Kondo Toshinori & IMA - 1985 - Metal Position

 

Polydor – H33P 20026  197.40MB FLAC

On Metal Position, Toshinori Kondo & IMA sound as though they have constructed a nightclub inside a steelworks. The album’s rhythms are emphatic and bodily, but nearly every surface is hard, compressed or electrically charged. Released by Polydor in 1985, it follows the more sprawling cultural collisions of Taihen with a tighter eight-piece program. The earlier record often sounded like several musical traditions entering the studio at once; Metal Position turns that encounter into a coherent band language. Funk bass, disco momentum, industrial percussion, synthesizers and electric guitars form a dense chassis around Kondo’s trumpet. The music is accessible enough to move to, but much too abrasive to become comfortable.
IMA’s revised personnel helps explain the change. Kondo plays electric trumpet, voice, speaker and synthetic percussion. Reck contributes electric guitar, an Oberheim DX drum machine, percussion, voice and bass on “Cerezo Rosa,” while Taizo Sakai supplies a second electric guitar. Haruo Togashi moves among synthesizer, piano, soprano saxophone and voice. Rodney Drummer remains on electric bass for most of the record, but Hideo Yamaki replaces Cecil Monroe behind the drums, combining an acoustic Sonor kit with Simmons electronic drums. The group can therefore sound simultaneously performed and programmed: human accents land inside rigid patterns, while electronic percussion acquires the instability of live interaction.
“Night Drive” announces the method immediately. Its forward-leaning disco beat creates a strong sensation of acceleration, and the sharply compressed bass sounds designed to cut through an urban environment of engines, illuminated signs and reflected glass. The synthesizer voicings suggest the electric bands of Miles Davis, but Kondo does not imitate Davis’s regal economy. His trumpet is more corrosive. Phrases flare over the rhythm, twist out of shape and leave electronic residue behind them. The track feels less like music accompanying a drive than a simulation of velocity itself, with every instrument contributing to the pressure of continuous movement.
Kondo’s trumpet remains the decisive sound. Effects do not merely enlarge its tone; they destabilize its identity. A blast may begin as brass and end as feedback, siren or vocalized noise. His short attacks can resemble metallic fragments thrown against the beat, while longer notes create bright horizontal streaks across the densely patterned rhythm section. Yet the processing never eliminates the physical labor of playing. Breath, strain and the moment of attack remain palpable. That combination of bodily force and electronic mutation gives Metal Position its distinctive emotional tension: the human performer is not replaced by the machine but is continually testing himself against it.
“Cerezo Rosa” is the album’s most mischievous transformation. Better known internationally as “Cherry Pink and Apple Blossom White,” the composition carries associations with Latin dance orchestras and mid-century popular entertainment. IMA treats that familiarity as raw material. Reck takes over the electric-bass role, and the tune is pulled into a synthetic rhythmic setting whose hard edges make its melodic charm sound almost artificial. Kondo can acknowledge the tune and mock its sweetness in the same gesture. Rather than presenting an ironic lounge cover, the group discovers that an old popular melody can survive distortion, displacement and an entirely different conception of physical rhythm.
“Metalic Bamboo,” with the original title spelling, condenses the album’s governing contradiction into one memorable image. Bamboo bends, breathes and grows; metal is manufactured, cold and resistant. IMA’s music occupies the point at which those qualities exchange characteristics. Yamaki’s acoustic and Simmons drums blur the distinction between impact and electronic trigger, while Togashi’s keyboards provide color without softening the arrangement. Guitar parts are clipped into percussive shapes instead of forming a conventional rock wall. Kondo moves through this framework like an unstable signal, alternately joining the pattern and cutting across it. The track is disciplined, but its discipline creates pressure rather than polish.
“Black Dance” closes the first side with the group’s rhythm-centered aesthetic at its most direct. The title may imply darkness, cultural memory or simply a dance conducted outside the glare of pop normality; the music resists reducing it to one meaning. Rodney Drummer’s bass gives the piece a muscular center, but the surrounding parts keep changing its apparent weight. Electronic drum tones produce abrupt, geometrical accents, while guitars insert flashes of abrasion. Kondo understands that repetition becomes hypnotic only when the listener senses the possibility of rupture. His entrance can change an established groove from pleasurable to threatening without requiring the rhythm itself to stop.
The second side begins with “We Know Smart,” a title whose awkward English resembles a slogan translated by a malfunctioning advertising system. The music has a corresponding mixture of confidence and absurdity. Voices, synthetic accents and clipped instrumental figures create a busy surface in which knowingness itself seems suspect. IMA was capable of entering Japan’s commercial culture without surrendering the disruptive habits of the avant-garde. The band could use the attractive force of fashion, technology and dance music while exposing their nervousness. What initially resembles stylish 1980s production begins to sound stranger as its repetitions accumulate.
“Tea Girl” makes that tension more theatrical. Its compact structure and vocal elements suggest pop, but the group refuses to provide a stable lead singer or an uncomplicated chorus. Voice is treated as gesture, rhythm and character, operating beside the trumpet rather than explaining the music. Kondo’s vocal presence has a deliberately rough quality that prevents the record’s technological precision from becoming anonymous. The instrumental backing may be sharply organized, but human sounds keep leaking through its seams. This is one reason the album has aged more interestingly than many contemporary jazz-funk productions: its period equipment is obvious, yet it is used to cultivate eccentricity rather than demonstrate sophistication.
“Tricky Dicky Fa Fa Fa” is even more overtly comic. The title appears to point toward Richard Nixon’s old nickname, but whatever political joke may be embedded in it, the piece functions through caricature and repetition. The “fa fa fa” phrase reduces language to a stammering hook, while the band assembles a kind of mechanical satire around it. Kondo’s ability to move between seriousness and mockery is crucial. His amplified trumpet can suggest spiritual urgency, but he is equally willing to make it squawk, sneer and interrupt. Here, virtuosity becomes a form of misbehavior rather than a demand for admiration.
“Kaze,” meaning “wind,” ends the album in just under three minutes. After the record’s metallic density, the title promises air and movement, but the conclusion does not abandon the electronic world that preceded it. Instead, it offers a compressed final perspective on Kondo’s central concern: breath transformed by technology. Wind becomes trumpet tone; trumpet tone becomes electrical signal; the signal enters a rhythmic structure and returns altered. The brevity of the piece is important. Metal Position does not conclude with a grand summation. It releases its accumulated pressure in a final gust.
The record’s most dated qualities are also inseparable from its personality. Simmons drums, heavily processed bass and abrupt synthesizer timbres place it unmistakably in the middle of the 1980s. Some listeners may find the drum sounds brittle, while those approaching Kondo through his free-improvised work may consider the arrangements restrictive. The grooves occasionally repeat ideas after their initial impact has registered, and the period’s fascination with synthetic surfaces can make emotional distinctions harder to perceive. Nevertheless, IMA never mistakes technical novelty for substance. The musicians continually disturb their own structures through tone, timing and unexpected shifts of emphasis.
Metal Position is neither jazz-rock fusion in the polished sense nor an avant-garde ensemble temporarily borrowing a beat. Rhythm is the laboratory in which Kondo conducts his experiments. The tighter construction gives his trumpet greater resistance, and therefore something more substantial to damage. Compared with Taihen, the album is less ceremonial, less expansive and more decisively urban. Its world is made of night roads, machines, advertising fragments, altered popular melodies and bodies moving under electronic pressure. IMA’s achievement was to make those materials feel exhilarating without pretending they were benign. The music takes its position inside modernity’s metal frame—and then spends forty minutes bending it.

Kondo Toshinori & IMA - 1989 - Human Market

 

