Uma 114 MORTAL VISION – Nacht Musik LPJapanese noise legend Hiroshi Hasegawa has begun his improvisation with his voice and percussion in early 80's and in 1989 he formed the amazing noise band and performance art act C.C.C.C. (Cosmic Coincidence Control Center) which's concept was improvisational mass-noise with very loud sound. Also he has begun his solo unit Mortal Vision with guitar in 1990 as well as playing in C.C.C.C. and then he has begun Astro in 1993 with analogue synthesizer and since than continuing to spend decades exploring noise's manifestations and new ways of enrapturing audiences with sound.
Nacht Musik is the only work, with a seven inch on Membrum Debile Propaganda, of his solo project Mortal Vision. Originally released on well-known tape label G.R.O.S.S. in 1992, the work present two long tracks where the sounds of distorted guitar are shackled to multi-phasic curtains of blinding light, distorting, firing, and moving in great explosive arcs as they pan from speaker to speaker. Played at any kind of significant volume level, this stuff can peel the paint from the walls!
The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 99 hand numbered copies w/insert.
Uma 115 MERZBOW – Remblandt Assemblage 2LPMerzbow stands as the most important artist in noise music. The moniker of Japanese Masami Akita was born in Tokyo in 1979. Inspired by Dadaism and Surrealism, Akita took the name for his project from German artist Kurt Schwitters' pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Merzbow would draw further influence from the Futurist movement. Not only would he embrace the Futurists' love of technology and the machine civilization, but he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Consequently, in 1980 Masami founded the first noise label, Lowest Music and Arts. Remblandt Assemblage was recorded and mixed at home in the same year and originally released on cassette the following year on own label. For the recording of this tape Masami used wide range of instruments: tapes, prepared acoustic guitar, tabla, junk percussion, microphone, radio, egg cutter & noise. Also this is the very first Merzbow album to use tape manipulations.
Only a few copies were made and distributed on cassette in 1981, but otherwise it was not widely available until being partially reissued on the legendary ''Merzbox'' in 2000.
For the first time the complete 1981 cassette version has been released on double vinyl and no changes of pitch were made in the mastering process; digitally remastered from original cassette master for this reissue by Masami Akita in Tokyo, 2016. The records have been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black three panels cardboard sleeve with artwork of five original collage by Masami Akita (1980 circa), limited to 199 copies.
Uma 116 HAL HUTCHINSON – Mangraft LP Few current noise artists have discovered the sonic qualities of scrap metal to the extent that Hal Hutchinson had made with his ''Factory of Metal Sound'' aesthetic. Hutchinson employs a unique approach to collecting and layering his recordings of sheet metal, pipes, metal barrels, chains, and other metallic objects being shattered and pulled and crushed. A cacophony of metal scraping clatter is transformed into something far more complex.
The new full length Mangraft LP, recorded during two different session, delivers four tracks of immense noisescapes and blast of orchestrated machine shop annihilator. The oppressive scrap metal noise, sound dense and detailed, with repetitive scraping tones almost seems to take on an eerie accidental melodic quality. Layers of screeching, colliding, abrading and hammering junk metals, all rich in detail and coalescing into a colossus of acoustic sound over the two vinyl sides.
The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve with artwork collage by Kristian Olsson, limited to 99 hand numbered copies w/insert.
Uma 117 CRASH AT EVERY SPEED – Vehicular Manslaughter LP Crash At Every Speed is fairy long running high signal feedback based HNW project of Texas noise legend Richard Ramirez, started back in 2001. All of the projects work is themed around car crashers & road accidents. Vehicular Manslaughter is new full length work on vinyl and in forty minutes split on two sides Ramirez alternates between interlocking seas of uniformed crackling static & burst of off-pattern static based noise making with urgent jittering trails, distant/buried 'n' churning radio like harmonic squawking / baying pitches, more rapid lines of crackle, & split stereo channel static crackle.
The record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve with artwork of car crashers, limited to 99 hand numbered copies w/insert.
mail to:
info@urashima.it
