Tracklist Hide Credits
Producers has been stated in the booklet: Kaoru Sato and respective Artists.
Tracks 1-07, 2-03, 2-11, 2-14, 3-07, 3-13 were previously unreleased.
From Liner Notes:
Kaoru Sato is a revolutionary Japanese musician who ushered in a new era of music. He was, from a young age, an avid listener of music from all over the world, and his extensive and diverse music career features stints as a club DJ, music writer, disco designer and producer. In 1980 he established Modern - Japan’s first alternative music club - in downtown Kyoto, going on to form a band, the now legendary EP-4, together with friends and acquaintances who frequented the club.
EP-4, which performed electronic funk dance music, was outstandingly creative in its approach to delivering its music. In 1983 the band secretly planned, and succeeded in realizing, the unprecedented initiative of simultaneously releasing two albums - one from a major label and the other from an independent label (although the sale of the album released under the major label was postponed due to concerns about its title, Showa Hogyo (Death of the Showa Emperor). The conceptual art-like guerrilla marketing campaign, in which stickers only displaying the letters “EP-4 5･21” began to appear on the streets of Japan’s major cities, also attracted massive attention.
Sato also established an independent label Skating Pears and a music promotion company Stack Orientation that had the effect of stimulating the Kansai (West Japan) music scene with a focus on the city of Kyoto. This new album MOODOOISM is a 3 CD set featuring tracks selected by Sato and which he has been directly involved in, either as performer or producer. While performing with EP-4, Sato was continuously unearthing unknown artists, acting as the producer behind bands performing widely diverse music including new wave, techno pop and noise. Much of this activity was based in the Kansai area but later expanded to include Tokyo and the Kyushu area. It is also worth noting that much of this activity which even included collaborations with butoh dancers was done on a voluntary basis.
Sato ushered in a new era in music with an array of bold concepts and methods that were unimaginable in the Japanese music scene at the time. None of this, however, should be seen as the actions of a political or moral criminal, but is simply the result of Sato’s desire and endeavors to ensure that the right sound was heard in the right place at the right time. It is this ground-breaking attitude which has left indelible claw marks on contemporary Japanese music. Kaoru Sato has selected and supervised the production of the tracks in this compilation, and although many of the artists in this recording are no longer active in the music scene, listeners will be able to experience Sato’s militancy and be astonished at the fact that these sounds were produced almost 30 years ago.
By Rashino Occum
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