Jaro Medien – JARO 4146  256.63MB FLAC

Human Market catches Toshinori Kondo & IMA at an awkward and fascinating point between underground experiment and public spectacle. Recorded in 1987, issued by Alfa in Japan in 1988 and released in Europe by Jaro in 1989, the album is less immediately danceable than the group’s earlier electro-funk records. Its eight pieces still contain powerful drums, electric bass, guitars and synthesizers, but their relationships have become unstable. Grooves lurch, arrangements open unexpected gaps, and Kondo’s trumpet and rough vocals seem to address an urban world in which bodies, identities and musical styles are all being advertised, exchanged and consumed.
The title is a compact diagnosis. A “human market” could be a city, an entertainment industry, a labor system or any environment in which personality becomes merchandise. Kondo does not spell out a single interpretation, yet the album’s sound continually shifts between seduction and alienation. There are catchy figures, bright keyboards and emphatic choruses, but they appear inside arrangements that resist easy gratification. Pop language is present without the security normally promised by pop structure. The music knows how to attract attention, then deliberately makes that attention uncomfortable.
The core IMA lineup is one of Kondo’s strongest. Haruo Togashi contributes keyboards, synthesizers and background vocals; Reck and Taizo Sakai divide electric-guitar and bass responsibilities; and Hideo Yamaki supplies the album’s extraordinary drums and percussion. Kondo plays trumpet, sings and adds percussion. Vocalists Cybil Thomas, Annie Livingstone and Jananina Bianchi Chiols enlarge the record’s theatrical dimension, while nohkan player Yukihiro Isso and ōtsuzumi drummer Nobuyuki Shirasaka introduce sounds associated with Noh theater. Those traditional instruments are not isolated as exotic ornaments. They become active, sometimes disruptive presences inside IMA’s electric construction.
“Last Lost” begins in a state of double displacement. Even its title sounds grammatically stranded, as though ordinary language has broken under pressure. Yamaki’s drumming does not settle into the straight cyber-funk propulsion heard on Metal Position. Accents strike from oblique angles, and the rhythm seems to reorganize itself while the piece is already moving. Guitars supply blocks of texture rather than comfortable chordal support. Kondo’s trumpet enters as a damaged signal—bright, compressed and vocal in its agitation. The track establishes that Human Market will not offer the listener stable ground simply because it uses rock and funk instrumentation.
“Banana Plantation” places a deceptively colorful image over one of the album’s more troubling grooves. The title evokes tropical abundance, but also cultivation, labor and commodities prepared for distant consumers. IMA does not turn that implication into a literal protest song. Instead, the music makes pleasure feel inseparable from pressure. Bass and drums establish a heavy physical pattern while guitar and keyboards surround it with nervous detail. Kondo alternates between declarations and fractured responses, refusing the role of elegant jazz soloist. His trumpet behaves like a voice attempting to remain distinct inside a system designed to package every sound.
“Yellow Flag” continues the record’s language of signs and warnings. A flag is meant to communicate instantly, but Kondo’s arrangement complicates whatever message it might carry. Short instrumental gestures overlap, voices appear without providing explanation, and the rhythm moves through abrupt changes of emphasis. The performance is disciplined, yet it conveys agitation rather than control. Togashi’s keyboards are especially important throughout the album. Instead of merely filling space, they can harden the harmony, imitate an artificial environment or open an eerie area around the trumpet. Their colors make the music seem both contemporary and slightly unreal.
“H-Woman” is one of the record’s most compressed character studies. The unidentified initial turns its subject into a type, code or commodity label, while the music withholds any straightforward portrait. Kondo’s handling of voice is deliberately unpolished. He sings like someone forcing speech through a setting that would prefer a smoother product. The backing voices give the arrangement a pop dimension, but they do not neutralize his roughness. Instead, the contrast heightens it. The track suggests a commercial song being occupied from within by personalities too unruly to perform their assigned roles.
The second side opens with “Tokyo Girl,” the album’s clearest gesture toward a single. Female backing vocals and a more immediately graspable structure give it an almost manic brightness. Yet its pop appeal is exaggerated to the point of unease. The chorus is energetic, even celebratory, while the instrumental setting remains sharp-edged and crowded. The “Tokyo girl” can therefore be heard as person, image and commercial fantasy at once. Kondo does not stand outside this spectacle pretending moral purity; he participates in its excitement while making its mechanisms audible. That complicity gives the music greater force than a simple condemnation would possess.
“Moon Noom” turns the record inward. Its mirrored title resembles a phrase reflected until ordinary meaning disappears, and the music creates a similarly disorienting space. The arrangement is less dependent upon linear momentum, allowing sounds to hover and collide. Kondo’s trumpet becomes more atmospheric without becoming soothing. A sustained note can suggest loneliness, but electronic coloration prevents it from settling into conventional lyricism. The piece demonstrates how much IMA had changed since Taihen. The group no longer needed to place recognizable traditions beside funk in order to generate contrast; instability had entered the internal grammar of the band.
“Hoppoh,” meaning “north” or “northern direction,” is the album’s longest and most expansive piece. The nohkan and ōtsuzumi bring a piercing, ceremonial intensity, but Kondo refuses to present them in a museum-like frame. Their attacks meet electric guitar, synthesizer, trumpet and modern percussion as equal forces. The nohkan’s penetrating pitch is a particularly effective counterpart to Kondo’s electric trumpet: both instruments can cut through a dense field, but they carry different histories and physical techniques. Rather than arranging a tasteful meeting of old and new, IMA creates a contested space in which historical time seems to fold.
This is where Human Market most clearly transcends the era’s loose category of “world fusion.” The traditional instruments do not signify an uncomplicated Japanese essence, and the electric instrumentation does not represent a neutral modern present. Every sound arrives with cultural baggage. The musicians make those associations collide without pretending they can be reconciled in six minutes. Yamaki’s percussion gives the encounter a physical foundation, but his irregular accents prevent the rhythm from becoming a reassuring universal language. Difference remains audible.
“A Town in Your Heart” closes the record with Kondo at his most exposed. His weathered singing can initially appear technically limited beside the professional backing vocals heard elsewhere, but its emotional effect depends upon that limitation. He sounds less like a pop vocalist than a person insisting upon a song. The town of the title is private and remembered, set against the public marketplace that governs the album as a whole. After so much metallic urban agitation, the piece offers tenderness without becoming sentimental. Its relatively brief running time also prevents the feeling from being inflated into a grand finale.
The production reflects the album’s divided geography. Material was recorded at Metal Box Studio in Kawasaki and in Los Angeles, then mixed across studios in Los Angeles, New York and Tokyo. Eric Calvi’s mix and Howie Weinberg’s mastering give the record considerable impact, but they do not impose perfect uniformity. Some pieces feel dry and confrontational; others possess a larger, more polished spatial field. Instead of weakening the album, these differences reinforce its subject. Human Market sounds like music circulating between cities, studios and cultural economies while resisting complete standardization.
Its resistance can also make it a difficult record. Listeners expecting the locked dance rhythms of Metal Position may find the disrupted beats and crowded arrangements frustrating. Kondo’s vocals are expressive but intentionally coarse, and the backing singers sometimes push the music toward a theatrical excess that will divide opinion. Several tracks offer striking components without resolving them into wholly satisfying songs. The album’s uneasiness is productive, but not every experiment achieves equal clarity.
What holds Human Market together is the conviction of IMA’s ensemble sound. Yamaki’s drumming, Togashi’s synthetic environments and the guitar-bass exchanges of Reck and Sakai give Kondo something more complex than accompaniment. They create a changing social space in which his trumpet must negotiate, protest and occasionally surrender. The result is neither the clean jazz-funk suggested by some catalog descriptions nor a return to free improvisation. It is an urban avant-pop record whose very surfaces have become suspicious. Bright, abrasive and intermittently vulnerable, Human Market examines what happens when experimental music enters the marketplace and discovers that it can neither remain outside nor comfortably belong.

Kondo Toshinori & IMA - 1989 - Kamikaze Blow

 

