R.N.A.O Meets P.O.P.O
R.N.A. Organism
R.N.A.O Meets P.O.P.O
Boomkat Product Review:
Japan, 1980, drum machine dub? Originally issued by Vanity Records (home of those mind-bogglingly fwd Tolerance albums), R.N.A. Organism's only full-length is an eccentric collage of metallic beatbox loops, robotic voices and glockenspiel vamps - like chopped 'n screwed no wave/industrial/mutant dub gear with a prophetic Japanese twist. Compulsory set, obviously; RIYL Throbbing Gristle, Bruce Gilbert, Suicide.
Lovingly remastered by Stephan Mathieu from the original reel-to-reel tapes, 'R.N.A.O Meets P.O.P.O' is an elucidative excursion that shines a bright spotlight on Kansai's fertile '70s experimental scene. The band were comprised of the shadowy 0123, Zero and Chance (aka Tatsuo Kohki), who got themselves signed by air mailing a demo tape to Vanity boss Agi Yuzuru, who assumed they were based outside of Japan. When they descended on the studio with producer Kaoru Sato (of legendary no-wave band EP-4), the trio set about splicing together a lysergic cocktail of dubby, distorted rhythms and bizarre effects. The first round of mixes was too out-there even for Vanity, who sent RNAO back to the studio to sculpt cleaner versions. If you're interested in hearing the original dubs, then check 2021's 'Unaffected Mixes Plus', but 'R.N.A.O Meets P.O.P.O' is the finished article - not sparklingly pristine by any means, but certainly more direct.
You might have stumbled across the album's syrupy opener 'Weimar 22' on Light in the Attic's 'Somewhere Between' comp, and it coolly introduces RNAO's palette: blown-out drum machine cycles, swirling alien vocals and music-box twinkles. Outside of Japan, the music was labeled "mutant pop", but that's only scratching the surface. The three mysterious players were undoubtedly inspired by early electro-pop (we can hear harmonies with Aussie weirdos Severed Heads on tracks like 'Howareyou, Whyou' and 'Say It Loud, I'm Dilettante, I'm Proud'), but they give just as much attention to spannered dub and concrète tape manipulations. On the skeletal 'After', they pipe tinny environmental sounds and grotty percussion through the hot desk, layering chattered soundscapes over inept, cheapo keyboard improvisations and a relentless metronomic click.
Meanwhile, resonant bass plucks are emphasized on 'Nativity', prizing open a typically chuggy, mangled beat loop. But it's not straight dub, by any means - a ghostly, barely-trackable vocal wisps away in the background, and that glockenspiel rockets the track into its own zone. They adhere to the dub template more respectfully on 'Yes, Every Africa Must Be Free Eternally', adding off-key melodica whorls to the mix before fading in ratcheting industrial sounds, just 'cause why not. And on 'Matrix', RNAO swerve completely leftwards, providing a curious coda with jazzy, expertly played piano phrases that contrast cavernous syn drum hits and swirling white noise. It's a chilling finale that leaves you with a peculiar taste in your mouth - what exactly was going on in Kansai in the late '70s? The cerebral fusion of low-budget, outsider sounds and tempered instrumentalism seems like a paradox at first, but it's surprisingly oracular. Honestly, this could have come out at almost any time in the last few decades.
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Boomkat Product Review:
Japan, 1980, drum machine dub? Originally issued by Vanity Records (home of those mind-bogglingly fwd Tolerance albums), R.N.A. Organism's only full-length is an eccentric collage of metallic beatbox loops, robotic voices and glockenspiel vamps - like chopped 'n screwed no wave/industrial/mutant dub gear with a prophetic Japanese twist. Compulsory set, obviously; RIYL Throbbing Gristle, Bruce Gilbert, Suicide.
