Experimental Funk Free Folk. Way-out Cosmic Disco. Exquisite Ethnic Pop from Japan.
Oorutaichi began recording and performing in 1999, inspired by The Residents, The Doors, Tyrannosaurus Rex, Aphex Twin and Dancehall Reggae. Initial recordings were multi-tracked improvisations using “real” instruments, toys and voice, evolving to composed songs using midi-triggered instrumentation. His first album, “Yori YoYo”, was released in 2003 to acclaim by many world musicians and received airplay on BBC Radio. He has been profiled in a number of Japanese magazines, and is very active in Japanese underground music. Strong melodies, eclectic beats & free style chorus work create an original sound that could be traditional music from a fictitious country called “Oorutaichi”. Oorutaichi’s other projects include his own label, Okimi Records, dancehall / broken toy music duo Obakejaa (with DJ Shabu Shabu) and Urichipangoon, a 4 piece progressive folk band featuring ex-Boredoms drummer Muneomi Senju. He is also close to Japanese indie pop acts such as Shugo Tokumaru or Chanson Shigeru.
- “Drifting My Folklore” (2007)
- “Yori YoYo” (2003)
“It’s a fantastic kosmische trip, an electronic guide, a harbinger, a sort of Virgil leading pop music into a place where it can stave off — for several more decades — its otherwise-imminent museumification. He’s giving music a future.” (Momus)
“Japanese bedroom Pro-Tools wizard Oorutaichi only plays the way-out synth-pop sounds. This is space disco that really does chuck anything remotely earthbound out of the cockpit. “Misen Gymnastics” takes a crisp hi-hat pulse, a touch of bongo, digital fuckery, and a synth riff that sounds like a fanfare announcing cosmic dragons with glass confetti, and mixes them with enough whimsy to fend off Max Tundra’s cronies for months. The kiddie chorus shouts in unison between Oorutaichi’s elfin verses, with deft rhythmic patterns all synched up like he rehearsed these guys a week before pressing “record”. Bent wind chimes and Fender Rhodes fill in the blank spots, while driving it all is a bass line that curves up like it’d been warped by the sun. Underneath it all, a good, old-fashioned disco kick; the modern dance composer refuses to die, again and again and again.” (Pitchfork)
“Hailing from Japan these guys don’t muck around, they even make up their language and sing whatever comes to their heads whilst recording and underpin it with beeping, quirky melodies sounding as if played on kid’s instruments – a loose percussive disco rhythm tries to keep everything together a bit but stumbles from time to time – cute, oddball and over the top at the same time like a Takashi Miike comedy. The Idjut Boys stretch the cut to a maximum disco workout and even generously treat us with a sizzling, stripped down and abstract bonus version.” (Bearfunk)
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