Seeing the track title "Requia for Ethnic Cleansing" on a release on Russian post-industrial label/distributor Zhelozebeton could lead you to imagine something very different to what this actually is. Rather than a dystopian and even slightly suspect post-Soviet soundscape, what you get here is a real oddity - a Japanese act producing what they call "schizopoetry" in a jumbled mixture of various languages.
What this amounts to is a truly strange and esoteric brew which may intoxicate some but will drive away others on first exposure. It will appeal to those seeking something truly strange and hard to imagine. With four tracks and lasting little more than 20 minutes this is a very concentrated dose of 'whatever this is.' The music is proudly irrational and even childlike, deliberately nonsensical and (mostly) terminally obscure.
"Partizan" features desultory acoustic guitar and mumbled, painful, vaguely Tom Waits-like vocals, which is fine if you like that sort of thing. "Ono Sendai" is the best produced and most interesting track. It's a sorted of haunted indietronica that slowly builds into an ambient piece on the lines of Steve Reich's guitar pieces and has a strange charm. "Kurz-y-nuy" returns to a Tom Waits style vocal underpinned by what sounds like a reverse tape loop. "Requia for ethnic cleansing" itself is equally charming and irritating, the falsetto vocal is mournful and evocative. This is offset by muzak elements and what again seems to be a reverse effect. For me this triggers a strange reminder of (and desire to listen to) the dystopian reverse funk of the Bunker Records project Shitcluster, masters of this technique. Eventually gunfire sounds intrude towards the end of the track but in a curiously polite and modest way.
In its own terms and for whatever target audience (if any) that it may have, this brief collection is probably a brilliant success, but its appeal will definitely be limited - this one is only for true connoisseurs of weirdness.
-- Alexei Monroe [4/10]
i should want to be alan lomax in new domain これはルーツを持たない我々の再帰的な言及なのかもしれない。ちょうど僕らはシルクロードとアメリカーナ の場が届かない穴に生まれ落ちた。新しい領域はシームレスで即時的な環境（デジタル）である。 そこで奏でられる音はワールドミュージックと我々が呼んでいるものにちがいない。 deemployedは生産の諸関係の再生産から の抜けおち、つまりは主体化の失敗さらにはルーツをもたない我々の象徴化からの抜けおちをもしめしていないだろうか？
--by ovrdose kunst themselves(japanese)
僕はスペクタクルの周辺で幼少期を過ごした。
今から思えばそれは国が技術とゆるぎない
進歩を経た事の誇示であったようにおもう。
僕はその周辺に住む権利を得たと同時に
スペシャルな毎日をすごしてしかるべきだとおもっていた。
そしてそのまま象徴的にも成長していくはずだった。
またスペクタクルはサイバネティックな
身体へと僕が合体するのを許すはずだった。
ところが僕はある時期から僕に配給されている
のは消化器官の弱い身体であるだけであることにきずいた。
享楽には至れずフラットな毎日が続いていくのを
幼少期が終わった早い段階で認識した。
ちょうど音楽のメタファーをもちだしていえば、
L.A.からシアトルにすべてが移行する時期と重なる。
We got un nuit dystopia
--Another description (japanese)
Based respectively in Tokyo and Hiroshima, Japanese experimental electronic duo Takeshi F. and Ryuta K . have been collaborating as Overdose Kunst since 2001, and self-describe their creative output as being “post-sampling kinetic non-hierarchical non-linear non-equilibrium fourth world muziq.” While the above self-description fails to give much of an insight into the sorts of sonic explorations awaiting the listener on this five track CDR EP Non-Form Material Machine through New Zealand Creative Commons-based netlabel Postmoderncore, a quick listen through this EP’s 33 minute running length reveals the most evident touchstones here to be musique concrete as well as the slightly more predictable Japanoise leanings. Opening track ‘I Should Want To Be Alan Lomax In New Domain’ certainly suggests turbulence ahead, kicking things off with a dark wander into ambient-noise territory that pits relentless repetitive scraping guitar textures against an ominous backdrop of what sounds like overlaid crowd and traffic noise, with the odd recognisable fragments such as a mournful horn or snatch of intelligible conversation rising out of the din like momentary spectres. While the sense of oppressive noise appears overpowering at first however, continued listening evokes a sensation curiously similar to your eyes adjusting to a darkened room, with more and more melodic and vocal details revealing themselves slowly in the mix, leading to a strange sense of internal logic as exotic sounding sampled wind instruments and unearthly-sounding vocal chants bring things to their conclusion.
