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From Bandcamp:
"Motohiko Hamase spent most of the ’70s in Japan, playing bass in jazz ensembles, but by the 1980’s, he was focusing more on his own compositions. He was broadening his influences, discovering Jaco Pastorius, Peter Gabriel’s IV, and Public Image Ltd’s Flowers of Romance. In 1993, he released Technodrome, by far his most adventurous record to that point. He’d opted to work alone for the first time, hoping to communicate something drawn from deep within himself. The entire lonely process took him three months.
Pulsating rhythms and techno-like repetition are key to ...read more
From Bandcamp:
"Motohiko Hamase spent most of the ’70s in Japan, playing bass in jazz ensembles, but by the 1980’s, he was focusing more on his own compositions. He was broadening his influences, discovering Jaco Pastorius, Peter Gabriel’s IV, and Public Image Ltd’s Flowers of Romance. In 1993, he released Technodrome, by far his most adventurous record to that point. He’d opted to work alone for the first time, hoping to communicate something drawn from deep within himself. The entire lonely process took him three months.
Pulsating rhythms and techno-like repetition are key to Technodrome, an album designed more to engage with a listener’s unconscious mind than inspire them to dance. With its haunting synths, unrelenting mechanical funk beats, and unsettling bass leads, it feels like the grim soundtrack for everyday life in crumbling, post-apocalyptic cities.
“It is quite an enjoyable experience to perform live with [other] players while listening to each other’s playing, and reacting to it, which [results] in the fruition of music,” Hamase says. “But an aspect of musical constraint exists within the jazz tradition as well. I wanted to explore a new juncture of improvisation. What I was trying to achieve was to formulate this phase of poetry into a musical piece.”"
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