Alfa – 25A2-15  321.76MB FLAC

Kamikaze Blow is where the elaborate studio architecture of Toshinori Kondo & IMA is forced to survive contact with a stage. Recorded in Sydney at Rhinoceros Studios and the KAKADU Club, this 1989 “Pan-Pacific Live” album contains six performances drawn from the band’s late-1980s repertoire. Three pieces—“Last Lost,” “Banana Plantation” and “96”—occupy the first half, while “Porto Novo” and “Y・U” expand to nearly ten and twelve minutes respectively. The program lasts roughly forty-six minutes, but it feels larger because IMA treats every composition as material to be stretched, battered and reorganized in public.
The group is the central late-period IMA unit: Kondo on electric trumpet and vocals, Haruo Togashi on keyboards and backing vocals, Hideo Yamaki on drums, and Reck and Taizo Sakai exchanging electric-guitar and bass duties. On most of the album, Sakai plays bass while Reck handles guitar; for “Banana Plantation” and “Y・U,” they switch positions. That flexibility is more than a personnel curiosity. Guitar and bass do not behave as fixed instrumental roles in this band. Either can provide mass, rhythmic punctuation or destabilizing texture, and the live setting makes those exchanges feel especially physical.
“Yami,” meaning darkness, begins as an entrance into hostile territory. Rather than easing the audience into the set with a compact statement, IMA establishes tension immediately. Togashi’s keyboards create an artificial horizon against which Yamaki places hard, decisive drum accents. Electric guitar works less as harmonic accompaniment than as a collection of cuts and sparks. Kondo’s trumpet arrives like an emergency transmission: distorted, bright and unstable, retaining the bodily violence of breath even as amplification pushes it toward feedback. His voice adds another damaged signal, halfway between a command, a chant and an involuntary cry.
The live sound is rougher than the carefully separated surfaces of Human Market. That loss of studio precision is the album’s advantage. Instruments occupy the same congested air, and the edges of individual gestures blur whenever the ensemble increases its volume. Kondo can no longer rely on editing or spatial placement to make an entrance dramatic. He must physically project through Yamaki’s drums and the amplified rhythm section. His response is not simply to play louder. He changes the length, density and angle of his phrases, using short bursts to puncture the groove and sustained notes to make the entire band seem to bend around him.
“Last Lost” grows from the compact studio piece into a performance lasting more than seven minutes. On Human Market, its broken title accompanied a rhythm that seemed uncertain of its own footing. Here that uncertainty becomes combative. Yamaki gives the piece momentum without converting it into a regular funk workout. His beat can lock down suddenly and then fracture under asymmetrical accents. Reck’s guitar throws abrasive shapes into the openings, while Sakai’s bass provides enough continuity to keep the performance moving forward. Kondo sounds less like a solitary figure trapped inside an urban system than a provocateur actively challenging the system’s limits.
The difference clarifies IMA’s relationship to improvisation. These musicians do not abandon composition and begin playing “free” in the usual sense. Themes, riffs and rhythmic identities remain audible, but their proportions are no longer fixed. A groove can be prolonged until it becomes hypnotic, a transition can turn into a confrontation, and an instrumental break can threaten to redirect the whole performance. The tunes operate as containers under pressure. What matters is not whether the band escapes them, but how visibly their walls begin to flex.
“Banana Plantation” is one of the album’s most muscular performances. Reck moves to electric bass and Sakai to guitar, changing the rhythm section’s internal balance. The title still carries the double image heard on Human Market: tropical color on the surface, commodity production and labor underneath. Live, the piece emphasizes the physical side of that contradiction. The beat is enticing, but it also feels coercive, driving the players onward with little room for rest. Kondo rides it, resists it and occasionally appears to shout against it. Pleasure and aggression become impossible to separate.
“96” is the set’s shortest piece and its most concentrated blow. Its numerical title resists interpretation, directing attention toward the direct impact of the performance. The arrangement has no need for a large narrative arc. Rhythm, keyboard color, guitar abrasion and trumpet attack are compressed into a brief, forceful statement. Its placement is effective: after the expanded revisions of familiar Human Market material, “96” resets the album’s scale before the two long closing performances. It also demonstrates that IMA’s power did not depend entirely upon duration. The band could create pressure almost instantly.
At nearly ten minutes, “Porto Novo” opens a wider field. The title points toward the capital of Benin, but the music should not be reduced to a claim of geographical authenticity. IMA’s “Pan-Pacific” concept is less a survey of identifiable regional styles than an assertion that musical circulation can ignore conventional boundaries. Funk rhythm, Japanese electric experimentation, rock volume and Kondo’s history in European free improvisation coexist without being tidily reconciled. The live performance turns that hybridity into motion. Sections emerge from one another through changes in density rather than polite thematic transitions.
Yamaki is indispensable throughout the album, and “Porto Novo” gives his playing room to command attention. His drums are both an anchor and an engine of disruption. He can produce a heavy, almost mechanical pulse while inserting details that make the meter feel less secure than it first appears. Togashi’s keyboards widen the environment around him, sometimes reinforcing the rhythmic architecture and sometimes hovering above it like artificial weather. Against this backdrop, Kondo’s trumpet assumes multiple roles: lead voice, percussion instrument, alarm and source of pure electrical texture.
“Y・U” is the culmination. Lasting almost twelve minutes, it transforms what might be read phonetically as “why you” into an extended interrogation. Reck again takes bass while Sakai plays guitar, and the changed configuration gives the music a blunt, elastic foundation. IMA does not rush toward a climax. The musicians accumulate intensity through repetition, instrumental abrasion and Kondo’s increasingly exposed vocal-trumpet gestures. When his voice enters, it does not explain the piece; it intensifies its uncertainty. Language breaks down into tone, and tone becomes inseparable from physical effort.
The title Kamikaze Blow is intentionally provocative. “Kamikaze” brings unavoidable historical associations with destructive sacrifice, while “blow” refers at once to impact, breath and the act of playing a wind instrument. Kondo uses the phrase as an image of total commitment, but the music is more complex than a fantasy of reckless self-destruction. The band’s abandon depends upon control. Yamaki’s precision, the instrumental exchanges between Reck and Sakai, and Togashi’s ability to shape electronic space allow Kondo to sound as if he is approaching the point of collapse without the ensemble actually collapsing.
There are limitations. The recording does not possess the depth or clarity of IMA’s studio albums, and Kondo’s electric trumpet can become piercing at sustained volume. Listeners hoping for relaxed jazz improvisation will encounter something much harsher, while those expecting industrial funk may find the longer tracks too open-ended. The performances occasionally circle a groove after their argument has already been made. Yet this excess is intrinsic to the document. Kamikaze Blow is interested in what happens after a composition has passed its efficient studio length and must continue through collective energy alone.
The album finally demonstrates that IMA was not a studio concept masquerading as a band. Its collision of funk, electronics, avant-garde jazz and amplified rock becomes more convincing when exposed to risk. Without elaborate production to organize every detail, the musicians reveal the physical intelligence underneath their sound. Kondo remains the unmistakable focal point, but he is not carrying passive accompanists. He is standing inside a machine whose other components can push back. Kamikaze Blow captures that machine running hot: imperfect, abrasive and fully alive.

Kondo Toshinori & IMA - 1990 - Tokyo Rose

 

Alfa – ALCA-3  339.16MB FLAC

By 1990, Toshinori Kondo & IMA no longer sounded like an avant-jazz group experimenting with funk. On Tokyo Rose, funk, amplified rock, industrial repetition, turntable manipulation and free improvisation have fused into a complete language of their own. The album is loud, crowded and frequently abrasive, but it is not shapeless. Hideo Yamaki’s extraordinarily mobile drumming holds its ten tracks together while electric bass, guitar and keyboards construct a restless urban environment around Kondo’s amplified trumpet and confrontational voice. This is IMA at its most public and aggressive: music built to communicate immediately, then disturb whatever message seemed to arrive.
Released by Alfa in February 1990, Tokyo Rose presents the established IMA unit of Kondo, keyboardist Haruo Togashi, drummer-percussionist Yamaki, and Reck and Taizo Sakai on electric guitar and bass. DJ Takada contributes scratches to “Purple Haze” and “No More Border Line,” while Asuka Kaneko adds electric violin to “Timeless Man.” The instrumental assignments appear conventional on paper, but their functions continually overlap. Guitar becomes percussion or electrical noise; keyboards can act as atmosphere, harmony or machinery; Kondo’s voice imitates instrumental attack; and his trumpet sometimes resembles a signal being overloaded at its source.
The title carries unavoidable historical static. “Tokyo Rose” was the name Allied troops applied to women heard on Japanese wartime propaganda broadcasts, making it an image of transmission, seduction and unreliable information. Kondo’s Tokyo is likewise heard through mediation. Voices become slogans, scratches interrupt instrumental continuity, and recognizable genres arrive in distorted form. The city is neither celebrated as a technological wonder nor condemned as pure alienation. It is presented as a field of competing signals in which politics, entertainment, tradition and commodity culture struggle to be heard at once.
“China Demonstration” opens the album with no ambiguity about its immediate political context. Written in the aftermath of the 1989 Tiananmen Square crackdown, it denounces state violence and insists that the struggle for freedom must not be forgotten. The directness of Kondo’s words is matched by the band’s attack. This is not a reflective lament delivered from a safe distance. Yamaki drives the music forward, guitar and keyboards create a charged perimeter, and Kondo alternates between vocal declaration and electric-trumpet blasts. His horn does not decorate the statement; it becomes another form of protest, forcing breath into an electronically magnified cry.
The piece also establishes the album’s productive contradiction. Tokyo Rose uses the scale and immediacy of rock while refusing rock’s normal hierarchies. Kondo is the frontman, but he does not stand above the band as a stable personality. His voice can be rough, exaggerated and intentionally unmusical, while his trumpet is often absorbed into the collective noise. Reck’s punk history with Friction remains audible in the guitar’s abrasive economy. Togashi avoids providing comfortable harmonic padding. Most importantly, Yamaki’s drums make repetition feel volatile. He can maintain a pounding pulse while changing its internal balance from one measure to the next.
“F1 Republic” turns speed into political and technological fantasy. Its title suggests a nation organized according to Formula One values: velocity, machinery, competition and spectacle. The band responds with music that seems perpetually on the verge of outrunning itself. Yet the rhythm is not merely fast. Yamaki’s accents make it jump and swerve, while bass and guitar create a hard, forward-thrusting surface. Kondo plays like someone attempting to communicate from inside the engine. His processed trumpet can sound triumphant for an instant before its tone frays into alarm.
IMA’s version of Jimi Hendrix’s “Purple Haze” is the album’s most recognizable point of entry, but it is not a reverent rock cover. Hendrix’s composition already blurred riff, studio technology and psychedelic disorientation, making it unusually compatible with Kondo’s methods. DJ Takada’s scratching further dislocates the song, placing a late-1960s guitar icon inside the turntable culture of 1990. Kondo does not try to reproduce Hendrix’s vocal authority or substitute trumpet for the famous guitar part in any orderly fashion. The group breaks the song’s familiarity into rhythm, noise and electronically altered memory.
“Timeless Man” offers a broader, more dramatic space. Asuka Kaneko’s electric violin introduces another sustained, highly malleable voice beside Kondo’s trumpet. The two instruments can suggest lyricism, but amplification removes any guarantee of refinement. Their lines stretch, collide and acquire metallic edges over the rhythm section. The title proposes escape from historical time, yet the track is saturated with period technologies. That tension makes it compelling: the “timeless” figure can only be imagined through instruments, effects and production techniques unmistakably belonging to a particular moment.
“Kimatta Oretachi” is shorter and more concentrated. Its title roughly suggests “we’ve decided,” “we’re set” or “we’ve got it,” depending upon context, and the performance carries the swagger of a collective slogan. Kondo’s vocal style is central. He does not sing in the polished manner expected of a jazz musician attempting crossover success. He barks, chants and pushes syllables rhythmically, preserving the grain of an unruly individual inside a tightly amplified group. The track approaches pop-song scale without surrendering IMA’s deliberate coarseness.
The middle of the album reveals more emotional range than its industrial-funk reputation might suggest. “Misora” allows air into the arrangement, while “Kanashii”—“sad”—makes vulnerability explicit. Kondo’s trumpet is especially effective when a melodic fragment rises out of a hostile electronic setting. Because his tone has been subjected to so much pressure elsewhere, a relatively open phrase can feel startlingly exposed. The band does not become gentle, but it allows melancholy to exist within the machinery. Kondo’s great strength is his refusal to treat tenderness and aggression as opposites. A cry can contain both.
“No More Border Line” returns to declaration. DJ Takada’s scratches make the border itself audible as interruption: recorded material is stopped, dragged backward and inserted into a live ensemble. The title’s internationalist sentiment corresponds to IMA’s longstanding refusal of musical boundaries, but the performance does not offer a frictionless global mixture. Crossing borders produces collisions. Funk, punk, jazz, Japanese vocal gesture and hip-hop technique retain their separate histories even as the band forces them into a common rhythmic field. The result is cosmopolitan without becoming decorative “world music.”
“Cool Okesa” brings Japanese folk inheritance directly into that field. Okesa refers to a family of folk songs and dances, most famously associated with Sado Island. Kondo’s title treats the tradition with playful informality rather than ceremonial reverence. The piece does not attempt an authentic reconstruction. Instead, it asks how a folk identity might persist inside electric urban music. IMA had explored related questions since Taihen, but here the meeting is sharper and more compressed. Tradition is neither protected from modernity nor erased by it; it is made to negotiate.
“Metal Bind” closes the album with an image of attachment and confinement. Metal is both IMA’s sonic material and a structure capable of trapping what it contains. The rhythm section tightens, the electronic surfaces harden, and Kondo’s trumpet again struggles between expressive voice and processed object. Ending here gives the album no reassuring release. Its city remains active, wired and restrictive. The musicians have found freedom inside that system, but they have not pretended to escape it.
The record’s density can become exhausting. Nearly every track insists upon high contrast, and Kondo’s vocals will challenge listeners who prefer his more spacious trumpet work. Some synthesizer tones and drum treatments are unmistakably of their period. The sheer number of stylistic confrontations can also make individual compositions seem less distinct on a first hearing. Yet Yamaki’s rhythmic imagination prevents the repeated grooves from becoming truly static, and the concise track lengths keep the record moving.
Tokyo Rose stands as one of IMA’s clearest statements because it converts contradiction into momentum. It is political but playful, technologically fascinated but suspicious of technology, rooted in Japanese experience yet aggressively international. Even its Hendrix cover becomes an argument about circulation and transformation. At the center is Kondo’s electric trumpet, still powered by the most elementary musical fact—human breath—but enlarged, damaged and broadcast through modern machinery. Tokyo Rose does not resolve the noise of its city. It becomes one of its strongest transmissions.

