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Airs

by HEDOROMERUHEN

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    V.A. - TINCTURE OF JAPANOISE
    emerge.bandcamp.com/album/tincture-of-japanoise

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1.
kebab 01:18
2.
3.
mariko 02:15
4.
return 03:26
5.
missions 04:19
6.
kawai 01:47
7.
p-hotel 04:23
8.
9.
bugs 06:16

about

also available as factory-pressed CD, ltd.ed. 100 copies

Fake Live Documentary in Euro 2016
produced and re-edited by Hedoromeruhen
recorded in Euro and Tokyo in 2016
photos by Ryo Fujishima
design by EMERGE

governmentalpha.blogspot.de
www.facebook.com/GOVERNMENT-ALPHAXERXES-163757060370616/
www.facebook.com/badajapan
governmentalpha.bandcamp.com

Hedoromeruhen:
Daisuke Ichiba
Yasutoshi Yoshida

Yasutoshi Yoshida(electronics noise artist aka Government Alpha) and Daisuke Ichiba(Bijinga drawing artist) meet in Berlin 2012 for exhibition. they clicked together that making “Folk Music Noise” sound. then they started to performance as a “HEDOROMERUHEN”.
they released 1st album “1” that experimental acid folk noise sound in 2013. 2nd album “2” that experimental psychedelic noise sound released in 2014.then 3rd album “3” that new wave and electronics noise style released in 2015.
Hedoromeruhen invited to LUFF 2016 in Lausanne/Switzerland. then they had small tour in Europa. they recorded many sound materials on this tour not only live sounds. Yoshida and Ichiba destroyed these sound materials then they re-constructed new tracks as a “Fake Live Documentary”. this is “AIRS”.

credits

released December 20, 2017

BAD ALCHEMY

Yasutoshi Yoshida, besser bekannt als Government Alpha, ist ein japanischer Hauptvertreter der krachigen Internationale. Schon immer gern auch zu zweit umtriebig, entstand HEDOROMERUHEN nach etwa Alpha Ailuros, Barum One, Der Manrz etc. 2012 zusammen mit Daisuke Ichiba. Der dürfte als BADAistischer Grafiker, der japanische Splatter-Ästhetik mit europäischer Jugendstil-Finesse und schmaläugigen Femme fatales von Manga-Klischees absetzt, bekannter sein als akustisch. Airs (ACRS 1014, CD) ist mit brachialem Noise, stampfendem Brutalobeat und gewellten Schreiattacken, die umbrechen in intuitiven Singsang, schleppende oder poppige Loops, Krabbel-, Klampf- und Psychedelik-Gitarre und selbstzensufreie Freakness eine ganz japanische, aber extraordinäre Erfahrung. Als absurde Synthiemutation von The Fall, als durchgeknallter Psychedelikrock in der Zerreißprobe zwischen bekiffter Entschleunigung und enthemmtem Exzess, debilem Geklopfe, dylaneskem Rap, schwummeranten Keys, delirantem Rock'n'Roll, falscher Tonbandgeschwindigkeit, infantilisierten Vocals, unerwartetem Schwung, brutistischem Anything-goes. Ich weiß nicht, wer der extrovertiertere Freak ist, vom Affen gebissen sind sie beide, zumal wenn am Schluss Käfer an Babies in der Wiege nagen. 'Bugs'-Alarm! Badajapan ante portas!

badalchemy.de

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THOUGHTS WORDS ACTION

Hedoromeruhen is a Japanese noise duo comprised of Daisuke Ichiba and Yasutoshi Yoshida. They’ve met each other on an exhibition in Berlin in 2012, and they were both stimulated by each other performances, so they’ve determined to start Hedoromeruhen. With Daisuke being a painter and visual artist known as Bijinga, and Yasutoshi being a well known harsh noise artist under his moniker Government Alpha, these very prolific artists have created audio/visual project that can be best described as an in-depth exploration into underground experimental noise music. Hedoromeruhen is incorporating various technics to foundations of experimental noise, so there’s a wide array of other elements such as industrial, ambient, drone, electronica, techno, but also various chord progressions, weird harmonics, and choirs, resulting in a very energetic performance that sound as a well-orchestrated maelstrom. The sonic weaponry that’s been used for this recordings is utterly insane. Enormously exploited guitar effects such as reverb, delay, echo, chorus, harmonizer, pitch shifter, are deliberately enhancing these glorious experimentations with various sound sources. Speaking of sound sources, you will find a full specter of field recordings, samples, chants, weird beats, rhythmical sequences, scratches, ambient, and drone segments, so Hedoromeruhen spent quite a while working on this album. Airs represent an industrial twist on Japanese harsh noise, so the sound is a little bit more polished and saturated with a purpose to deliver a much broader perspective on this traditionally crude genre. In my honest opinion, both artists achieved great success with Hedoromeruhen, mainly because of their knowledge, experience, and common sense to avoid another basic approach to harsh noise. Instead of recording another repetitious noise recording, they’ve taken a step further, and have created a powerful album that will surely suit to both industrial and noise fans. Airs have been published on compact disc by Attenuation Circuit, but can also stream it at label’s Bandcamp page.

thoughtswordsaction.com/2020/02/21/hedoromeruhen-airs-cd-attenuation-circuits/


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TERAPIJANET

Ima još mnoštvo albuma iz 2017. koje sam jednostavno rečeno, samom sebi, dužan recenzirati iz čiste ljubavi prema artističkoj fluktaciji alternativnog svijeta, a ovo je jedan baš upravo od takvih.

