The group was formed in in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Toshiji Mikawa and Fumio Kosakai are no ordinary salarymen, though. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early s, and still one of the most radical and powerful.
They've consistently been responsible for some Leprosy - Incapacitants - Pariah Tapes (CD) the most complex, chaotic, loud, and downright fun releases in the genre. In the early eighties when based in Osaka, Mikawa occasionally performed as Incapacitants as part of various duets, most notably with Yamatsuka Eye of Hanatarash and Boredoms, and set up the Pariah Tapes label in order to release the first Incapacitants material.
I made several cassettes under the name of Contradictory Bridge. Contradictory Bridge became Incapacitants, originally my solo recording project. Still, at first, I thought Incapacitants was a recording project and not suitable for live performance. Leprosy - Incapacitants - Pariah Tapes (CD) with Fumio as a permanent member, Leprosy - Incapacitants - Pariah Tapes (CD), Incapacitants has changed very dramatically.
More generally speaking, do you feel that noise has changed significantly over the years? How do you see noise of today? I think Throbbing Gristle should be held responsible for that. I noticed many young talented noise guys arising almost everywhere in the world. I believe Leprosy - Incapacitants - Pariah Tapes (CD) noise has a glorious future or not depends on if they continue to make noises.
Do you feel there is an insurpassable Leprosy - Incapacitants - Pariah Tapes (CD) between noise and music? From a stereotypical perspective, Japanese are known for their lust for new electronic gadgets and devices.
How imporant is technology for making noise? In my case, if all the effectors can be much smaller and lighter, I feel very good to bring them into the live space with me. Using new equipments may kill the taste I like in my noise. So, when employing new gears, I try to be cautious.
Incapacitants are legends of intense physical live action. What is the difference between performing live and preparing music in the studio, or composition vs.
Basically, live materials are the source of my composition. I improvise. Art is often harnessed for the extra-aesthetic purposes. In your work, what agenda should we look for? And finally, if nobody would be listening to your noise, would you still be doing it?
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