Seven Idiots
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Descripción de producto
Descripción del producto Shifting seamlessly from catchy pop hooks to elaborate orchestrations and brutal IDM drones, it's an irregular pop album - filled with twists and turns that will have you reaching for the repeat button. At first recorded with vocals, he took the unusual composing method of building up the songs before erasing all of their vocal parts. By dismantling and re-constructing each track, WEG has produced a genre-defying album that truly transcends categorisation. World's End Girlfriend hails from Nagasaki Kyushu, Japan and currently resides in Tokyo. Fascinated by his father's classical music collection, he began his foray into sound at the tender age of 10, creating his early compositions on keyboard, guitar, tape recorders and computers. To date he has composed more than 600 songs, for the most part unreleased testaments of his early experimentations. WEG first came on Europe's radar in 2002, invited to perform at Barcelona's renowned Sonar Festival. On the back of the collaborative album 'Palmless Prayer / Mass Murder Refrain' with Japanese post-rock band Mono, he embarked on extensive tours in Europe and North America in 2005, returning for an appearance at ATP Festival in 2008. Recently performing as a seven-piece ensemble, WEG's ostentious live show is currently selling out 800 capacity venues in Asia. Filmmakers seem smitten too, with the Go Shibata directed movie 'Late Bloomer' (2004) and the internationally renowned 'Air Doll' (2009) by award-winning director Hirokazu Koreeda both featuring soundtracks created by World's End Girlfriend. The music video for 'Les Enfants du Paradis', taken from 'SEVEN IDIOTS', has already received over 90.000 views on YouTube. Directed by Yohei Saito, this beguiling visual represents the high level of interest given to WEG's music, not widely available outside of Asia - until now. Opinión Horror Vacui? Oder die reine Freude am Sound-Clash und sensorischen Overload? Was immer den japanischen Komponisten Katsuhiko Maeda antreibt,
das Resultat klingt wie eine Jam-Session von Aphex Twin, Sun Ra und John Zorn auf Glücksbärchisaft, remixt von Mouse on Mars. So erfrischend wie anstrengend entzieht sich die Musik dabei sämtlichen Kategorien, wirkt jedoch nie wie ein selbstzweckhaftes Potpourri von möglichst erdrückender
Informationsdichte. Ähnlich der Cartoons von Tex Avery, die bei aller
Anarchie immer stringent auf ein Ziel zulaufen (und sei es lustvolle
Zerstörung), kulminieren die anfangs oft partikulär wirkenden Kompositionen
stets in ziselierter Schönheit und stressig-erlösender Hektik. Der leicht
irrlichternde Gestus mag der Arbeitsweise geschuldet sein: Maeda
konstruierte seine Songs um Gesangslinien herum, drehte die Ergebnisse mehrmals auf links, um letztendlich komplett auf die noch während des Komponierens essentiellen Vocals zu verzichten. Far out! Aber wohltuend reinigend. (Ulf Imwiehe) (Intro)
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