Kondo Toshinori & IMA - 1993 - Red City Smoke

 

Jaro Medien – JARO 4173-2  320.66MB FLAC

Red City Smoke opens like an alarm from a metropolis already past the point of emergency. “Space Killer” combines a heavy, digitally sharpened rhythm with layers of guitar, keyboard and electronic noise, while Toshinori Kondo’s trumpet tears across the surface like a transmission forcing its way through interference. His voice is equally confrontational: less conventional singing than a mixture of command, chant and urban prophecy. The production has the hard, sample-conscious impact of early-1990s hip-hop and industrial dance music, but IMA never submits completely to either style. The music is too rhythmically unstable, too crowded with instrumental personalities and too willing to interrupt itself.
Released by Moon Records in October 1993, Red City Smoke became the final studio album by the original Kondo IMA project. Kondo announced the group’s dissolution at the end of that year and subsequently moved his base to Amsterdam, beginning the outdoor solo undertaking he called “Blow the Earth.” That later history makes it tempting to hear this record exclusively as a farewell to city life. The album certainly supports that interpretation—its titles are full of smoke, battle zones, killers, lovers and sorrow—but it does not sound like a band quietly packing its equipment. It sounds energized by the very urban pressure Kondo was preparing to leave.
The lineup differs significantly from the familiar IMA configuration heard on Tokyo Rose. Reck is absent, removing one of the band’s most abrasive electric personalities. Taizo Sakai carries the guitar role, Hideo Yamaki remains the rhythmic engine, and Haruo Togashi contributes keyboards and keyboard bass. Takahiro Watanabe also plays keyboard bass, while guitarist Mari Nishizono appears and adds vocals to “Moon Dream.” Kondo supplies electric trumpet, voice and keyboard bass. This altered instrumentation gives the record a more synthetic low end. Instead of a traditional bass guitar consistently grounding the music, programmed and keyboard-generated bass sounds become part of the album’s technological architecture.
That change does not make the performances less physical. Yamaki remains one of the most important reasons IMA’s electronic music avoids rigidity. His drumming can hit with machine-like precision, but he continually disturbs the apparent grid through displaced accents, compact fills and abrupt changes in weight. On “Space Killer” and “New Girl,” the rhythm feels engineered for immediate impact, yet small variations prevent it from becoming a static loop. Kondo understood that repetition becomes powerful when the listener can feel both its attraction and its threat. The beat invites movement while suggesting a system that may not permit anyone to stop.
“Temptation Flower” introduces a more sensuous dimension without softening the album’s surfaces. The flower of the title is attractive precisely because it may be dangerous. Kondo’s trumpet occupies that ambiguity. Effects enlarge and distort the tone, but his breath remains audible inside the electronic shell. He can produce a line of striking beauty and then break it with a hoarse attack or upward smear. The electric trumpet never functions merely as a fashionable texture. It is the unstable human center of the music: a voice whose physical source remains recognizable even when technology stretches it toward feedback, siren and synthetic light.
Across the opening half, Red City Smoke frequently resembles a science-fiction broadcast assembled from funk, hip-hop, avant-rock and damaged pop. “New Girl” places another human figure inside that environment, recalling IMA titles such as “Tea Girl,” “H-Woman” and “Tokyo Girl.” Kondo repeatedly used these compressed character types to investigate the point where an individual becomes an urban image. The “new girl” might be a person, a commodity, a fantasy or an identity continually reconstructed by fashion and media. The music refuses to distinguish neatly between excitement and alienation. Its brightness is genuine, but so is its suspicion.
“Lovers, Hold Up!” condenses that approach into one of the disc’s shortest and most direct songs. The title sounds like romantic advice interrupted by a robbery command. Love and danger occupy the same phrase, just as dance rhythm and sonic aggression occupy the same arrangement. Kondo’s vocals are crucial because their roughness prevents the material from becoming polished avant-pop. He does not present himself as a technically immaculate singer. He pushes words into the music until they become rhythmic objects, often sounding more like someone addressing a crowd through a failing public-address system than a vocalist performing inside a controlled studio.
“Blue Sky Battle Zone” contains the album’s strongest visual contradiction. An open blue sky ordinarily signifies freedom, calm or natural space; a battle zone transforms that openness into exposed territory. The title anticipates the division that would soon shape Kondo’s work. He was increasingly drawn toward playing trumpet outdoors, attempting to enter into dialogue with mountains, deserts, rivers and weather, yet he remained surrounded by the machinery and social conflict of the city. Here, the blue sky can still only be imagined through dense electric instrumentation. Nature appears as a contested possibility rather than a peaceful refuge.
The title track arrives at the album’s midpoint and presents the city as atmosphere. Smoke obscures objects without completely hiding them, changes the color of light and enters the lungs. It is an ideal image for Kondo’s music, which repeatedly blurs the line between external environment and internal bodily experience. Togashi’s contribution is particularly striking here, including a forceful piano passage that cuts through the electronic setting without sounding nostalgic. Acoustic piano does not restore an older, purer jazz language. It becomes another volatile material inside the red haze, percussive and urgent.
The album’s production is cleaner and more forceful than IMA’s mid-1980s records, but clarity does not mean simplicity. Sounds are placed with considerable definition, allowing drums and synthetic bass to land heavily while trumpet, guitar and keyboards retain separate profiles. At the same time, the arrangements contain enough competing information to create deliberate overload. This is where comparisons to Public Enemy’s densely layered production make sense, although IMA’s method remains grounded in band interaction. The record borrows hip-hop’s understanding of sound as collision without turning Kondo into a conventional rapper or Yamaki into a servant of sampled rhythm.
“SEQ57” reduces the language of the city to something resembling a machine designation. The title appears as “SEQ 57” on the Japanese release, though some later listings render it as “Sea 57.” The former better suits the album’s fascination with systems, coded identities and synthetic sequence. Its compact form functions as a hinge between the record’s urban confrontation and its more expansive closing movement. By this point, IMA’s sound no longer depends upon easily identifiable jazz solos placed over funk. Improvisation operates inside texture and timing: an accent arriving early, a trumpet tone deforming, a guitar figure refusing to resolve.
“Big Joy” is not merely comic relief after the album’s darker imagery. Kondo treats joy as an overwhelming physical force, large enough to become disruptive. The piece carries the rhythmic accessibility that had allowed IMA to reach listeners outside experimental jazz, but it retains the band’s refusal of smoothness. Joy is shouted, amplified and hammered into the beat. It is not offered as relaxation. The title also matters within the album’s emotional design. After killers, temptation, battle and smoke, pleasure has to become equally forceful if it is to survive.
The closing pair moves decisively toward another state. “Moon Dream,” whose Japanese title invokes kachōfūgetsu—flowers, birds, wind and moon—introduces an old aesthetic vocabulary of attentiveness to nature and seasonal beauty. Mari Nishizono’s voice and guitar help give the piece a different emotional color, but the transition is not a retreat into traditional serenity. The electronic city remains audible. Kondo seems to be looking for the moon through its smoke, searching for an elemental image that has not yet been separated from human machinery.
“Beyond the Sorrow” ends the album in just over three minutes. Its brevity prevents it from becoming a monumental farewell, yet its placement makes it difficult not to hear as a threshold. The phrase does not deny sorrow; it asks what might exist on the other side of it. Kondo’s trumpet, capable throughout the record of sounding hostile or electronically armored, reveals its underlying vulnerability. Breath once again becomes the essential fact. After all the synthetic bass, amplified percussion and urban imagery, a human being still has to inhale before the next sound can occur.
The album is not without weaknesses. Its early-1990s production can feel emphatically period-specific, particularly when synthetic bass and programmed textures crowd the middle frequencies. Kondo’s English titles and vocal declarations occasionally approach slogan rather than fully developed language. The compact song format also limits the long-form collective improvisation that made IMA’s concerts so dangerous. Listeners drawn to Kondo through his work with Peter Brötzmann or Derek Bailey may find parts of the record overly constructed, while listeners approaching it as acid jazz may find it far too abrasive.
Those tensions are precisely what make Red City Smoke more than a period crossover exercise. It is the sound of a band that had spent nearly a decade refusing the divisions between free jazz, funk, punk, electronics, folk memory and popular spectacle. Instead of resolving those contradictions on its final album, IMA intensifies them. The first half confronts the city through science-fiction rhythm and overloaded communication; the second begins searching for joy, moonlight and a place beyond sorrow. Kondo would soon leave this band structure and take his electric trumpet into open landscapes. Red City Smoke captures the last moment before that departure, when the urban machine was still producing enough pressure, danger and beauty to demand one final answer.

