloaked ones do. This live set catches them at their most absolutely devastating, many songs clocking in between 10-20 minutes. LRD had a pretty formulaic approach: heavy, repetitive drum and bass with Mizutani choking out delay effected vocals and letting his guitar murder any semblance of melody on the track. The formula varied in that the rhythm could go from borderline doo-wop to fast moving punk, but the drum and bass would never really change from a simple progression. This means you’re never going to get the histrionics of a big drum solo or some incredibly complex bass scales, but much like Mo Tucker did for the Velvet Underground, the groove holds down the song just enough to let the extreme nature of the guitars not come across as complete noise. In the vein of Lou Reed’s “solos” on “I Heard Her Call My Name” and “Sister Ray”, Mizutani would take feedback and amplifier squall and shape it into complex, unpredictable waves of masterfully crafted noise. That is to say, he didn’t necessarily just let feedback control his style, there are several instances where they are fully grooving as a band and his chops are evident, but that the deconstruction of rock music was the ultimate goal. The band could be in full on jam mode, or Mizutani could let his controlled chaos reign over the plodding rhythm like a surreal car accident in slow-motion, bits of debris and chaos flying about in seemingly random directions while the rest of the world moves along with predictability............

Revolving around guitarist and vocalist Mizutani Takashi, Les Rallizes Denudes formed in November of 1967 at KyotoUniversity,inspired by ExplodingPlastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer. By1968 theywere gigging live and even began a regularcollaborated with an avant-garde theater troupe, which ended the nextyearbecause of Les Rallizes's penchant for extreme volumes of sound. Not onlydid they use massive amounts of feedback atloudvolumes, their stage shows used strobe lights, mirror balls and other effects for a live experiencethat was a totalsensoryassault. ...................

One of the very first Noise Rock bands, Les Rallizes Dénudés (Japanese: 裸のラリーズ or Hadaka no Rallizes) were a Japanese band that existed from 1962 to 1996 that predated Western popularization of the genre by around a decade. And despite being one of the most influential and important bands in the Japanese music scene, almost nothing is known about them - in fact, they technically never released anything. 
It is near impossible to tell where the facts end and stories begin when it comes to their history. Allegedly, guitarist, vocalist, and only consistent member Takashi Mizutani started an avant-garde theatre troupe before abandoning that in favor of a rock band inspired by The Velvet Underground's White Light/White Heat and Free Jazz in 1967. Most of their output in the late 60s is very different from what would eventually get them an international cult following, though some songs still showcase their feedback laden style - the Psychedelic Rock and Progressive Rock influences shown early on are present throughout their career. Their early playing with The Taj-Mahal Travellers also influenced their music. 
Mizutani became a Reclusive Artist mostly because of an infamous incident in which bassist Moriaki Wakabayashi hijacked an airplane in support of the Japanese Red Army. Mizutani, a long time sympathizer and participant in far-left student riots, feared arrest or worse if he showed his face too much. One proposed reason for the dissolution of the band is due to legal complications involving Mizutani, though his efforts to keep everything relating to himself and the band a secret have made finding any one cause rather difficult. Another mystery of the band is their name - "Rallizes" is not a word in Japanese or French. There are multiple theories as to what they were going for with it, ranging from "Fucked Up and Naked" to "The Empty Comrades". 
Sometime in The '70s, their music evolved into long, drawn out songs that have been described as Lou Reed's Metal Machine Music set to a Krautrock inspired rhythm section. The ear bursting feedback on top of Mizutani's guitar riffs rubbed off on some of his contemporaries, such as Keiji Haino of Fushitsusha. 
They continued to play on and off throughout the 80s and 90s before eventually dissolving in 1996. The last time Mizutani was spotted was during a show in 1997, in which he played alongside Free Jazz musicians Arthur Doyle and Sabu Toyozumi. He allegedly approved the release of a remastered boxset in 2011, but that's about it for him. 
Had they never formed, countless more popular Japanese artists may have never existed: Merzbow, Boris, Boredoms, and Keiji Haino have all been impacted by their influence..................

