Discrepant presents Japanese sound manipulator Sugai Ken‘s latest, てれんてくだ tele-n-tech-da out on April 27. These nine tracks go down very smoothly, especially for lovers of clean field recordings collaged seamlessly with vibrating sci-fi harmonies. The base hiss meets the gentle caress of lapping waves and random squeeky fiddling around on Shinpenkitokusen. Available in both digital and LP (500 edition) formats this album seems to represent a contemporary look back into ancient traditional customs like the kodo drum (Tsukuda), and the balance between the simplicity of nature and daily life, and likely the schism of a virtual society. Yes he incorporates manipulated tape loop vocals thare are bent out of shape, bloated and slowed down. The artist shares: “Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout.” In any language this acts more like a distortion of language, nu-Fluxus, rather than a typical play per se.
The clang of metal and skipping puppetry on Yousai has my eardrums wavering along with the action, in its echoes and careening playfulness. The standout Hokouame is perfectly paced, with memories of Esquivel distantly dancing in my head. Throughout there are these sweet touches of humor and uncalculated sound surprises, especially on the quirky finale Hate, with piccolo and radio announcers voice, Pong-like game play and rubbery warp rhythms. It’s like a b-movie has taken over, but I am completely game to its whim. Three thumbs way up 😉