GOTOU - s/t

It's not far off a year to the day that Inu Wan Wan announced itself to the world with the release of Sapporo trio Gotou's self-titled debut. Still, no shame in having missed it at the time. Maiden releases of band's from isolated scenes easily slip under the radar, though Gotou posses a surety that scratches for immediate attention. Funny we should we talking about this the same week the Aunt Sally records decided to turn up, for Gotou certainly draw from the same well - minimalistic, no-wave atonality that makes overtures to both early 80s Berlin (Malaira, Mutabor, Birthday Party) and New York (there's definitely a hint of Kim Gordon in these vocals), but with a more obviously gothic overtone. If you're fed up of digging around in the past for music of this nature, Gotou make a compelling case for the here and now (and a desire to dig deeper into the Hokkaido scene they're a part of). Released in late June, the second IWW release turns to China for inspiration, specifically the improvisational work of avant garde stalwarts (i'm told), Sheng Jie & Deng Boyu. One eponymous live track takes up both sides, a free jazz oriented noise rock freak out that feels almost entirely unmoored and stands between traditions - there's psychedelic aspects that recall the Japanese free rock movement (ala Toyko Flashback), alongside loose limbed discordance that feels straight outta the no wave book of anti-rock orthodoxy. It seems fitting this Soul Sender was recorded at the Qingming Festival, customarily a day where offerings are made to the dead, as there's certainly an exorcism of sorts occurring here. So that's three for three for IWW now. Eyes and ears peeled for what comes next...