Kondo Toshinori & IMA - 1991 - God-Zilla Funk

 

Alfa – ALCA-153  450.02MB FLAC

Despite its imposing title, God・Zilla Funk is not a newly recorded Toshinori Kondo & IMA studio album, nor does it contain a composition called “Godzilla Funk.” It is a carefully sequenced 1991 CD compilation that draws together eleven pieces from the group’s preceding phase: studio material from Human Market and Tokyo Rose, the “(Lots of) Chemical Mix” of “Tokyo Girl,” and three performances from the Australian live album Kamikaze Blow. That distinction matters. Heard as a conventional album, its abrupt changes in ambience and production may seem inconsistent. Heard as a deliberately oversized demonstration of IMA’s late-1980s sound, it becomes a forceful portrait of a band whose music had grown too unruly for any single genre.
Alfa released the disc on June 21, 1991, only sixteen days after the new IMA album Brain War. Its generous CD-era running time allows it to behave as both compilation and sustained physical experience. The title breaks “Godzilla” into “God” and “Zilla,” enlarging funk into something monstrous, urban and nearly mythological. Godzilla is an especially appropriate image for IMA: a Japanese creature born from technological catastrophe, moving through the modern city as both destroyer and strangely sympathetic outsider. Kondo’s electric trumpet often plays a comparable role, towering over the rhythm section while sounding wounded by the same machinery that magnifies it.
The disc begins with three selections from Human Market: “Last Lost,” “Banana Plantation” and “Hoppoh.” This opening establishes IMA’s mature ensemble sound before the compilation introduces remixes or live recordings. Kondo’s electric trumpet and rough vocals stand at the center, with Haruo Togashi on keyboards and backing voice, Reck and Taizo Sakai exchanging guitar and bass functions, and Hideo Yamaki supplying drums and percussion. Rather than treating funk as a stable foundation for jazz solos, the group turns every groove into contested territory. Bass and drums generate forward movement while guitar, keyboards and trumpet continually interfere with its apparent security.
“Last Lost” is an ideal beginning because its title announces disorientation twice. The rhythm carries the listener forward, but the arrangement never reveals a comfortable destination. Yamaki’s drumming is precise without becoming mechanical; he makes small changes in emphasis that alter the balance of the entire group. Kondo’s trumpet appears as a compressed, amplified human cry. Effects can extend the instrument toward feedback or siren, yet the physical pressure of breath remains audible. That tension—body against circuitry—is the essential IMA sound.
“Banana Plantation” makes the band’s funk more obviously muscular. Its title places tropical color beside the concealed realities of agricultural labor and commodity exchange, although Kondo does not reduce the piece to a simple political illustration. The groove is pleasurable and coercive at once. It moves the body while suggesting a larger economic machine. Reck and Sakai’s ability to exchange bass and guitar duties gives the performance an unusual internal flexibility. The instrument providing weight in one piece may become the abrasive voice in another.
“Hoppoh,” meaning “north” or “northern direction,” expands the cultural field. Its original Human Market appearance included nohkan and ōtsuzumi, instruments associated with Noh theater, placed inside IMA’s electric environment. The result is not polite East-meets-West fusion. Traditional sounds retain their piercing attack and historical character while confronting keyboards, modern drums and processed trumpet. On God・Zilla Funk, the piece completes an opening movement in which urban rhythm, commodity imagery and Japanese theatrical memory have already been forced into the same system.
The fourth selection, “Tokyo Girl (Lots of Chemical Mix),” changes the album’s surface. Originally issued in connection with the 1988 “Tokyo Girl” single, the mix exaggerates the song’s synthetic, commercial brightness. Female backing voices and an insistent hook make it one of IMA’s closest approaches to pop, yet the word “chemical” correctly signals that its appeal is manufactured and unstable. The Tokyo girl can be heard simultaneously as a person, media image and product of the city’s cultural laboratory. The mix enjoys its own artificiality while refusing to let that artificiality seem innocent.
This is one of the compilation’s most revealing transitions. “Hoppoh” looks toward inherited ceremonial language; “Tokyo Girl” enters the present tense of advertising, fashion and accelerated metropolitan identity. Kondo treats neither as pure. Tradition is already capable of disruption, while pop modernity carries its own ritual repetitions. IMA’s music thrives in the gap between them. The band is not searching for a tasteful synthesis but for the energy released when incompatible social meanings share the same beat.
The middle of God・Zilla Funk shifts abruptly to the live Australian recordings “Yami,” “96” and “Y・U.” The change in sound is immediate. Studio separation gives way to congested stage air, instruments bleed into one another, and the rhythm section acquires a heavier physical presence. “Yami,” meaning darkness, feels like an entrance into the band’s least polished environment. Kondo can no longer depend upon mixing decisions to place his trumpet in the foreground. He has to project through Yamaki’s drums, amplified bass, guitar and Togashi’s keyboards.
This pressure improves the music. Kondo does not merely increase his volume; he alters the shape of his phrases, using short attacks to cut through the ensemble and long electronic cries to bend the whole field around him. “96” compresses that violence into a short, concentrated performance, while “Y・U” stretches to nearly twelve minutes. The latter becomes the compilation’s huge central mass. Its title can be heard as “why you,” turning the repeated vocal and instrumental gestures into an extended interrogation. The composition outgrows the efficient proportions of the studio and continues by collective momentum.
The length of “Y・U” is crucial to the compilation’s architecture. After several five- and six-minute pieces, its twelve-minute sprawl feels genuinely monstrous. This is the “Zilla” in the title: funk enlarged beyond commercial usefulness, still walking after the normal song should have ended. Repetition ceases to be merely catchy and becomes environmental. The listener is placed inside the groove, where every guitar abrasion, keyboard shift and trumpet blast alters the apparent dimensions of the space.
The final four tracks return to the sharper studio world of Tokyo Rose. “F1 Republic,” “Timeless Man,” “Misora” and “No More Border Line” show how IMA’s music had become harder and more internationally directed by 1990. “F1 Republic” imagines a society governed by speed, machinery, competition and spectacle. Its rhythm does not simply move quickly; it suggests permanent acceleration. Kondo sounds as though he is transmitting from inside the engine, his trumpet briefly triumphant before its tone breaks into warning.
“Timeless Man” introduces Asuka Kaneko’s electric violin, giving Kondo another electronically extended melodic voice to confront. Trumpet and violin can both sustain lyrical lines, but their amplified surfaces keep them from becoming comfortably expressive. The title promises escape from history, while the track’s technology fixes it unmistakably within the turn of the 1990s. “Misora” then opens a more spacious emotional area, allowing the trumpet to expose some of the vulnerability concealed beneath the album’s hard rhythmic exterior.
“No More Border Line” provides the proper ending. DJ Takada’s scratching turns the act of crossing a boundary into an audible process: recorded sound is stopped, moved backward and reinserted into a live-band framework. The title expresses IMA’s internationalist musical philosophy, but the track avoids the soft idealism often associated with “borderless” fusion. Borders do not disappear without friction. Punk guitar, funk bass, hip-hop technique, Japanese vocal gestures and avant-garde trumpet retain their distinct histories even while occupying the same arrangement.
As a compilation, God・Zilla Funk inevitably repeats material available elsewhere, and listeners who own Human Market, Kamikaze Blow and Tokyo Rose receive little that is truly unavailable beyond the “Tokyo Girl” mix and this particular sequencing. Its production changes can also be jarring. The Human Market selections sound carefully shaped, the Australian performances are rougher and more spacious, and the Tokyo Rose material arrives with a denser early-1990s attack. Yet those discontinuities reveal how IMA’s music changed when moved between studio, remix and stage.
The disc also avoids functioning like a conventional greatest-hits package. It omits obvious landmarks such as “China Demonstration,” “Purple Haze” and the title track from Red City Smoke, which had not yet been recorded. Instead, it favors a sustained argument about rhythm, urban identity and boundary crossing. The sequence moves from the unstable marketplace, through chemically enhanced pop and live darkness, toward speed, timelessness and the rejection of borders.
God・Zilla Funk is therefore best understood as an alternate IMA album assembled from existing components. It magnifies the group’s contradictions until they resemble the monster promised by the title. The music is danceable but abrasive, technological but intensely bodily, internationally minded but rooted in specific Japanese histories. Its changing sound quality becomes part of the experience, as though the same enormous creature were being observed in different cities and under different forms of light. At the center, Kondo continues to blow human breath through metal and electricity, creating a voice large enough to walk straight through the walls separating jazz, funk, punk and electronic music.