The first reference Rivista having above all airs of compilation of unpublished, Mizutani could be considered the first true album worthy of the name of the suitcases naked if it was not in large part a solo disc of the legendary leader of the group, Crushing figure with black glasses and red ideas. Some refer to it as the lost album of the Velvet Underground. The little extraterrestrial pearl is indeed in the vein of the eponymous record of the New Yorkers of March 1969. This distant impression of an oriental Lou Reed is worth first for the quality of the first five tracks where reigns an acid-folk atmosphere not remote Of self-productions of budding scrappers that will be running in the archipelago in the years that follow. Absent from the radars, Takashi Mizutani explains that he never liked the sound of his voice in the studio: more reason to appreciate here the fragile range, without screws of electricity or distancing in concert. Captured in 1970, these are catchy and delicate melodies, like the reverse of the well-tempered character of Mizutani, all the more beautiful because they are the only ones to have been written by and for himself. Strangely, sweetness prevails over the intransigence of politico-musical convictions. But let us reassure ourselves, the disc unveils its batch of sound saturation well, with a "The Last One" ready to disconnect a posteriori those thinking of knowing this piece unavoidable, by its looks of "European Son". A strong contrast reminiscent of the acoustic-noise dichotomy proper to the concerts of the Rallizes. The test was later transformed with a 1973 version of "Otherwise Fallin 'Love With", credited to the band's name. Takeshi Nakamura is the second guitarist to be found on the legendary '77 Live. For all these reasons, Mizutani is an essential document.................

Hadaka no Rallizes were an early Japanese psychedelic band that took inspiration from the Velvet Underground's Exploding Plastic Inevitable light and sound shows and from the Blue Cheer's heavily amplified sound. 
The Hadaka no Rallizes, also known as Les Rallizes Denudes, were formed in 1967 at Kyoto University by guitarist and vocalist Mizutani Takashi. Takashi was somehow involved in the communist terrorism of the 1970s and therefore the group was hardly welcomed anywhere. Recordings of the original period include one side of the legendary bootleg Live At Oz (Oz, 1973 - OZ Days, 2001), 67-69 Studio et Live (1991), Mizutani/Les Rallizes Denudes (1991), 77 Live (1991). The latter is probably their least indulgent album, at times worthy of Fushitsusha's most extreme freakouts. 

Les Rallizes Denudes became the object of wild post-mortem speculation with the market flooded by bootlegs of droning, hyper-amplified psychedelic jams. The 1992 video soundtrack Cable Hogue Soundtrack (2007) as well as the the six lengthy jams from 1973-77 of Heavier Than A Death In The Family (2002 - Phoenix, 2010), particularly the cacophonous People Can Choose, the three juggernauts of Blind Baby Has It's Mothers Eyes (2003 - Phoenix, 2010), the other live performances of the six-disc Double Heads (2005), of the triple-disc Great White Wonder (Univive, 2006), of the four-disc Cradle Saloon '78 (2006), of the double-disc End Of Heavy Groove (2006), of Live 1972 (Over Level, 2006), of the double-LP Le 12 Mars 1977 a Tachikawa (Ignuitas, 2008), with the 20-minute The Last One, of Live May 25 1975 Yaneura (Ignuitas, 2008), of the triple-disc Wild Trip In The West (2008), of the double-disc Critical Trip (2008), of the triple-disc Back To Black Mandara (2010), etc etc surfaced decades after the fact. Yodo-Go-A-Go-Go (10th Avenue Freeze Out, 2007) is a compilation. The four-disc box-set Mars Studio 1980 (Phoenix Records, 2012), featuring guitarist Fujio Yamaguchi, is one of the least amateurish documents. The more recordings surfaced, the less relevant the band seemed to be. Most of their music was disposable, an inept imitation of the Velvet Underground occasionally decaying into childish mayhem................

Tracklist

1. 記憶は遠い 5:54 
2. 朝の光 L'aube 1:37 
3. 断章1 3:45 
4. 断章2 1:45 
5. 亀裂 4:35 
6. The Last One 22:14 
7. 黒い悲しみのロマンセ Otherwise Fallin' Love With 8:05

Notable Bootlegs: 
1991 - 67 - 69: Studio et Live 
1991 - '77 Live 
1991 - Mizutani / Les Rallizes Dénudés 
2002 - Heavier Than a Death in the Family 
2007 - Double Heads: Legendary Live Yaneura Shibuya, Tokyo 1980-1981 
2007 - Cable Hogue Soundtrack 
2011 - The Rivista Archives 

Discografía 
Oz Days Live - 1973 
Field Of Artificial Flower - 1973 
Wild Party - 1975 
67-69 Studio Et Live - 1991 
Mizutani - 1991 
77 Live - 1991 
Les Rallizes Denudes - 1992 
Etcetera Vol 2. - 1996 
Smokin' Cigarette Blues '69 - 2002 
Cradle Saloon '78 - 2006 
Cable Hogue Soundtrack - 2007

johnkatsmc5, welcome music..