TESTPATTERN by EVELYNE / MASAO
| SKU | 141494 |
| Artist | EVELYNE / MASAO |
| Title | TESTPATTERN |
| Label | DARK ENTRIES |
| Catalog # | DE 330 |
| Tag | |
| Release | W 39 - 2025 |
| Format | Vinyl - US2LP |
| EAN Barcode | 794811515821 |
| Import | |
| € 36,50 | incl. VAT, excl. shipping |
Tracks
- ich weiss nicht mehr
- watashino shonen
- paradis perdu
- sakuramochi
- le soleil se leve
- la jungle en folie
- au clair de la lune
- singin in the rain
- bird island
- alien go home
- tu te fous de moi
- time out
- drole doiseau
- time to party
- tabac
- tale of a lizard
- moonman
Description
Evelyne/Masao bring 'Testpattern' to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project 'Testpattern' is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982.
While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called Tokyo Rock TV.
The album 'Testpattern' comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But 'Testpattern' is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song.