Kondo Toshinori & IMA - 1986 - Konton

 

Epic/Sony – 32・8H-71  233.72MB FLAC

Konton begins at sundown and finishes with something called “Gan,” moving through darkness, cryptic initials, shifting sand and a chant of “YoYoYo” along the way. The titles suggest fragments of a journey, but Toshinori Kondo & IMA offer no explanatory narrative. Instead, the six pieces form a compact thirty-five-minute passage through electric rhythm, amplified trumpet, Korean percussion and mid-1980s digital technology. Released by Epic/Sony in June 1986, the album turns the hard urban surfaces of Metal Position into something deeper and more spacious. It still moves with considerable force, but its grooves now contain shadows, ritual implications and sudden areas of open air.
The title means chaos, confusion or primordial disorder. Yet Konton is not chaotic in the obvious free-jazz sense. The music is tightly organized, often built from repeated bass figures, disciplined drums and clearly defined electronic textures. Its chaos exists inside the mixture. Japanese electric jazz and punk musicians work alongside Bill Laswell’s New York production ideas, Nicky Skopelitis’s Fairlight programming and Kim Duk-soo’s Korean percussion. Acoustic impact meets digital sampling; Kondo’s breath-driven trumpet confronts rhythm produced by both hands and machines. The album does not blur these sources into a smooth global fusion. It preserves enough difference for friction to remain audible.
IMA’s core lineup has settled into the form that would carry it through much of the next several years. Kondo plays trumpet, Haruo Togashi keyboards, Taizo Sakai electric guitar, Reck electric guitar and bass, and Hideo Yamaki drums. The shift to Reck as the principal bassist is significant. Earlier IMA recordings depended heavily upon the American funk foundation supplied by Rodney Drummer, but Konton develops a more angular internal pulse. Reck’s bass is forceful without becoming comfortably rounded, and Yamaki’s drumming can lock tightly to it while placing sharp accents against the expected beat. The groove remains physical, but it feels less inherited from an established funk vocabulary.
Bill Laswell produces and contributes electric bass, continuing a relationship with Kondo that had already shaped Taihen and the “China Boogie” single. His presence is unmistakable in the album’s low-frequency architecture and sharply separated layers, but Konton does not sound like an IMA performance placed inside a generic Laswell production. Kondo’s compositions and the band’s distinctive timing resist that. Laswell gives the music depth, impact and international studio scale; IMA fills that space with unstable gestures. The rhythm may be mixed with tremendous clarity, but Kondo’s trumpet behaves as though clarity itself needs to be damaged.
“Sundown” introduces the record through collaboration. Credited to Togashi, Laswell and Skopelitis, it places Fairlight programming beside keyboards and heavy electric bass. The technology is period-specific, but it is not used merely to demonstrate novelty. Digital sounds create a horizon against which the physical instruments become more vivid. The track’s title suggests the transition from visible day into uncertainty, and the arrangement proceeds in the same way. Its opening structure is easy to grasp, yet the details gradually alter the emotional temperature. By the time Kondo is fully present, the groove has become less an invitation to dance than an environment through which the trumpet must navigate.
Kondo’s sound is more concentrated here than on Metal Position. He is credited simply with trumpet rather than the larger collection of voice, speaker and synthetic-percussion roles listed on the previous album. That apparent reduction sharpens his identity. His tone can still appear electrically magnified, smeared or compressed, but the fundamental action remains unmistakable: air is forced through brass and projected against an artificial landscape. Kondo rarely treats the groove as a platform for a conventional solo. He enters at angles, leaves phrases unresolved and uses changes in tone as structural events. A single sustained note can make the rhythm underneath it seem suddenly ominous.
“Yami,” meaning darkness, deepens the nocturnal atmosphere. The band does not represent darkness through mere slowness or ambient emptiness. It remains active and rhythmically alert, but the spaces between instrumental attacks begin to feel more consequential. Togashi’s keyboards supply color without offering reassurance, while guitar creates clipped shapes and flashes of abrasion. Yamaki’s drums hold the music together through precision rather than heaviness alone. The track demonstrates one of IMA’s central discoveries: a steady beat can increase uncertainty when the sounds surrounding it refuse to explain themselves.
“Y.U.” completes the first side and would become one of IMA’s major live vehicles. Its studio version lasts a little over six minutes, while the performance later released on Kamikaze Blow nearly doubles that length. Even here, the composition contains the potential for expansion. The title can be heard as “why you,” though the initials remain deliberately open. Repetition turns the phrase into an interrogation without a stated subject. The band accumulates intensity instead of chasing a conventional verse-chorus payoff. Kondo’s trumpet and the rhythm section appear to question one another, and the music’s force comes from the refusal to provide a final answer.
The second side opens with Togashi’s “Sandswitch,” the album’s most suggestive compound title. Sand shifts naturally, but a switch implies abrupt mechanical control. The piece lives between those forms of movement. Keyboards and programmed elements can change the environment instantly, while drums, bass and guitar create slower alterations in texture and weight. Togashi is essential throughout Konton because he does not use synthesizers simply to modernize jazz harmony. His electronic tones behave as weather, architecture and interference. They define the space in which Kondo plays while remaining capable of changing that space beneath him.
Kim Duk-soo brings a different conception of time and impact to the record. A major figure in Korean samul nori, he is credited with changgo—the hourglass-shaped drum—and kkwaenggwari, a small gong capable of cutting through dense ensembles. These instruments are not presented as a picturesque “traditional” interlude. Their physical attacks enter the electric framework as contemporary rhythmic information. The metallic gong is particularly compatible with IMA’s aesthetic: ancient in lineage but capable of sounding as sharp and disruptive as any electronic percussion. Kondo’s internationalism works best in moments like these, when collaboration creates genuine pressure rather than a decorative display of cultural variety.
“YoYoYo,” also credited to Togashi, Laswell and Skopelitis, brings the technological and vocal implications of the album into a compact form, even though Kondo is not formally credited as a singer here. Its repeated syllables function less like lyrics than a rhythmic signal. The Fairlight allows sound to be captured, organized and reintroduced as an object, matching IMA’s tendency to treat fragments of voice as percussion. The track feels playful, but its play has a mechanical edge. A simple human utterance can become a loop, slogan or command once technology removes it from ordinary conversation.
“Gan” closes the album with its longest performance. The romanized title is left unexplained, and the music benefits from that ambiguity. Rather than gathering the preceding elements into a triumphant finale, the piece opens them further. Kondo has more room to stretch phrases, while the band’s repetition produces a state somewhere between funk propulsion and ritual trance. Electric bass and drums maintain bodily momentum; keyboards, guitar and percussion complicate the edges; trumpet moves between declaration and raw sound. The track does not solve the album’s konton. It demonstrates that disorder can be sustained inside a disciplined form.
The production carries many recognizable signs of 1986: hard drum transients, bright digital textures, compressed bass and sharply delineated stereo space. Listeners resistant to Fairlight-era sound may find parts of “Sundown” and “YoYoYo” dated, while those approaching Kondo through free improvisation may consider the rhythmic structures restrictive. At just six tracks, the album also concentrates its methods so strongly that certain bass and drum patterns can seem overly insistent. The record offers little softness and no conventional ballad to release the accumulated pressure.
What prevents Konton from becoming a technological period piece is the quality of the ensemble’s physical interaction. Yamaki does not play like a drummer obediently following a program, Reck does not treat bass as neutral support, and Kondo never permits processing to erase the vulnerability of breath. Even Skopelitis’s Fairlight and Laswell’s studio construction are used to create resistance for the musicians rather than replace them. The album’s electronic world has enough solidity for the players to strike against it.
Within IMA’s development, Konton is the crucial hinge. Taihen introduced a broad collision of funk, folk memory, voices and avant-garde trumpet. Metal Position hardened that collision into new wave and industrial dance music. Konton retains the metallic rhythm but gives it greater depth, cultural reach and psychological darkness. The all-important partnership of Kondo, Togashi, Reck, Sakai and Yamaki is now clearly defined, and the pieces anticipate the expanded live force heard on Kamikaze Blow and the urban confrontations of Tokyo Rose.
The album’s chaos is therefore not a lack of form. It is the coexistence of several forms that refuse to become one. Korean percussion remains distinct from Fairlight programming; Laswell’s bass weight does not absorb Reck’s angular pulse; Kondo’s trumpet is amplified without ceasing to be breath. Konton finds IMA learning that a groove can hold all these contradictions without resolving them. The result is one of the group’s most compact and persuasive records: six pieces of disciplined disorder, beginning at sundown and continuing until the boundaries between ritual, machine, body and city have become impossible to maintain.

