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I for one am extremely excited about this. Dustin Wong is the guitar knotter and looper known, in addition to his past service in noise rock band Ponytail, for making majestic records out of simple, riffed ideas. The ecstasy of his music will here be paired with noise pranksters Good Willsmith, who made an incredible, euphorically harsh record for Umor in Things Our Bodies Used to Have, along with the Casio tones of Takako Minekawa. An instant purchase for all the leftfields amongst you.

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  • LP £17.99
  • In stock / Ships in 1 working day ?
  • Shipping cost: £3.15 ?
  • NormanPoints: 180 ?
  • UR110LP / LP on Umor Rex, mastered by Rafael Anton Irisarri. Limited edition of 350 copies
  • Includes download code
  • Only 2 copies left

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REVIEWS

Exit Future Heart by Dustin Wong + Takako Minekawa + Good Willsmith
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9/10 Robin Staff review, 10 May 2018

This is the dream team. Meet them: Dustin Wong made music with the fevered math noise group Ponytail before going on to make more cerebral solo records based around convoluted, narratively driven guitar loops. Good Willsmith are the clowns of noise music, jamming out some of the most intense debauchery I’ve ever heard with their previous UMOR release ‘Things Our Bodies Used to Have’. Songwriter Takako Minekawa is a pop genius receptive to the things that go on outside, proving a leftfield legend with recent record duets with Dustin Wong. The three groups here join to make five people working towards a sci-fi platter of sound.

Clasp your hands over your ears, but do so with delight. This is a gorgeous cacophony, one of meandering vocal coalescence, dialtone synth work and crystalline guitar, one where dissonance shimmers and smiles. The overloaded textures of Good Willsmith make this terrestrial; their sound is a riotous jumble sale where choice items are a chance discovery, motifs popping out of the disorganised domestic rubble. With Wong’s repetitive guitar flickers, as on the record’s third piece, there becomes a disorienting juxtaposition of clarity and nausea, a road forged forward and sideways until we’re stretched into both possibilities. Despite the strange, divergent material, this record stays beautiful, whether you focus in on the rhythmic propulsions, the ghostly meandering vocals, or the squelchy noises underfoot.

Pick your own adventure, basically: they’re all wonderful. There’s a common ecstasy to the way these artists all work, and within the world of improvised guitar and synth noise, it’s a much-needed reprieve: the joy in knowing and not knowing, of moving forward or running in circles, is rich in ‘Exit Future Heart’. For musicians working in such a cerebral area, this record is a triumph of instinct.




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