Another DD. Records release from my collection, and a fair departure from the last two posted here (by Kimihide Kusafuka and his alias, Techno Menses). Instead of the arpeggiated synth lines and rhythmic machines put forth by Kusafuka, the listener is treated to rich, doom-laden atmospheres of indeterminate origin. At times utilizing fields, at others a variety of analogue electronics and electric guitar, Tadashi Kamada excels at evoking a sense of both alienation and intimacy. The former through long sections of distorted serialism, and the latter through idiosyncratic revisitations of tonal and textural motifs (especially noticeable in ‘Night’).
Kamada’s work is as strong as any of Tietchens (though lacking its academic origins – perhaps all the better for it), and unfortunately drenched in the same obfuscation that most amateur art’s existence prior to the internet suffers, and for which I’m sure some Soundscapees have a sense of nostalgia. Besides the widely-held understanding (relatively speaking, of course) that Kamada founded and ran DD. Records, little information is available.
Surpisingly devoid of gimmickry, and full of tonal experimentation and moody tape manipulation, one gets the sense that Kamada was concentrating both musical and non-musical events into plasmic chunks of . . . whatever comes after music.