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Gnashing right at the biting point, the five tracks here are soused in distortion to degrees recalling The VU, Swans, and Bourbonese Qualk, bringing Ho as far as he’s travelled from techno proper and closest to his formative industrial influences. \u003c\/p\u003e\n\n\u003cp\u003eHe fully commits to this sound with opener ‘A Blinding Light’, toiling booming drums and slavish hi-hats with electric blue raga drones in a way that resonates with everything from Tony Conrad to Clay Rendering, before ‘Releasing Together’ locks into a tantric vortex sounding like a duel between Throbbing Gristle and John Carpenter.\u003c\/p\u003e\n\n\u003cp\u003e’Slate’ then returns to the amp worship with sanctifying slow riff distortion worthy of Dylan Carlson, while Ho’s plaintive vocals interject the sludgy crawl of ‘Our Eyes’, and ‘Vein’ sounds like he’s repeatedly stabbing a live 1\/4” jack into industrial rock’s beached and bloated corpus, releasing noxious gasses that build into a tarry fug of guitar distortion. 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In fact what makes their work special, and more resonant today than that of your typical sloganeering anarcho bleater, is their awareness of their own complicity in the things they despise, and all the self-loathing that comes with it. VERY relatable. But though in some ways it transcends history, this stuff was born of a very specific time and place. As Johnny Cash-Converter writes in his brilliant sleevenotes, the backdrop was one of genuine civil unrest, with Mrs T gleefully overseeing \"the dismantling of welfare and the deliberate creation of poverty as a social control mechanism.\" Intense corporatisation, and the attendant feeding frenzy of land-grabs, sell-offs and privatisations left large swathes of industrial Britain looking like Tarkovsky’s Zona, empty spaces that would, for a time, be repurposed by the resistance: squats, warehouse parties, experiments in communal living and\/or communal oblivion. It's in this milieu that (The) Mudguards established their hunt-under-the-wreckage praxis, “maximum content with minimum hardware”, creating improvised installations\/performances with noise-makers and visual props built from re-appropriated scrap, vintage sound equipment and circuit-bent electronics. This was the era when post-punk, industrial and noise scenes and sensibilities were overlapping with the arrival of electronic dance music: and I'm not sure I've ever heard a band or project music who capture that brief confluence of disparate things quite so brilliantly as (The) Mudguards. One minute they're plainly and openly addressing Harold Wilson and the state of the National 'Elf, the next they're unspooling narcotic\/neurotic minimal synth raga like a dole-queue Monoton. And somehow, despite their preoccupation with class war and the treacheries of the state, they retain a sense of humour - well, if you find Ceramic Hobs funny... 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Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura.\u003c\/p\u003e\n\n\u003cp\u003eAs a teenager, Sugaya would visit the avant garde hub of record\/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya’s early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology.\u003c\/p\u003e\n\n\u003cp\u003eFlourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever_ (熱の風景) and Music From Alejo_ (アレッホ – 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. 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A cool-headed verse and a slow-mosh chorus exchange an affirmative nod on the title track \"Endless Summer\" – the doom-disco bridge lurks patiently behind the next cowbell. The power trio sprinkles \"Doggernaut\" with the occasional blast beat, while \"Drop Shadow by the Pool\" gently grazes avant-rock territory. A record that is, simply put, fun – or to quote the band’s singer: \"My brain is hanging on a thread \/ It’s summer and I’m happy \/ I don’t want it to end\"\u003cbr\u003e\u003cbr\u003e\"Endless Summer\" will be released on the Berlin-based label \"bohemian drips\" on vinyl and in digital form. Furthermore, the record will be rearranged to be performed by a sextet consisting of the band with an additional french horn (Elena Kakaliagou), piano (Rieko Okuda) and cello (Sicker Man). The project was funded by Musikfonds e. 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Absolutely essential. \u003cbr\u003e\u003cbr\u003eLimited to 250 copies worldwide, comes with insert, one time pressing. 3x12\" LP.\u003cbr\u003e\u003cbr\u003e Remastered from the original tapes and cut by Josh Bonati.","brand":"L.I.E.S","offers":[{"title":"Default Title","offer_id":43559611891971,"sku":"LIES-192","price":40.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0267\/6952\/2736\/products\/192FRONT-BANDCAMP_1024x1024_773d3ad3-eb8e-4c45-81d8-5f0c9f60811b.jpg?v=1669808700"},{"product_id":"danza-iniciatica","title":"Danza Iniciatica","description":"A radiography of the Spanish industrial universe as retold by one of its main protagonists. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFollowing up Andrea Benedetti's review of the Italian electro scene at the turn of the millenium, the second Vanishing Tape sees Dynamo and Dj Waje travelling to Spain and setting back the clock to the early 80s. Andreas Noarbe AKA Dynamo was a crucial figure of the scene, managing the Esplendor Geometrico and Geometrik labels and founding Aviador Dro. 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