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12" LP · (Urashima)
OUT OF STOCK

SOLD OUT FROM THE LABEL. LAST COPY!

C. Spencer Yeh on The Passion of Rubbers in As Loud As Possible Issue One:

The question of what is one's favorite item from one's collection (or accumulation) consistently pops up in conversations amongst fans and collectors, and this unquestionably is always my answer. From head to toe, insert to tape, all elements are in glorious harmony and conversation with one another. Having the G.R.O.S.S. label's "industrial design" fetish/obsession (some would say a relatively antiseptic departure from much of the other noise tapes of the time) articulating the sexualized rubber/bondage theme is a fantastic intersection, and one, to my knowledge, not touched upon again as overtly by the label (the subtle rope-play of The Three Temples excluded). The presentation truly is the content, and vice-versa; a unique trait in the young but deep legacy of noise tape packaging. I marvel at the object's concrete refined sense of pruriency – the particular choice of patterned rubber material, the ornamental silver, the crude claw of staples holding the fucker together – all without resorting to prefabricated means. Every time I've slowly and carefully undone the buckle, heard the crack of velcro, pried the rubber shell open, and later meticulously sealed up its intricacies once I've finished, the process has felt like nothing less than ritual.

Moving on to the actual tapes themselves – double C10, another perfect choice. Four parts of "acidtronics" – a concise statement forced by physical circumstance. I've always been a sucker for increments of twenty minutes on cassettes (in this case the total program being twenty), as well as short tapes, maybe because they focus on what truly matters – how the "side flip" is handled: a similarity with others' obsession with 7" singles. Parts One, Two and Four offer live takes, uncut and ramming full speed, differing from the intense cut-up techniques reported on other studio efforts from the time period; just organic velocity. A fucking monolithic vacuum cleaner sucking up all bullshit "good time" posturing, headbands and peace signs, and blowing them into a rubber isolation suite filled with sex gas so that one can truly get deep and "well acquainted" with the finer onanistic details. The Third part/side is a relative anomaly, a marked contrast – echoed-out spacious synth bells – the tense and the delicate sharing opposite sides of the same space as the brutish and primal. Simple but effective sequencing; a crucial piece that bares all intentions behind the churning sonic mass surrounding. Taken as a whole, the four sides shape a massively pleasing and dynamic curve. Absolutely "psych" – psychosexual and psychedelic. A++, five stars, two thumbs up, four spurting cocks and all that.


This astonishing double tape printed in only 144 numbered copies is reissued on vinyl exactly twenty years after the original release. The LP has been pressed on 140g black vinyl with black labels and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 99 copies with insert in luxury 160g ivory paper. All packaged in a clear plastic sleeve to protect record, cover and inserts form dirt, shelf wear and damage.

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