The second split album features one of the big ones from Japan. However, I have another confession to make. I mentioned before that I have loads and loads of Contagious Orgasm in my collection, and from Incapacitants, all I have to show is a few tracks on samplers. Somehow, just about everything Fumio Kosakai and Toshiji Mikawa did was off radar to me. As I listened to the 30-minute recording “Live at Bushbash”, I couldn’t think of a reason why they escaped. Harsh noise, Japanese style, the fact that Toshiji and Fumio are/were both members of Hijokaidan. I have no clue.
Thirty minutes of relentless sonic torture. Lots of feedback, lots of contact mic noise, shitloads of distortion, not that much metal abuse, I think, but some fun analogue bleeping in between chapters. It is a recording from an actual live show on the 28th of September 2024 at the Bushbash in Tokyo. What a thrilling event that must have been if this is ‘just’ a recording from it …
Awkward Geisha is not Japanese, even if you thought so. Ade Rowe is from the UK, and where Dada ended, Ade started. Triptych is 22 minutes of collage in a completely different way than the sonic collage I described in the previous review of Contagious Orgasm. Because collage art, albeit sonic or visual, also has multiple forms. There is always the ultimately refined form and the more DIY punk approach, kinda like John Heartfield versus CRASS. I love them both, though, but they’re not the same.
So here we have Dada / NoDada Awkward Geisha with a track that, for my taste, has way too much jazz-influenced bass improvisations and wind instruments. There are a few bursts of noise, and those I really like because of the carefully executed production. Leaving just enough space in the frequencies to make the far, far-away layer a tad bit better audible, beautifully done. But the question is whether I can survive the jazzy parts. I will try it repeatedly until I have an answer for you. I have no clue.
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