Kahn's metallic scraping and occasional synthesizer repeat simple melodic phrases, and his more traditional percussion even keeps a steady beat. Nakamura's mixing desk shimmers with pleasant tones (yes, actual tones!), as well as the expected high-pitched squiggles. What is most unexpected is how close this duo resembles the post-techno sound being set forth by labels such as Raster-Music and Karaoke Kalk. Both Nakamura and Kahn have been active in the international improvised music community for at least a decade, and Repeat may be their attempt to expand their audience beyond the already initiated. You may remember Nakamura from last year's fantastic "Four Focuses" CD, in which he performed duos with Sachiko M, Otomo Yoshihide, and the great Martin Tetreault. He tweaks the high-pitched feedback, and samples it in real-time. Repeat is the duo of Swiss percussionist Jason Kahn and Toshimaru Nakamura, who plays an empty mixing board feeding back into itself and wired out to a sampler. If I didn't happen to be turning over and examining every single CD on said editor's table one evening, this fine recording would have gone entirely unnoticed by either of us. It's difficult to tell what the band name is and what the album's title is, because of the awkward placement of words on square, green splotches unevenly distributed across a baby-blue (ugh!) scrap of cardboard.
It looks like it was designed with random scraps of construction paper. With a name as innocuous as Repeat and a cover as stunningly ugly as the one for "Select Dialect", it's no wonder that I discovered this recording in the "To Be Listened To Sometime Later, Maybe, If At All, Or Perhaps I'll Just Use These as Beer Coasters" pile of CDs at the home of this e-zine's esteemed editor.
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Don't fear, however, it makes this disc an entirely different adventure from the more frequently travelled roads in the dark series and will prove to be a substantial release once it's completely digested and becomes part of your system. Coil fans will definitely hear the characteristics of recent releases shining through electronic drones or glistening piano bits, yet they might be a bit offset by the general underlying free-form aesthetic, loss of congruency, or the creepy uneasiness which has caused panic attacks in one Coil fan from Los Angeles. The styles range from lengthy neo-classical half-hour tracks like each disc's closers to angst-filled songs echoing prog-rock masters such as "The Angelica Declaration" or "Home Butt Club." Deep drones provide background for the 13-minute "Optical Black" which features a spoken John Balance bit, sped up without a pitch increase while an intense improvisational-ish piece "Abuse Foundation IV" for clarinet, marimba, violin, percussion and processed electronics follows. He has drawn blood from much of his influencors, with elements of modern classical, jazz, art-rock and electronic composers swirled into a magickal mystical audio tapestry. The set is incredible yet difficult to swallow at once, with over 2¼ hours of music which can be as non-sequitur within movements as it is between tracks. His debut Eskaton full-length release (don't get all semantic on me, this isn't his first full-length nor first Eskaton release) comes as a double CD of all new material featuring contributions from members of Coil, Spiritualized and Julian Cope's band as well as his mum. The man known as Thighpaulsandra could very well be the definition of a modern musical mad scientistpure genius with a maniacal manifestation of sound. More information can be found at her website. Her book recent book of prose, "Hell is a Place Where We Call Each Other Darling" came out late last year from the UK-based Stride Publishing. An autobiography titled "Life Is A Cabaret And Then You Die" is due out later this year through Virgin Books. This past Thursday, Little Annie Anxiety Bandez made a rare performance at a breast-cancer benefit in New York City. A weekly digest from the staff of brainwashed
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