Lovingly remastered by Stephan Mathieu from the original reel-to-reel tapes, 'R.N.A.O Meets P.O.P.O' is an elucidative excursion that shines a bright spotlight on Kansai's fertile '70s experimental scene. The band were comprised of the shadowy 0123, Zero and Chance (aka Tatsuo Kohki), who got themselves signed by air mailing a demo tape to Vanity boss Agi Yuzuru, who assumed they were based outside of Japan. When they descended on the studio with producer Kaoru Sato (of legendary no-wave band EP-4), the trio set about splicing together a lysergic cocktail of dubby, distorted rhythms and bizarre effects. The first round of mixes was too out-there even for Vanity, who sent RNAO back to the studio to sculpt cleaner versions. If you're interested in hearing the original dubs, then check 2021's 'Unaffected Mixes Plus', but 'R.N.A.O Meets P.O.P.O' is the finished article - not sparklingly pristine by any means, but certainly more direct.
You might have stumbled across the album's syrupy opener 'Weimar 22' on Light in the Attic's 'Somewhere Between' comp, and it coolly introduces RNAO's palette: blown-out drum machine cycles, swirling alien vocals and music-box twinkles. Outside of Japan, the music was labeled "mutant pop", but that's only scratching the surface. The three mysterious players were undoubtedly inspired by early electro-pop (we can hear harmonies with Aussie weirdos Severed Heads on tracks like 'Howareyou, Whyou' and 'Say It Loud, I'm Dilettante, I'm Proud'), but they give just as much attention to spannered dub and concrète tape manipulations. On the skeletal 'After', they pipe tinny environmental sounds and grotty percussion through the hot desk, layering chattered soundscapes over inept, cheapo keyboard improvisations and a relentless metronomic click.
Meanwhile, resonant bass plucks are emphasized on 'Nativity', prizing open a typically chuggy, mangled beat loop. But it's not straight dub, by any means - a ghostly, barely-trackable vocal wisps away in the background, and that glockenspiel rockets the track into its own zone. They adhere to the dub template more respectfully on 'Yes, Every Africa Must Be Free Eternally', adding off-key melodica whorls to the mix before fading in ratcheting industrial sounds, just 'cause why not. And on 'Matrix', RNAO swerve completely leftwards, providing a curious coda with jazzy, expertly played piano phrases that contrast cavernous syn drum hits and swirling white noise. It's a chilling finale that leaves you with a peculiar taste in your mouth - what exactly was going on in Kansai in the late '70s? The cerebral fusion of low-budget, outsider sounds and tempered instrumentalism seems like a paradox at first, but it's surprisingly oracular. Honestly, this could have come out at almost any time in the last few decades.
Boomkat Product Review:
Japan, 1980, drum machine dub? Originally issued by Vanity Records (home of those mind-bogglingly fwd Tolerance albums), R.N.A. Organism's only full-length is an eccentric collage of metallic beatbox loops, robotic voices and glockenspiel vamps - like chopped 'n screwed no wave/industrial/mutant dub gear with a prophetic Japanese twist. Compulsory set, obviously; RIYL Throbbing Gristle, Bruce Gilbert, Suicide.
Lovingly remastered by Stephan Mathieu from the original reel-to-reel tapes, 'R.N.A.O Meets P.O.P.O' is an elucidative excursion that shines a bright spotlight on Kansai's fertile '70s experimental scene. The band were comprised of the shadowy 0123, Zero and Chance (aka Tatsuo Kohki), who got themselves signed by air mailing a demo tape to Vanity boss Agi Yuzuru, who assumed they were based outside of Japan. When they descended on the studio with producer Kaoru Sato (of legendary no-wave band EP-4), the trio set about splicing together a lysergic cocktail of dubby, distorted rhythms and bizarre effects. The first round of mixes was too out-there even for Vanity, who sent RNAO back to the studio to sculpt cleaner versions. If you're interested in hearing the original dubs, then check 2021's 'Unaffected Mixes Plus', but 'R.N.A.O Meets P.O.P.O' is the finished article - not sparklingly pristine by any means, but certainly more direct.