Larry Ochs - 2015 - The Fictive Five

 

Tzadik – TZ 4012  373.82MB FLAC

The first sound on Larry Ochs’ The Fictive Five is not an introduction so much as an opening image: tenor saxophone and trumpet arrive in a broad, sustained blaze while drums and two double basses begin altering the ground beneath them. The sound is immediately large, but it is not a conventional free-jazz assault. Individual details remain unusually clear. Bowed strings roughen the air, plucked notes appear like dark objects, Harris Eisenstadt’s drums redirect the ensemble without forcing it into a beat, and Nate Wooley’s trumpet changes from clean projection to grainy growl. The music generates the sensation of a landscape coming into focus while it is already moving.
Released by Tzadik in October 2015, The Fictive Five consists of three extended compositions and one brief intervening piece. “Similitude,” “By Any Other Name” and “Translucent” last between seventeen and twenty-five minutes; “A Marked Refraction” occupies just over four. Ochs designed the long works as “compositions for improvisers,” using coded charts, conventional notation and visual cues developed through decades with the Rova Saxophone Quartet. These are neither predetermined chamber pieces nor unstructured group improvisations. The written material establishes situations, tensions and possible directions, then leaves the musicians responsible for discovering how the music travels between them.
Ochs assembled an exceptional quintet for that purpose. He plays tenor and sopranino saxophones, joined by Wooley on trumpet, Pascal Niggenkemper on double bass and prepared bass, Ken Filiano on double bass and effects, and Eisenstadt on drums. The absence of piano, guitar or another chordal instrument is decisive. Harmony is implied through the interaction of five linear and textural voices rather than declared in blocks. The paired basses supply enormous depth, but they do not form a normal rhythm section. Filiano and Niggenkemper may reinforce one another, divide the register, exchange bowed and plucked attacks or produce sounds whose instrumental source is temporarily unclear.
The group first appeared during Ochs’ 2013 residency at The Stone in New York. The musicians were sufficiently excited by those performances to preserve the project, although Ochs’ Bay Area home and everyone’s schedules prevented them from reconvening until December 2014. The album was recorded immediately after that reunion at East Side Sound. This history helps explain the session’s mixture of familiarity and discovery. The players understand the compositions and trust one another, but the music has not been polished through years of repetition. It retains the tension of five people encountering possibilities that still feel new.
“Similitude,” dedicated to Wim Wenders, begins with nearly nine minutes of sustained horn intensity. Wooley’s trumpet is especially striking, projecting clear tones that acquire rough edges, vocal inflections and compressed bursts of noise. Ochs answers on tenor with a sound that is broad without becoming ponderous. The horns do not operate as soloist and accompanist; they create a shifting combined mass. Below them, Eisenstadt avoids treating volume as permission to batter the music indiscriminately. His playing is forceful but analytical, locating the exact accent that will change the direction of a phrase.
The piece eventually withdraws from its initial brightness, as if an imaginary camera were pulling back from the immediate action. This is central to Ochs’ conception of the album. Three compositions are dedicated to makers of images: Wenders, South African artist and animator William Kentridge, and filmmaker Kelly Reichardt. The pieces were not written to accompany specific films. Ochs instead imagined music capable of generating what he calls a movie in the listener’s mind. The dedications recognize different approaches to time, landscape and visual narrative without instructing the audience what to picture.
The Wenders association makes particular sense in “Similitude.” Its scale feels expansive and horizontal. Musical events suggest figures moving through large spaces, yet the piece maintains an emotional human presence within that openness. The two basses create changing horizons rather than a fixed foundation. Bowed tones stretch into the distance while pizzicato figures imply motion nearer the foreground. The music can sound fierce at close range and almost contemplative when heard as a complete arc. Its title proposes likeness rather than identity: one gesture resembles another, but every return occurs in altered light.
“A Marked Refraction” acts as more than an interlude. After the opener’s twenty-four-minute span, its compactness changes the listener’s sense of scale. Sounds appear as quick markings rather than parts of a vast landscape. The musicians seem to examine how a gesture changes when it passes through another player’s timbre: a bass scrape refracted through percussion, a clipped horn phrase redirected by silence. Its position also prevents the album’s three long works from becoming a continuous sequence of monuments. Ochs understands that duration acquires meaning through contrast. Four concentrated minutes can feel as open as twenty when the surrounding proportions are carefully controlled.
“By Any Other Name,” dedicated to Kentridge, begins in a dark register. Bowed basses groan beneath solemn horn statements, creating a space that feels subterranean without becoming static. Kentridge’s animated films frequently allow traces of erasure and revision to remain visible, and Ochs’ composition suggests a related process in sound. Ideas are stated, altered and partially rubbed away. The listener can still sense what existed before, even after a different instrumental combination occupies the foreground.
The middle of the piece is built from changing subsets. Duets and trios emerge from the quintet, creating a round-robin succession of perspectives: trumpet and drums, bowed bass against plucked bass, saxophone surrounded by sparse string noises. These passages do not resemble a conventional series of solos. Nobody steps forward to display an isolated identity while the others maintain accompaniment. Instead, the composition changes its population. Each temporary group reveals different properties within the same material, as though the larger scene were being examined from several positions.
Filiano and Niggenkemper are crucial to that effect. Filiano can produce a resonant, traditional bass body, but his use of effects expands the instrument beyond its acoustic outline. Niggenkemper’s preparations introduce clicks, rattles, scraped harmonics and metallic attacks. Together they sometimes sound like an enlarged composite instrument with too many strings and several conflicting resonating chambers. At other moments, their differences are sharply exposed. One provides pulse while the other creates friction; one descends into weight while the other removes any clear sense of pitch.
After its more fragmented exchanges, “By Any Other Name” regathers the ensemble into a fiery passage and returns toward the dark atmosphere from which it began. The symmetry is satisfying but not mechanical. The ending does not reproduce the opening; it reveals how far the original material has traveled. Ochs’ structures work because the musicians are not required to protect them. The composed frame can absorb interruption, contradiction and detour. Form becomes visible through change rather than obedience.
“Translucent,” dedicated to Kelly Reichardt, has the album’s most distinctive relationship with silence. It starts with short, tense saxophone phrases and equally concentrated drum responses, leaving white space around each exchange. Ochs’ use of the sopranino adds a narrower, more penetrating color than his tenor, but he resists filling the entire register with activity. Eisenstadt replies in forceful fragments, treating each drum sound as an independent shape. The effect is high-strung without being crowded.
As the basses and trumpet enter, the piece develops a quicker but still breathable flow. The title is exact: translucent material passes light while altering its clarity. Individual lines remain perceivable through the ensemble, yet none emerges completely untouched by the others. Wooley can make the trumpet sound brilliant, fragile or nearly airless, while the basses continually change the apparent density surrounding it. The final portion softens into an extended descent. Instead of ending with accumulated force, the music patiently comes in for a landing, making the album’s conclusion feel earned rather than imposed.
The recording and mix preserve the quintet’s physical dimensions. Marc Urselli recorded the session at East Side Sound in New York, while Myles Boisen mixed it at Headless Buddha Lab in Oakland. The basses possess weight without merging into an undifferentiated low-frequency cloud. Eisenstadt’s kit is present and detailed, and the horns retain breath, saliva, metal and room tone. That clarity is important because so much of the composition resides in changing instrumental relationships. If the sound were excessively reverberant or aggressively compressed, the music’s internal geography would disappear.
The album demands sustained attention. Its three long pieces do not provide conventional themes to memorize, and some transitions can initially feel episodic. The double-bass emphasis gives the record an unusually dark center of gravity, which may seem heavy across nearly seventy minutes. Listeners seeking constant explosive release will encounter long passages of restraint, while those attracted to chamber delicacy must accept sudden eruptions of raw horn sound. Yet these tensions are not symptoms of indecision. They are the conditions under which the album’s imagined narratives become possible.
The Fictive Five succeeds because Ochs’ structures neither suppress the players nor leave them responsible for inventing significance from nothing. The compositions provide invisible architecture; Wooley, Filiano, Niggenkemper and Eisenstadt continually redesign its interior. The resulting music possesses the unpredictability of improvisation and the large-scale memory of composition. Events that initially seem spontaneous acquire meaning when they return, fracture or cast shadows twenty minutes later. This is music to inhabit rather than decode: four landscapes with no prescribed images, waiting for the listener to close their eyes and begin seeing.

