Blazing, funky curveball by living J-noise legends The Gerogerigegege on indomitable label The Trilogy Tapes
Working under one of the sickest names out there, The Gerogerigegege (translates as Japanese onomatopoeia for spewing and pooing yourself simultaneously) have carved out a singular catalogue of lascivious antics since the mid ‘80s for some of the baddest underground label in existence. Influenced as much by Whitehouse as lounge music, Manga and sexual fetishes, they’re next level nutters of the rarest kind, and their music is equally off the wall and testament to that fact.
Returning to the fray in 2016 after a 15 year hiatus, they now cross paths with TTT in a wild dedication to the least used “but, the deepest” trainline in Tokyo with ‘Uguisudani Apocalypse.’ On the first side they variously touch on sleaziest lounge and slunky spy jazz styles, along with wicked turns of organ and drum machine-driven suss recalling Techno Menses, plus a scything High Rise-style psych burner, while the flip keeps it equally unpredictable with shots of whiskey-sozzled blues rock, businessman jazz tristesse and strip-bar disco that all makes perfect sense under the cover’s image of two proud gents in various states of undress.
rRoxymore opens a warm and canny space between dancefloor-centric and sofa-bound sound on ‘Face To Phase’, her debut album proper for Don’t Be Afraid.
The result of her annual hibernation ritual, the album was produced during winter 2018 and sees the producer/DJ dice with a hybrid of styles that just as easily lend themselves to warm-up hours interpretative dancing as duvet diving and post-party slompin’. As such it’s built for the here and now, and pointedly doesn’t concern itself with reflection or projection, but rather offers space to immerse and gently revel in the moment.
Without the need for straight kicks or urgent arps, rRoxymore sets herself adrift between woozy, curdled synths in a beatless jazz-fusion style on ‘Home Is Where the Music Is’ a cut inspired by her friend Planningtorock, while ‘Passages’ sees her introduce drums in a style shared with Batu, but dreamier, while the more insistent likes of ‘Forward Flamingo’ speak to dusky veranda vibes, sloping off into the heady shimmy of ‘Energy Points’, and more knotted tresillo patterns recalling Debit or Amazondotcom in ‘Hectadrums’, and the simmering meter of ‘PPS21,’ all tied together with what sounds like Claude Young and Dego after an astro-blunt in ‘What’s The Plan.’