Ovdje je riječ o suptilnoj spregi noise-industriala u vrlo agresivnom izdanju s mnoštvo eksperimentalnih lo-fi/ acoustic/ electro fuzija. Na prvi dojam funkcionira kao nastavak škole Throbbing Gristle + Einsturzende Neubauten iz, dakako najboljih i najoriginalnijih dana, međutim sama proizvodnja je daleko drugačija. Bend čine dva poprilično otkačena Japanca - Daisuke Ichiba (aka Government Alpha) i Yasutoshi Yoshida (iz ekipe Bijinga Drawings), a zanimljivo je da su se upoznali 2012. u Berlinu čisto iz egzibicijskih sklonosti. Jedan je bio privržen elektronskom noiseu, a drugi akustici, te su do sada objavili 3 službena albuma s jednostavnim naslovima "1", "2" i "3", a ovo im je, kako sami kažu, lažni službeni živi zapis s koncerata po Europi. Ustvari, nisu niti imali neke osobite nastupe, tek kratku turnejicu po srednjoj Europi (između ostalog u švicarskoj Lozani), pa su, odahnuvši od, pretpostaviti ću, hladnog i poluzainteresiranog prijema publike prema njihovim vragolijama, otišli u Tokyo s mnogo snimaka, te kompletirali kvazi - dokumentarni 'live' zapis o svojoj putešestviji po Europi.

Iz vrlo šturih natuknica o ličnoj karti benda što se može nazrijeti s interneta, čini mi se da taj bend više ne postoji, zanimljivog naziva, originalno na japanskom 隠れ家, a na hrvatskom skrovište, neko mjesto gdje se možete i razvaliti i opustiti i bezbrižno uživati a da vas nitko ne mlati po glavi zbog kojekakvih predrasuda kakvima su ljudi, uglavnom oni nespremni na avangardu i ekspresije, vrlo skloni. Život ide i razvija se, ma nema tu nekog Elvis Presleya za 21. stoljeće i traženja mladih kokošara r'n'r-a, punka, a nedaj Bože, talent show programa u kojima djeca imitiraju tak benigni stručni žiri sastavljen od estradnih zvijezda koje jako dobro kuže što je moderna pop glazba.

Ova dva Japanca definitivno nisu moderna pop glazba po načelima neke takozvane struke, a niti se ne obaziru na to - oni jesu moderna pop glazba po mom shvaćanju, a to je nešto sasvim drugačije. Noise je umjetnost, dokazali su to mnogi, pa još uvijek nisu prepoznati na kartama široke umjetnosti, ali neka. Dolazi i to vrijeme kada će i spomenute dvije veličine s početka ove recenzije biti prihvaćene u umjetnosti kao njezin sastavni oblik, a za tako nešto treba proći otprilike smrt autora i još jedno najmanje stotinjak godina da se sve to slegne dok umjetnička ergela strogih zakona i jako dobrih materijalnih situacija to ne shvati.

Ovo dvoje Japanaca radi unikatnu i otkačenu glazbu na samo 35 minuta albuma. Einsturzende Neubauten im je, očito privilegija, barem oni albumi iz 80-ih, koriste mnoštvo industrial efekata, bruma, šumova, vokalnih i kojekakvih samplova pričajući lucidno slijepljenu priču, a ne bih se čudio da je netko od njih kojim slučajem vidio barem jednu sliku naivaca iz moje Podravine odakle i potječe ovakav smisao totalne umjetničke slobode. Evo, uvodna "Kebab" od samo 1.18 je najkopakiji Neubauten, a druga "Roast chicken didn't come" dođe nešto kao kombinacija istih križanih s Boyd Riceovim eksperimentalijama slijepljenih s mnoštvo isprekidanih detalja poput najneobičnijeg hip-hop rada u kome nema određene strukture. Čas su to noise abrazivnosti, čas ambijentalni dark-wave horror, dio lirike je na engleskom, dio na japanskom, pa određeni segment čini i tišina, kojekakve snimljene dionice razgovora, elem, ima ovdje svega i svačega ukalupljenog u konceptualni kolaž od 7 minuta, čak i rasplesanog post-punk/ krautrocka kao da je barem 7-8 pjesama povezano u jednu cjelinu. Kad bi se detaljnije pojašnjavalo što sve stoji iza ostatka strukture uključujući i elektronske egzibicije ("Mariko"), drone na pragovima neo-folka ("Return"), čudnovate škripe ("Missions") i tako redom do završnog vrlo opakog instrumentalnog electro-noisea ("Bugs") moglo bi se zaboraviti na samu pretenziju vokalista koji uz sve to koristi i puno halova s mnoštvo efekata.

Djelo je u svakom slučaju vrlo čudnovato stacionirano na karti ovakvog stila ne drugujući nešto osobito s konkurencijom, dapače, može se ustvrditi da je izolirano i da kao takvo stoji usamljeno, no najnovije vijesti kažu da nova postava benda funkcionira s Daisukeom, te dvoje novih članova - Christoph Petermannom (aka New Daisuke) i Majom (aka New Yoshida). Pa, onda ih valja očekivati možda u skorije vrijeme s novim vragolijama...

ocjena albuma [1-10]: 7

horvi // 20/05/2018

www.terapija.net/mjuzik.asp?ID=28033

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attenuation circuit Augsburg, Germany

attenuation circuit - label for experimental music

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