David Fenech Klimperei
Rainbow De Nuit

Efficient Space: ...Oz Echoes peels away another layer of Australia’s ‘80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups.From the Sydney cassette network, The Horse He's Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age’s pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf - the former’s worn out apparition hails from an instantly deleted 1981 7”, while Mr Knott entrust one of the compilation’s five previously unreleased tracks.Matt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide’s Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap-happy punk-funk of The Frenzied Bricks and Jandy Rainbow’s prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz’ improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave.A cherry-picked cast of unusual suspects, Oz Echoes’ unfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.

from the artist's bandcamp: ...TALKING OF POST-TECH DIALECTICS,THIS IS A TRIBUTE TO THE CYBERPUNK.The mother of technology collapses. Ten fragments of her soul are spread in cyberspace. The last encoder composes the pieces to a manifest. A poem that is a call for the distortion of the artificial.Manifest is an album, in which CORIN synthesizes the reconciliation of the dystopian and utopian. It is a story of manipulated time that exists out of instrumental and vocal proportions.

EM Records: ...December 1982, Tokyo. Kiyoaki Iwamoto has a guitar, a simple rhythm box, a friend with a bass guitar, and some stripped-down songs, brazen in their post-punk simplicity, irritation and controlled aggression, yet full of sadness and resignation. Five songs, including a rearranged version of “Love Will Tear Us Apart” are recorded and released on a now extremely rare 7” record. This release, available on 10” vinyl, CD, or digital download, features those five songs, along with a previously unreleased 1980 live performance by his duo Birei, as well as a 2020 reworking of “Love…”, by the Japanese duo Chisako and Junta. Iwamoto was an enigma, active in the post-punk scene in Japan in the late 70s and early 80s, a member of Birei and founding member of Guys & Dolls with Tori Kudo (Maher Shalal Hash Baz); in the mid-80s he cut contact with his friends, disavowing his name and later performing under a different moniker.

EM Records: ..."Ecological Plantron" was a CD released in 1994, the audio document of an installation held in 1994 at a gallery in Tokyo. The Plantron is a bioelectric interface developed by botanist Yuji Dogane; it was designed to give voice to plants, using electronic means to make audible the energy of the natural world, prioritizing the non-human aspects of nature. Dogane was assisted in the project by composer Mamoru Fujieda, who helped to convert the vegetal energies into audible sounds. Though they stress that this is not music, the recordings that Dogane and Fujieda released are actually quite musical and not at all unpleasant in the way that some other non-musical sounds might seem. There is an attractive gentleness and an intelligent flow here, a vibrant energy, and one can sense that the plants are communicating, waiting for us to understand.