You might have stumbled across the album's syrupy opener 'Weimar 22' on Light in the Attic's 'Somewhere Between' comp, and it coolly introduces RNAO's palette: blown-out drum machine cycles, swirling alien vocals and music-box twinkles. Outside of Japan, the music was labeled "mutant pop", but that's only scratching the surface. The three mysterious players were undoubtedly inspired by early electro-pop (we can hear harmonies with Aussie weirdos Severed Heads on tracks like 'Howareyou, Whyou' and 'Say It Loud, I'm Dilettante, I'm Proud'), but they give just as much attention to spannered dub and concrète tape manipulations. On the skeletal 'After', they pipe tinny environmental sounds and grotty percussion through the hot desk, layering chattered soundscapes over inept, cheapo keyboard improvisations and a relentless metronomic click.
Meanwhile, resonant bass plucks are emphasized on 'Nativity', prizing open a typically chuggy, mangled beat loop. But it's not straight dub, by any means - a ghostly, barely-trackable vocal wisps away in the background, and that glockenspiel rockets the track into its own zone. They adhere to the dub template more respectfully on 'Yes, Every Africa Must Be Free Eternally', adding off-key melodica whorls to the mix before fading in ratcheting industrial sounds, just 'cause why not. And on 'Matrix', RNAO swerve completely leftwards, providing a curious coda with jazzy, expertly played piano phrases that contrast cavernous syn drum hits and swirling white noise. It's a chilling finale that leaves you with a peculiar taste in your mouth - what exactly was going on in Kansai in the late '70s? The cerebral fusion of low-budget, outsider sounds and tempered instrumentalism seems like a paradox at first, but it's surprisingly oracular. Honestly, this could have come out at almost any time in the last few decades.
Boomkat Product Review:
Japan, 1980, drum machine dub? Originally issued by Vanity Records (home of those mind-bogglingly fwd Tolerance albums), R.N.A. Organism's only full-length is an eccentric collage of metallic beatbox loops, robotic voices and glockenspiel vamps - like chopped 'n screwed no wave/industrial/mutant dub gear with a prophetic Japanese twist. Compulsory set, obviously; RIYL Throbbing Gristle, Bruce Gilbert, Suicide.
Lovingly remastered by Stephan Mathieu from the original reel-to-reel tapes, 'R.N.A.O Meets P.O.P.O' is an elucidative excursion that shines a bright spotlight on Kansai's fertile '70s experimental scene. The band were comprised of the shadowy 0123, Zero and Chance (aka Tatsuo Kohki), who got themselves signed by air mailing a demo tape to Vanity boss Agi Yuzuru, who assumed they were based outside of Japan. When they descended on the studio with producer Kaoru Sato (of legendary no-wave band EP-4), the trio set about splicing together a lysergic cocktail of dubby, distorted rhythms and bizarre effects. The first round of mixes was too out-there even for Vanity, who sent RNAO back to the studio to sculpt cleaner versions. If you're interested in hearing the original dubs, then check 2021's 'Unaffected Mixes Plus', but 'R.N.A.O Meets P.O.P.O' is the finished article - not sparklingly pristine by any means, but certainly more direct.
You might have stumbled across the album's syrupy opener 'Weimar 22' on Light in the Attic's 'Somewhere Between' comp, and it coolly introduces RNAO's palette: blown-out drum machine cycles, swirling alien vocals and music-box twinkles. Outside of Japan, the music was labeled "mutant pop", but that's only scratching the surface. The three mysterious players were undoubtedly inspired by early electro-pop (we can hear harmonies with Aussie weirdos Severed Heads on tracks like 'Howareyou, Whyou' and 'Say It Loud, I'm Dilettante, I'm Proud'), but they give just as much attention to spannered dub and concrète tape manipulations. On the skeletal 'After', they pipe tinny environmental sounds and grotty percussion through the hot desk, layering chattered soundscapes over inept, cheapo keyboard improvisations and a relentless metronomic click.