After this somewhat ferocious opening, ‘Medium’s Message’ manages to throw a complete curveball into proceedings by offering up a laidback two minute wander through stiff midtempo electro handclaps and burnished blues guitar chords that almost suggests Steely Dan going head-to-head with Scott Herren, before ten minute long epic ‘Deemployed’ takes things back out into menacing ambience, almost resembling the death throes of some malfunctioning video game system as it sends rippling bursts of retro laser gun sounds scattering over a distant backdrop of brooding bass drones. ‘464’ meanwhile offers an oasis away from the more ominous emotional territory that dominates much of this EP, sending delicate guitar chords cycling against an almost hypnotic backdrop of manipulated vocal chatter and opaque-sounding woodwinds, in what proves to be something of a false idyll as psyche-rock yells and furious metal fretwork begin to infiltrate proceedings in a manner that calls to mind Acid Mothers Temple’s unhinged third-eye squeegeeing. Finally, ‘Requia For Ethnic Cleansing’ brings this EP to a close with one of its more sonically-unsettling offerings, and manages to turn a fairly simple female vocal performance into a serious exercise in listener disorientation, simply by reversing critical enunciations and phasing the backing instrumentation. Like much of this intriguing EP, it manages to combine unexpected moments of rare beauty in equal doses with an underlying sense of dread, marking Overdose Kunst well apart from the usual generic mass of ‘dark ambient’ and noise-based practitioners.TAG+similar TAG
Non-Form Material Machine ,KOL SONZLGN,usyukuro,pagan world tune,mego,DarkWinter,...
What this amounts to is a truly strange and esoteric brew which may intoxicate some but will drive away others on first exposure. It will appeal to those seeking something truly strange and hard to imagine. With four tracks and lasting little more than 20 minutes this is a very concentrated dose of 'whatever this is.' The music is proudly irrational and even childlike, deliberately nonsensical and (mostly) terminally obscure.
"Partizan" features desultory acoustic guitar and mumbled, painful, vaguely Tom Waits-like vocals, which is fine if you like that sort of thing. "Ono Sendai" is the best produced and most interesting track. It's a sorted of haunted indietronica that slowly builds into an ambient piece on the lines of Steve Reich's guitar pieces and has a strange charm. "Kurz-y-nuy" returns to a Tom Waits style vocal underpinned by what sounds like a reverse tape loop. "Requia for ethnic cleansing" itself is equally charming and irritating, the falsetto vocal is mournful and evocative. This is offset by muzak elements and what again seems to be a reverse effect. For me this triggers a strange reminder of (and desire to listen to) the dystopian reverse funk of the Bunker Records project Shitcluster, masters of this technique. Eventually gunfire sounds intrude towards the end of the track but in a curiously polite and modest way.
In its own terms and for whatever target audience (if any) that it may have, this brief collection is probably a brilliant success, but its appeal will definitely be limited - this one is only for true connoisseurs of weirdness.
