KAKUSENJO NO ONGAKU

This chamber theatre is not fictional but too realistic to be visualized.

After a short cynic raised perpendicularly, we can meet persistent sound mixture between a violin-based Zeuhlic tragedy upon the former part, a keen guitar violence merged with improvised rhythmic horrorvision upon the middle, and a deeply ethnic plus massively risky percussive extension created by fire and water palpitation upon the latter. Each part seems estranged from other at a quick listen but don't be deceived ... we can understand they should link together smoothly by listening again and again. Realism might be said via such a connection I imagine? This phenomenon can be heard in the following track, that consists of toxically randomized improvisation and melodically refined string conversation. Yes it's confrontation and let me say, at the same time, harmonization amongst heaviness, tragicness, and random access.

Female voices sound more enthusiastic, more sensual, and more magical, founded with artistic electronics, synthesizers, and strings ... all of that collapse drastically in pieces. On the other hand, drumming and guitar shouting, improvised aggressively, knock explosively and continually. In every material, classical elements (also phrases) or theatrical messages have got introduced directly or indirectly, which could be digested for its nutrition, amazingly. Honest to say, each track title cannot be linked with dramatic soundscape directly, and I guess we cannot hit the mark for their real intention without watching their (especially Jyoji's) visual material featuring dance performance and colourful dress / veils flying here and there on stage.

Obviously inspired by Magma but they should have grabbed more Japanesque articles like Kamikaze, strong miracle wind bringing luckiness for us and kicking against enemies. Such a perpetual change upon the scape can be called as Kakusen (fiction) but this soundscape be not imitative nor unsettled but intensive and perfect as a fusion amongst avantgarde progressive rock music, kaleidoscopic visual art, and Jyoji's sincere mind-games ... yup like the quiet one-minute drama upon the last part of "Shizuka Na Mahiru", really crazy moment. Recommended for all progressive music (including progressive rock) fans and all artistic concrete fans.

Japanese bands have long been known for their uncanny ability to adopt European musical traditions and then fortify their edifices in order to take them to the next several levels of extremity. While bands like Boredoms, Acid Mothers Temple and Ruins have become fairly well known in the underground extreme music world, others remain relatively obscure even within those tiny recesses of the lumpenproletariat. JYOJI SAWADA ( 沢田穣治 ) bassist of Satoh Michihiro Tsugaru-Shamisen Gakudan released a scant few solo albums in the 90s and amongst them is this bizarre artifact titled BASE OF FICTION ("KAKUSENJO NO ONGAKU") which is more like a supergroup project with everyone involved in the Japanese underground world of noise rock, avant-prog, zeuhl and other experimental movements making an appearance. This one includes not only guest performances from Tasu Yoshida from Ruins and Seiichi Yamamoto from Boredoms but includes a whopping total of 17 musicians and vocalists parading through this near hour long experience.

BASE OF FICTION is a very strange album indeed that runs the gamut of chaotic noisy rock attacks and ultra-mondo bizarro avant- prog chamber music with episodes of zeuhl inspired rhythms that showcase the Magma-esque female operatic diva vocals that come and go as a labyrinthine train of weirdness interrupts the regularly scheduled program when a comfort zone even remotely begins to emerge. Overall there is a Bondage Fruit type of brutal prog element to JYOJI's work that is smoothed out by the Univers Zero type of chamber prog and string sections that seems to pacify the more abrasive elements from becoming too dominant. The passing of the baton from the mellow and reflective aspects to the off-the-leash freneticism of the noise rock parts allows this album to slink along at a comfortable pace. In addition to the main prog, chamber rock and zeuhl rhythms that keep some sort of uniformity to this work, there are also a plethora of sound effects, background vocals and electronic wizardry as well as some sort of homegrown folk feels that add a domestic flavor to the mix.

This is one of those dense musical experiences that is quite rich in its scope. While the string section of the violin, viola and cello seem to dominate the soundscape there are appearances by all kinds of strange instrumentation including a ponchi, berimbau, grampot, bandolin, marimba and gong. JYOJI proves to be the ultimate orchestrator of sound as the soundscape never sounds too cluttered with characters and every change in the wind seems to be well calculated with purpose rather coming across as a maelstrom of random sound swirling about like an haphazard tornado. This one is highly recommended to those who seek out the ultimately bizarre of the Japanese underground but unlike many such albums that seek out chaos and brutality for their own sake alone, BASE OF FICTION has a very sensual side as well that offers not only the craziest and noise induced avant-prog to be experienced but also dishes out ample doses of melodic high art beauty of the sort that is found in the Western classical masters' compositions of the past. However in the end, this whole affair comes off some sort of experimental opera gone really, really wrong but yet somehow feels so very, very good ;)

4.5 rounded down

A diverse soundscape which bounces between atmospheric nature noises, tribal chanting and outright chaos, the ensemble-style Base of Fiction is one of those obscure albums that I only managed to get to via a YouTube video (filed under Jyoji Sawada) with just 812 views. Two of which were me.

Its somewhat disjointed - I found it very difficult to work out where a track ended and another started as the instrumental styles change suddenly mid-track - given there are almost 20 musicians (mostly strings and percussion) there's a lot of people to give their time to shine. As well as some jarring passages there are moments of real beauty though, and it is worth listening to twice. Such is the variety, I don't feel like I can pick out anything specifically as everyone's listen would be different. That does mean I'd never be willing to listen to the album in its entirety. It's certainly not poor, but definitely only one for collectors.