Meanwhile, resonant bass plucks are emphasized on 'Nativity', prizing open a typically chuggy, mangled beat loop. But it's not straight dub, by any means - a ghostly, barely-trackable vocal wisps away in the background, and that glockenspiel rockets the track into its own zone. They adhere to the dub template more respectfully on 'Yes, Every Africa Must Be Free Eternally', adding off-key melodica whorls to the mix before fading in ratcheting industrial sounds, just 'cause why not. And on 'Matrix', RNAO swerve completely leftwards, providing a curious coda with jazzy, expertly played piano phrases that contrast cavernous syn drum hits and swirling white noise. It's a chilling finale that leaves you with a peculiar taste in your mouth - what exactly was going on in Kansai in the late '70s? The cerebral fusion of low-budget, outsider sounds and tempered instrumentalism seems like a paradox at first, but it's surprisingly oracular. Honestly, this could have come out at almost any time in the last few decades.
Back in stock - remastered from the original tapes by Stephan Mathieu. Stoughton tip-on sleeve with expanded insert featuring an essay by R.N.A. Organism producer Kaoru Sato.
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Boomkat Product Review:
Japan, 1980, drum machine dub? Originally issued by Vanity Records (home of those mind-bogglingly fwd Tolerance albums), R.N.A. Organism's only full-length is an eccentric collage of metallic beatbox loops, robotic voices and glockenspiel vamps - like chopped 'n screwed no wave/industrial/mutant dub gear with a prophetic Japanese twist. Compulsory set, obviously; RIYL Throbbing Gristle, Bruce Gilbert, Suicide.
Lovingly remastered by Stephan Mathieu from the original reel-to-reel tapes, 'R.N.A.O Meets P.O.P.O' is an elucidative excursion that shines a bright spotlight on Kansai's fertile '70s experimental scene. The band were comprised of the shadowy 0123, Zero and Chance (aka Tatsuo Kohki), who got themselves signed by air mailing a demo tape to Vanity boss Agi Yuzuru, who assumed they were based outside of Japan. When they descended on the studio with producer Kaoru Sato (of legendary no-wave band EP-4), the trio set about splicing together a lysergic cocktail of dubby, distorted rhythms and bizarre effects. The first round of mixes was too out-there even for Vanity, who sent RNAO back to the studio to sculpt cleaner versions. If you're interested in hearing the original dubs, then check 2021's 'Unaffected Mixes Plus', but 'R.N.A.O Meets P.O.P.O' is the finished article - not sparklingly pristine by any means, but certainly more direct.
You might have stumbled across the album's syrupy opener 'Weimar 22' on Light in the Attic's 'Somewhere Between' comp, and it coolly introduces RNAO's palette: blown-out drum machine cycles, swirling alien vocals and music-box twinkles. Outside of Japan, the music was labeled "mutant pop", but that's only scratching the surface. The three mysterious players were undoubtedly inspired by early electro-pop (we can hear harmonies with Aussie weirdos Severed Heads on tracks like 'Howareyou, Whyou' and 'Say It Loud, I'm Dilettante, I'm Proud'), but they give just as much attention to spannered dub and concrète tape manipulations. On the skeletal 'After', they pipe tinny environmental sounds and grotty percussion through the hot desk, layering chattered soundscapes over inept, cheapo keyboard improvisations and a relentless metronomic click.
Meanwhile, resonant bass plucks are emphasized on 'Nativity', prizing open a typically chuggy, mangled beat loop. But it's not straight dub, by any means - a ghostly, barely-trackable vocal wisps away in the background, and that glockenspiel rockets the track into its own zone. They adhere to the dub template more respectfully on 'Yes, Every Africa Must Be Free Eternally', adding off-key melodica whorls to the mix before fading in ratcheting industrial sounds, just 'cause why not. And on 'Matrix', RNAO swerve completely leftwards, providing a curious coda with jazzy, expertly played piano phrases that contrast cavernous syn drum hits and swirling white noise. It's a chilling finale that leaves you with a peculiar taste in your mouth - what exactly was going on in Kansai in the late '70s? The cerebral fusion of low-budget, outsider sounds and tempered instrumentalism seems like a paradox at first, but it's surprisingly oracular. Honestly, this could have come out at almost any time in the last few decades.
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