-- Alexei Monroe [4/10]
i should want to be alan lomax in new domain これはルーツを持たない我々の再帰的な言及なのかもしれない。ちょうど僕らはシルクロードとアメリカーナ の場が届かない穴に生まれ落ちた。新しい領域はシームレスで即時的な環境（デジタル）である。 そこで奏でられる音はワールドミュージックと我々が呼んでいるものにちがいない。 deemployedは生産の諸関係の再生産から の抜けおち、つまりは主体化の失敗さらにはルーツをもたない我々の象徴化からの抜けおちをもしめしていないだろうか？
--by ovrdose kunst themselves(japanese)
僕はスペクタクルの周辺で幼少期を過ごした。
今から思えばそれは国が技術とゆるぎない
進歩を経た事の誇示であったようにおもう。
僕はその周辺に住む権利を得たと同時に
スペシャルな毎日をすごしてしかるべきだとおもっていた。
そしてそのまま象徴的にも成長していくはずだった。
またスペクタクルはサイバネティックな
身体へと僕が合体するのを許すはずだった。
ところが僕はある時期から僕に配給されている
のは消化器官の弱い身体であるだけであることにきずいた。
享楽には至れずフラットな毎日が続いていくのを
幼少期が終わった早い段階で認識した。
ちょうど音楽のメタファーをもちだしていえば、
L.A.からシアトルにすべてが移行する時期と重なる。
We got un nuit dystopia
--Another description (japanese)
Based respectively in Tokyo and Hiroshima, Japanese experimental electronic duo Takeshi F. and Ryuta K . have been collaborating as Overdose Kunst since 2001, and self-describe their creative output as being “post-sampling kinetic non-hierarchical non-linear non-equilibrium fourth world muziq.” While the above self-description fails to give much of an insight into the sorts of sonic explorations awaiting the listener on this five track CDR EP Non-Form Material Machine through New Zealand Creative Commons-based netlabel Postmoderncore, a quick listen through this EP’s 33 minute running length reveals the most evident touchstones here to be musique concrete as well as the slightly more predictable Japanoise leanings. Opening track ‘I Should Want To Be Alan Lomax In New Domain’ certainly suggests turbulence ahead, kicking things off with a dark wander into ambient-noise territory that pits relentless repetitive scraping guitar textures against an ominous backdrop of what sounds like overlaid crowd and traffic noise, with the odd recognisable fragments such as a mournful horn or snatch of intelligible conversation rising out of the din like momentary spectres. While the sense of oppressive noise appears overpowering at first however, continued listening evokes a sensation curiously similar to your eyes adjusting to a darkened room, with more and more melodic and vocal details revealing themselves slowly in the mix, leading to a strange sense of internal logic as exotic sounding sampled wind instruments and unearthly-sounding vocal chants bring things to their conclusion.
After this somewhat ferocious opening, ‘Medium’s Message’ manages to throw a complete curveball into proceedings by offering up a laidback two minute wander through stiff midtempo electro handclaps and burnished blues guitar chords that almost suggests Steely Dan going head-to-head with Scott Herren, before ten minute long epic ‘Deemployed’ takes things back out into menacing ambience, almost resembling the death throes of some malfunctioning video game system as it sends rippling bursts of retro laser gun sounds scattering over a distant backdrop of brooding bass drones. ‘464’ meanwhile offers an oasis away from the more ominous emotional territory that dominates much of this EP, sending delicate guitar chords cycling against an almost hypnotic backdrop of manipulated vocal chatter and opaque-sounding woodwinds, in what proves to be something of a false idyll as psyche-rock yells and furious metal fretwork begin to infiltrate proceedings in a manner that calls to mind Acid Mothers Temple’s unhinged third-eye squeegeeing. Finally, ‘Requia For Ethnic Cleansing’ brings this EP to a close with one of its more sonically-unsettling offerings, and manages to turn a fairly simple female vocal performance into a serious exercise in listener disorientation, simply by reversing critical enunciations and phasing the backing instrumentation. Like much of this intriguing EP, it manages to combine unexpected moments of rare beauty in equal doses with an underlying sense of dread, marking Overdose Kunst well apart from the usual generic mass of ‘dark ambient’ and noise-based practitioners.TAG+similar TAG
Non-Form Material Machine ,KOL SONZLGN,usyukuro,pagan world tune,mego,DarkWinter,...