Lazro, Zingaro, Leandre, Lovens - 2002 - Madly You

 

Potlatch – P 102  271.78MB FLAC

Madly You begins without ceremony. Bowed violin and double bass immediately produce a web of high harmonics, dry friction and unstable resonance, while Paul Lovens places small percussion sounds around them with extraordinary care. Nothing resembles a count-in, theme or declaration of leadership. The four musicians seem to arrive inside a conversation that was already underway. When Daunik Lazro’s baritone saxophone enters, it does not simply add a lower melodic voice. It introduces breath, weight and animal-like vibration into a string environment whose pitches have already begun to lose their ordinary outlines.
Recorded live at the Forum de Blanc-Mesnil during the Banlieues Bleues festival on March 22, 2001, and issued by Potlatch in 2002, the CD contains two collective improvisations. “Madly You” lasts 40:47; “Lyou Mad,” its title playfully rearranging the same words, lasts 19:33. There are no short pieces, alternate takes or composed themes to provide orientation. The record presents one hour of real-time quartet invention, preserving not only its eruptions and discoveries but also the moments when the musicians test an idea, withdraw it or wait to discover who will move next.
The instrumentation is beautifully balanced despite containing no conventional harmonic instrument. Lazro plays alto and baritone saxophones, Carlos Alves “Zingaro” violin, Joëlle Léandre double bass and voice, and Lovens drums, percussion and musical saw. Every instrument can behave melodically, rhythmically or texturally. The baritone can provide a bass foundation but is equally capable of thin, whistling harmonics; the double bass can sustain pitch or become a wooden percussion body; the violin can sing or scratch; Lovens’ percussion can mark time or erase any clear sense that time is being divided regularly.
This refusal of assigned roles is the heart of the performance. Many free-improvised recordings advertise equality while still revolving around a dominant horn player. Madly You contains no such center. Lazro may emerge with a long baritone statement, but the strings can redirect its emotional meaning. Léandre may seize attention with a vocal cry, only for Lovens to answer with a tiny metallic sound that changes the scale of the entire event. Zingaro can produce enough intensity to resemble a second saxophone, then reduce his presence to a nearly inaudible filament.
Lazro’s baritone is especially compelling because he rejects the instrument’s familiar identities. He does not depend upon a swaggering low-register riff, nor does he treat the horn as an oversized vehicle for muscular free-jazz shouting. His sound can suggest a large animal in pain, a bank of oscillators, escaping air or a voice heard through thick walls. At points he moves rapidly through barely accented lines, making the baritone seem unexpectedly light. Elsewhere he allows a note to leak into the room as a hiss, creating tension through reduced volume rather than force.
The opening improvisation develops through changing alliances. Lazro’s deeper tones lock momentarily with Léandre’s bass, forming a dark composite voice whose components are difficult to separate. When he moves to alto, the relationship shifts upward: saxophone and Zingaro’s violin release a cage full of cries, whistles and sharp glissandi. These pairings never become permanent duos. Lovens listens for the instant when one relationship has become predictable, then inserts a cymbal scrape, drum stroke or loose metallic clatter that changes the conversation without dominating it.
Lovens’ kit sounds less like a single instrument than a collection of independent objects. His history in European improvised music taught him how to create momentum without maintaining a beat, but the playing here goes beyond tasteful nonmetric commentary. He can strike with considerable force when the music demands it. Just as importantly, he knows how to place one dry impact against a sustained string sound so that both become more vivid. Unattached cymbals and small percussion pieces produce noises that might initially be mistaken for electronic processing, though the performance is entirely acoustic.
The musical saw pushes that confusion further. In the second improvisation, its minute cracks, sliding pitches and disembodied whoops resemble computer-generated sound. The instrument’s vaudeville history adds a subtle absurdity: an old acoustic novelty produces some of the record’s most futuristic tones. This is characteristic of Madly You. The quartet does not seek newness through equipment. It discovers unfamiliar sounds by using ordinary acoustic materials with extreme attention and imagination.
Léandre’s double bass gives the music both gravity and provocation. She is capable of producing a full, resonant tone, but conventional beauty is only one item in a much larger vocabulary. Bow hair drags against strings, harmonics flare, pizzicato notes snap into the ensemble and the instrument’s body becomes a resonating chamber for physical attack. Her long history with Lazro is audible in their immediate understanding. They know how to reinforce one another’s low frequencies without turning the performance into a heavy monochrome mass.
Her voice makes the interaction more theatrical. Guttural cries, rolling syllables, groans and operatic projections enter without functioning as lyrics. These sounds can be funny, defiant or genuinely unsettling, and their meaning changes according to the responses around them. Zingaro may answer a vocal curve with a violin glissando; Lovens may puncture a grand gesture with a perfectly timed strike. The other musicians do not treat Léandre’s vocalizations as an expressive spectacle requiring passive support. They challenge, complicate and occasionally parody them.
Zingaro is the quartet’s most continuously mobile colorist. His violin can move between recognizable bowed tone and raw noise so gradually that the transition becomes impossible to locate. In the first piece, his interaction with Léandre creates an unusually broad string field. Because violin and bass occupy opposite ends of the family’s normal register, they can surround Lazro and Lovens, but both players continually escape those limits. Léandre reaches toward thin harmonics while Zingaro digs into coarse lower-string attacks. Their ranges overlap in the middle, where identities become uncertain.
The forty-minute title performance contains passages of considerable density, but it does not follow the standard free-improvisation arc of quiet opening, gradual crescendo, climax and exhausted conclusion. Intensity rises and disperses several times. A fierce collective passage may lead not to silence but to an intimate exchange between two players. A near-march briefly forms, giving the listener a glimpse of familiar rhythmic organization before the quartet takes it apart. Elsewhere, the four engage in collective skittering, each producing small quick sounds until individual gestures merge into a single restless surface.
This changing scale keeps the performance alive. The music can feel enormous when baritone, bowed bass and drums gather their weight, then suddenly shrink to the dimensions of a cymbal edge or a strand of horsehair crossing a violin string. The live recording preserves those contrasts with impressive clarity. Jean-Marc Foussat’s recording, mixing and editing allow the quiet details to remain audible without reducing the force of the loud passages. Audience presence is secondary; the room is heard primarily through the instruments’ resonance.
“Lyou Mad” does not operate as a leftover or abbreviated second set. Its shorter duration produces a different concentration. Lazro’s baritone is more immediately foregrounded, while Léandre and Zingaro move between stormy string textures and chamber-like exchanges. The players can sound more playful here because the first improvisation has already established the full range of their collective language. There is less need to demonstrate the space; they can begin rearranging its contents.
The musical saw contributes to that playful instability, but the piece never becomes whimsical. A gentle pulse may appear, with Léandre briefly suggesting walking bass against Lovens’ rhythmic figures, only to be deepened and disrupted. The quartet recognizes familiar musical behaviors without treating them as forbidden. Swing, march, chamber counterpoint and vocal theater can all appear for a few seconds. Freedom means being able to use those materials without becoming obligated to continue them.
An hour of continuous collective improvisation inevitably asks a great deal of the listener. The title piece contains stretches in which direction is intentionally uncertain, and anyone searching for recurring themes may experience parts of it as undifferentiated activity. The predominance of bowed strings, baritone multiphonics and metallic percussion also gives portions of the album a rough, gray tonal surface. Léandre’s vocal interjections can feel overly theatrical if heard outside the ensemble conversation.
Yet the record’s apparent disorder is supported by exceptional listening. These are musicians who understand that improvisation is not simply the unrestricted production of personal ideas. Every gesture proposes a relationship. The others may accept it, refuse it, exaggerate it or reveal a detail hidden inside it. Nobody needs to maintain authority, and nobody disappears into tasteful accompaniment. Even the silences feel collectively negotiated.
Madly You captures European free improvisation at its most communicative: neither subdued sound investigation nor indiscriminate eruption, but an acoustic social space capable of holding humor, violence, patience and surprise. Its two long performances continuously reverse expected roles and turn old instruments into sources of sounds without obvious ancestry. The altered second title, “Lyou Mad,” provides an apt summary of the quartet’s method. The same elements return in another order, and the rearrangement changes everything.