usyukuro label( introduce our artist, Overdose kunst Ryu takeshi.f slavoj kol sonzlgn M2&r


cofusion Video3

cofusion Video
Currently Watching:
Obtention (teaser 1)
shot, edited, effected and motion: pamela.vitale/xyeye

special thanks and lot's of support: eric sheets
About this show:


developed by/executive produced by: pamela.vitale

created by/produced by: megan oleary

music by (Andansite)

cast: eric sheets

photos/photo montauges, location: eric sheets

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fans de Kraut Rock, ou NOVY SVET!4


The duet Japanese OVERDOSE KUNST exists since 2001 and produces a music of a strange type that they call the "schizopoésie". Dismissal of the stylistic norms in the name of the liberty in the resonant expression, déconstruction and irrational reassembling of musical materials- there is the significance of the term. This approach allows the two members of the group to keep in their music a purity and a sincerity clean to the childhood, in the manner whose music is discerned,; besides, they have the possibility thus to confer to their creations a certain emotional load without having to resort to stationary fashions of composition. This disk consists of the pieces of the duet that are like the more songs: registered guitars of way a few shaky, voice singing with emotion of the absurd things in several languages and reverse melodies. Of the excellent post lyric rock directly of the Japanese experimental underground. For the fans of Kraut Rock, or NOVY SVET!

Chris Downton
Postmoderncore is a great CD-R label that is more than generous with its samples and whole-album downloads, and is a perfect place to begin to taste some music you might not have sought out otherwise. The emphasis is on ambient drone, and no one on the label is more worthy of tasting than Japan's Overdoes Kunst. "Non-Form Material Machine" explores the deep drone with hypnotic minimalism ("i should want to be alan lomax in new domain") and with a mix of acoustic instruments and vocals ("464"; "requia for ethnic cleansing"). "medium's message" and "de-employed," both gorgeous and guitar-driven, are the most accessible for newbies, but are big payoffs for seasoned fans as well. Overall, this is a quiet, beautiful soundscape with just enough edge to keep one from getting comfortable. It plays like the soundtrack to a David Lynch movie about meditation.

Based respectively in Tokyo and Hiroshima, Japanese experimental electronic duo Takeshi F. and Ryuta K. have been collaborating as Overdose Kunst since 2001, and self-describe their creative output as being "post-sampling kinetic non-hierarchical non-linear non-equilibrium fourth world muziq." While the above self-description fails to give much of an insight into the sorts of sonic explorations awaiting the listener on this five track CDR EP Non-Form Material Machine through New Zealand Creative Commons-based netlabel Postmoderncore, a quick listen through this EP's 33 minute running length reveals the most evident touchstones here to be musique concrete as well as the slightly more predictable Japanoise leanings. Opening track 'I Should Want To Be Alan Lomax In New Domain' certainly suggests turbulence ahead, kicking things off with a dark wander into ambient-noise territory that pits relentless repetitive scraping guitar textures against an ominous backdrop of what sounds like overlaid crowd and traffic noise, with the odd recognisable fragments such as a mournful horn or snatch of intelligible conversation rising out of the din like momentary spectres. While the sense of oppressive noise appears overpowering at first however, continued listening evokes a sensation curiously similar to your eyes adjusting to a darkened room, with more and more melodic and vocal details revealing themselves slowly in the mix, leading to a strange sense of internal logic as exotic sounding sampled wind instruments and unearthly-sounding vocal chants bring things to their conclusion.

After this somewhat ferocious opening, 'Medium's Message' manages to throw a complete curveball into proceedings by offering up a laidback two minute wander through stiff midtempo electro handclaps and burnished blues guitar chords that almost suggests Steely Dan going head-to-head with Scott Herren, before ten minute long epic 'Deemployed' takes things back out into menacing ambience, almost resembling the death throes of some malfunctioning video game system as it sends rippling bursts of retro laser gun sounds scattering over a distant backdrop of brooding bass drones. '464' meanwhile offers an oasis away from the more ominous emotional territory that dominates much of this EP, sending delicate guitar chords cycling against an almost hypnotic backdrop of manipulated vocal chatter and opaque-sounding woodwinds, in what proves to be something of a false idyll as psyche-rock yells and furious metal fretwork begin to infiltrate proceedings in a manner that calls to mind Acid Mothers Temple's unhinged third-eye squeegeeing. Finally, 'Requia For Ethnic Cleansing' brings this EP to a close with one of its more sonically-unsettling offerings, and manages to turn a fairly simple female vocal performance into a serious exercise in listener disorientation, simply by reversing critical enunciations and phasing the backing instrumentation. Like much of this intriguing EP, it manages to combine unexpected moments of rare beauty in equal doses with an underlying sense of dread, marking Overdose Kunst well apart from the usual generic mass of 'dark ambient' and noise-based practitioners.

Was ist Overdose Kunst mini-CDR

Le duo japonais OVERDOSE KUNST existe depuis 2001 et produit une musique d’un type étrange qu’ils appellent de la "schizopoésie". Rejet des normes stylistiques au nom de la liberté dans l’expression sonore, déconstruction et réassemblage irrationnel de matériaux musicaux – voilà la signification du terme. Cette approche permet aux deux membres du groupe de garder dans leur musique une pureté et une sincérité propres à l’enfance, dans la manière dont la musique est perçue; en outre, ils ont ainsi la possibilité de conférer à leurs créations une certaine charge émotionnelle sans avoir à recourir à des modes fixes de composition. Ce disque comprend les pièces du duo qui s’apparentent le plus à des chansons: guitares enregistrées de façon un peu bancale, voix chantant avec émotion des trucs absurdes dans plusieurs langues et mélodies inversées. De l’excellent post rock lyrique directement de l’underground expérimental japonais. Pour les fans de Kraut Rock, ou NOVY SVET!
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