released April 23, 2016
>>July-2008 – Heathen Harvest
Satanicpornocultshop ”Takusan No Ohanasan” (Vivo Records)
I have this image of Japan in my mind. I imagine every street is like walking down the Las Vegas strip or Times Square in New York. I imagine moving sidewalks crammed with thousands of people at three in the morning. I imagine forty story neon signs blinking and buzzing. People wearing cartoon animal suits yelling through loudspeakers in foreign languages. Street signs that mean nothing but are aesthetically pleasing. Vending machines where you can buy sushi or little girls panties. I mean that’s what Japan IS like isn’t it? Satanicpornocultshop has done nothing to dispel these notions from my mind. Satanicpornocultshop sounds exactly like my naïve misconception of Japan. So of course it fits that they are Japanese!
Due to the vagueness of the packaging and the internet, I am not entirely certain if this is an album of remixes and collaborations or what. The tracklisting on the CD is full of phrases like “produced by Satanicpornocultshop”, and what I take to be the names of other artists. I know for sure the tracks featuring Catherine Ferroyer Blanchard (www.myspace.com/catherineferroyerblanchard
) are remixes, because I have heard the originals. But what about all the other artists(?) like Meat Hope, Cercueill, Dragibus, Yuko Nexus 6, Hotentot Apron, Steeple Remove and MC Yes? On these tracks that mention other artists there is no continuity of grammar (engrish perhaps) to lend any clarity to this situation. The website and myspace call it an album and make no mention whatsoever of remix or collaboration. What makes it maddening is that with the exception of the Catherine Ferroyer Blanchard tracks, it all sounds like Satanicpornocultshop without any outside influences or materials. I don’t know what to make of it.
Apart from the confusion of the packaging this is a fun album. There is a cacophony of languages, I can pick out French, English, and Japanese, and there are other moments where I’m not sure what language is being spoken. There are also a million different samples. It seems like these guys sampled everything they’ve ever listened to. Off the top of my head I can recall samples of Billie Holliday, Iggy Pop, Elvis Presley, and all sorts of stuff that I know are samples but whose origins elude me. There is a sense of collage on this album that begins with the packaging. The CD case features various stages of a really nice collage that was probably done digitally. The music itself sounds like it has been cut up, rearranged and pasted back down as well. Everything is done at a breakneck, spazzed out, glitchy speed. Even the slower numbers seem to reel by with an idiotic intensity. I like the ridiculous jocularity of this album. If I didn’t know this was a serious band with many releases I would think it was a joke. This is a fun album if you are in the right mood, but I could see it just being annoying if you aren’t.
The standout tracks on this album are the remixes of Catherine Ferroyer Blanchard. The three songs she sings on seem to me miles better than the rest of the album. They flow well. They don’t have the frenetic “rushing to the end” feeling that most of the other tracks have. These three songs have a well defined beginning middle and end. Catherine Ferroyer Blanchard is a songstress in the Paris electro scene. She has a nice, kind of fey voice. Her vocals remind me of the old Ye – ye girls of sixties France. I only have vague ideas of what she is singing about, but I really like these songs. “chanson d’amour” seems to have the beat of a neofolk song I have heard before. I cant be sure of this, but every time I hear that song I rack my brain trying to think up which band it was. I like the remix treatment of these songs better tthan I like the originals. They lose the dancefloor sensibilities they previously had and gain a kind of dreamy feel so you can listen to them outside of the club. I would like to hear some more collaboration between these two artists in the future. Their respective sounds go together quite nicely.
I like this album, but it seems lacking in some way. It seems pointless, like I said earlier, it could be taken as a joke if I didn’t know better. I cant figure out what the artistic statement behind this music is supposed to be. I have to say though, It must take an enormous amount of work to produce a record like this. I cant imagine the many hours spent in front of computers and mixing boards required to get this right. Satanicpornocultshop has put out a well rounded slab of ridiculousness that should at least crack a smile on any listeners face.
>>June-2008 – Music Club, It
Satanicpornocultshop ”Takusan No Ohanasan” (Vivo Records)
Il secondo lavoro per Vivo Records del collettivo di Osaka si colloca consapevolmente a meta strada tra la provocazione tout court ed il collage dadaista, rivendicando un'identita meticcia che di piu non si puo. La formazione si e gia distinta in passato per una forma di plunderfonia selvaggia ma sempre accuratamente controllata ed organizzata in composizioni che preferiscono la melodia al disorientamento, pur sviluppandosi su incastri improbabili. Il mix saccheggia - lungo ventisette tracce di media o breve durata - un immaginario che corre idealmente lungo cinquant'anni di musica, derubando indifferentemente pop ed elettronica, musica tradizionale ed hip hop, scorie concrete e pensieri classici, indugi jazzati e brandelli di soundtrack. Da Nexus 6 a Nico Devos raccogliendo tutto cio che in mezzo puo passare. Tutto il materiale raccolto viene frammentato, scucito e rammendato via laptop e turntable, e se pur il risultato e ovviamente spiazzante il gruppo riesce a mantenere una presa sicura su una certa fruibilita. Per non dire orecchiabilita e rischiare di essere fuorvianti. La tecnica di assemblaggio merita piu di un ascolto disattento, e ne costituisce una prova la menzione onoraria presso il prestigioso Prix Ars Electronica, un valore aggiunto che se pur non influenza la complessita della proposta dipinge i Satanicpornocultshop come un apprezzabilissimo esempio di musica elettronica a cavallo tra il contemporaneo ed il post-moderno.