Cult Junk Cafe - Cult Junk Cafe (1995)

After graduation, Michael Hartman found himself pulled to Tokyo in the wake of his friends, moving there and enjoying the tail end of Japan's nineties "bubble economy." The experimental noise scene in Tokyo was friendly and open and inviting to collaboration, and Michael and Brent Gutzeit soon ended up performing with some of the transcendent names of the Tokyo scene. Michael was also invited to join the improvised music group Cult Junk Cafe. The band released their debut tape Cult Junk Cafe in 1995 on Gentle Giant Records.

Cult Junk Cafe is another improvisational band playing under the influence of John Zorn's Cobra, a musical composition that randomly prompts a band to follow musical instructions via cue cards. Like Michael and Brent's group Pencilneck, Cafe follows a simplified version of Cobra where any performer could cue a change in musical direction through just hand gestures. The tape is made up of live performances made throughout early 1995.

Like any band, Cult Junk Cafe is defined by its members and instruments: Michael Hartman on drums, Yoshigami Kyota and Otani Yasuhiro on guitars, Sakamoto Kazutaku on synthesizer and founder Tsunoda Tsuguto on turntables/sampler. Brent Gutzeit (bass) and Agata (guitar) guest on certain sessions. The earliest tracks, recorded with Agata and Brent on February 3, 1995, are pure chaos from start to finish. Every instrument plays at once, seemingly all on different pages of the same book, and actively disassembling any musical idea that might cohere. The only voice that really makes itself heard over the others in these tracks is Agata's unmistakable guitar (but that might just come from familiarity.)

After two months (recording on April 3,) the group favors more cinematic and less abrasive improvisations. The songs from this set also seem to follow one musical "director." Sakamoto's synthesizers are the foundation for "Open the Gates", a more environmental sonic piece that sounds apiece with the science fiction cityscapes of the 1980s. The excellent "Improvisation (4395)" follows Tsunoda's squirrelly turntables that establish an elastic sound that coils up and releases energy throughout. In both cases, the lead guitar matches the energy of the song's "leader" to create a more cohesive and pointed template for everyone to play off of.

After two more months on May 30, Cult Junk's tracks favor a slower start. Any music, sound, concept and comedy comes less from a clash of personalities (as they did when the band first started recording) than a synthesis of them. On the tape's sprawling tracks like "Improvisation (53095)" or "Theme from the Action Theme Song", the compositions are a journey of wandering musical paths. Any member could suddenly guide the band out of one sonic direction to follow and react to their own musical leads. These shifts can be smooth or jarring but keep the tracks moving and unpredictable. Occasionally, these shifts fall flat when the rest of the band doesn't quite know what to do sonically with an idea another member is introducing. It's an easy enough trap to get out of, though, given the conceit.

According to Hartman, the hand gestures used by the band to cue a shift in musical direction became less necessary over time as improvisation improved. And it's clear from listening to this tape, a compilation of three live sets across a couple of months, that improvement goes hand in hand with trying out different ways to improvise. Of course, there is no right or wrong way about it...just what works best for any given band on any given day.

Note: Special thanks to Brent Gutzeit and Michael Hartman for answering my questions about their music and their time in Japan.

Here is the discography surrounding Cult Junk Cafe's debut tape:

Cult Junk Cafe

The Jackson Stomp (1995 compilation song from The Miracle of Levitation)

"The Jackson Stomp" by Cult Junk Cafe

Pass the Headphones!!

TV Pow - TV Pow (1995)

"Big Fat Fuckin Zero" by TV Pow

On scholarship to study under sculptor Ryoji Koie, Brent Gutzeit moved to Japan and eventually landed in Tokyo where he fell in with the city's experimental music scene. While living there, he formed a band with fellow Kalamazoo expatriate Michael Hartman. TV Pow released its debut tape TV Pow in 1995 on Gentle Giant Records.

The tape starts with a field recording at a Japanese train station: an announcement jingle, a Japanese voice and the train approaching, braking and blowing out the recording equipment. The sheer volume of sound is more than the equipment can handle. This embrace of compression to create and manipulate noise is the through line of an otherwise unfocused tape. The tape is a collection of experiments, mundane sounds, live noise rock, and homage. All of it the lo-est of fi-s. Simply, it is a combination of "trying things out" and "fucking around," recording with whatever's handy.

"piano song" is the tape at its most cerebral: a two-player variation on John Cage's "Water Walk" where the ordinary objects are more percussive and rhythmic, and the prepared piano is afforded an extended solo. The other end of the musical spectrum is in "this close" where the listener gets an earful of foreplay from a microphone too close to hear anything. The flirtatious intention is clear if unintelligible and the subsequent play is simulated by instruments.

"kitchen scene" highlights the clinks and clunks of bottles and pans moving about a kitchen. Following these cues on the rest of the record (outside of the few live recordings,) the percussion arrives by any means but drums. Thunder sheets, breaking glass, or any household object that could be thumped does the trick. The guitar, meanwhile, meanders its way into rhythms and songs or breaks out into the limits of its own abrasiveness. Finally, "i have a special camera" is one of many field recordings as skits strewn about the tape. It captures the youthful energy, freedom and drunken transgression of Americans walking the streets of Tokyo at night: yelling out an inside joke that is politely dismissed.

The tape is nothing serious and not to be taken seriously. Its modus is the youthful dawning of the ever-expanding scope of whatever music can be, and its result is inevitably sophomoric. Also inevitably from people who can see so far so young, TV Pow will only come to know itself better and grow from here.

Note: Special thanks to Brent Gutzeit for answering my questions about his time in Japan and providing a digital copy of the TV Pow tape.

Here is the discography surrounding TV Pow's debut tape:

TV Pow

Big Fat Fuckin Zero (1995 track from The Miracle of Levitation compilation album)

"Tokyo 01.95" by TV Pow

Pass the Headphones!!

Wheaton Research Labs - Sean Wood Is a Genius (1995)

"Floppy Fan" by Wheaton Research

While Brent Gutzeit was an active member of multiple bands (including Pencilneck and Liminal,) he also recorded and released music under the moniker Wheaton Research Labs—shortened soon after to just Wheaton Research. The solo project, which started in 1992, released its debut tape Sean Wood Is a Genius in 1995 on Gentle Giant Records.

According to Brent, Wheaton Research was based on experimentation with "recycled cassettes." To paraphrase his process, he would play tapes through his stereo and record them on his boombox then repeat the relay x number of times. The result would take the sounds from the original tapes, compress them and thus warp and distort them—all while accumulating layers of ambient noise.

Sean Wood is not currently available to break down, but the contemporaneous Davison 1995 gives an idea of the kind of experiments Wheaton Research was concocting. The pre-processed tapes could hold any type of sonic material including field recordings, room tone, live performances, or singular sounds such as a motor, a fan or a bass drone. And there doesn't seem to be an arbitrary number of times each tape might be re-recorded. This results in a variety of levels of distortion that can range from simple crackle that fills in the hum of a room to speed changes that can warp a drone into something more melodic. Every track is at the same time familiar yet off-putting; taking recognizable sonic imagery and warping the image into having an unfamiliar character. What new character that might be is entirely on the listener.

Also, I recommend checking out the video below from Brent Gutzeit's documentary/live footage/musical compilation project The Miracle of Re-Creation released circa 1997.

Here is the discography surrounding Wheaton Research Labs's debut tape:

Sean Wood Is a Genius

"73" (1995 track from split cassingle)

1992-1995 (2014 compilation album)

Davison 1995 (2023 release of 1995 recordings)

"Tokyo 01.95" by Wheaton Research

Pass the Headphones!!