Japan Blues – Stoned Bird
Given the intensity and robust nature of much of Berceuse Heroique’s output – think post-apocalyptic techno, drenched in analogue hiss, seemingly aimed at confirmed misanthropes – their occasional forays into re-edit territory seem deliciously out of place. This was particular apparent on the first two Brasserie Heroique Edits 12” singles, which dropped simultaneously last September. The first featured gritty, chopped-up reworks of a Caribbean disco classic from Duster Valentine and Jamal Moss (the latter under the Members Only guise). While the grainy, off kilter aesthetic showcased on both reworks was in keeping with the Berceuse Heroique ethos, they still seemed a little out of place.
In truth, it was the second 12”, featuring a trio of reworks of deliciously obscure Japanese records from Honest Jon’s man and NTS Radio regular Howard Williams – under his now familiar Japan Blues pseudonym – that really hit the spot. Williams’ edits succeeded in part due to the curiously odd nature of his source material, but also the way he crafted the interpretations. One cut, “Mysterious Satsuma”, appeared to be a re-edit of a track played backwards. That it worked is testament to Williams’ scalpel-wielding skills.
For all the eccentricity of Williams’ first Berceuse Heroique outing, it was hard to ignore the pleasingly attractive nature of much of the release. While undeniably leftfield in style, there was much skewed beauty to enjoy. “Baroque Mutiny”, for example, re-modeled a stylish chunk of experimental synth-pop that came loaded with chiming synthesizer melodies, while the woozy “Half Dead Pulse” managed to simultaneously sound ghostly, druggy and weirdly beautiful.
This follow-up takes a similar approach, though the source material is wildly different. This is most notable on the flipside, where Williams’ tackles a pair of faithfully obscure Japanese drum tracks and makes them his own. The title track leads the way, expertly chopping, looping and re-EQ-ing a batucada-driven groove that amplifies in intensity as the track progresses. It’s effectively a lesson in the rhythmic power of percussion, with subtly beefed up bottom end and occasional filtering, but it’s hugely powerful. Over a club sound system, it sounds immense. The similarly percussive “Beak” is a little less intense, but no less intoxicating. Built around an intricate African rhythm, Williams’ creates a feverish, trance-like mood via the use of backwards hits, freaky stereo panning, and a few druggy, stretched-out electronic noises. It’s the sound of panicked explorers realizing they’re lost in the jungle, while high on psychedelic plants. It’s a heady excursion.
As dense, bold and rhythmically intense as both tracks are, it’s arguably A-side “Spurned My Colour” that makes the biggest impression. It, too, has surprisingly bold, sweaty drums – again, seemingly inspired by batucada – though it’s the track’s inherent jauntiness and cleverly layered, jazz-inspired synthesizer melodies that catch the ear. The source material remains unclear, of course, but it sounds like the kind of early ‘80s experiment in the potential of sampling that would have come out of Yellow Magic Orchestra’s studio. Those melodies – rising and falling throughout the track, and craftily cut-up by Williams – appear to have been created by running simple vocal stabs through a sampling keyboard. It’s synthesized scat singing, turned into a saucer-eyed chunk of ear-pleasing loveliness. Or at least that’s how Williams’ re-interpretation sounds.
Matt Anniss
Tracklisting:
1. Spurned My Colour
2. Stoned Bird
3. Beak