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KAKUSENJO NO ONGAKU (BASE OF FICTION)

Zeuhl • Japan


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Kakusenjo No Ongaku (Base Of Fiction) biography
A Japanese "silent" chamber rock commune KAKUSENJO NO ONGAKU (Base Of Fiction) were formed in 1992 as a one-man project by Jyoji SAWADA, an eclectic Japanese musician well versed in free-experimental, noise, jazz, modern, or Brazilian music scenes. In the beginning Jyoji has incarnated his auditory / visual ideas as this project, that has invited lots of musicians, artists or collaborators like Seiichi YAMAMOTO (ex-Boredoms, Omoide Hatoba), Natsuki KIDO (ex-Bondage Fruit, Salle Gaveau, Korekyojinn, P.O.N.), Tatsuya YOSHIDA, or Hoppy KAMIYAMA. A flood of his material could be crystallized as an eponymous album released via Hoppy's label God Mountain in 1994 finally.

After long hibernation, KAKUSENJO NO ONGAKU has got reactivated since 2007. Jyoji usually launches artistic stages in collaboration with lots of musicians and performers here and there in Japan.

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3.95 | 3 ratings
Kakusenjo No Ongaku
1994

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 Kakusenjo No Ongaku by KAKUSENJO NO ONGAKU (BASE OF FICTION) album cover Studio Album, 1994
3.95 | 3 ratings

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Kakusenjo No Ongaku
Kakusenjo No Ongaku (Base Of Fiction) Zeuhl

Review by DamoXt7942
Forum & Site Admin Group Moderator / Psych Team

4 stars 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.

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