Tentenko
Good Night Dub


2.3
average

Review

by Johnny[Well] STAFF
September 13th, 2020 | 10 replies


Release Date: 2017 | Tracklist

Review Summary: Tentenko XXIV: Good Dub?

Tentenko is an ex-idol freelance artist who runs her own label and has released an extensive range of experimental pop and techno EPs. This review is part of an ongoing series dedicated to exploring her discography. For a point of reference and orientation to her discography as a whole, please see the first instalment in the series, the review for Good Bye, Good Girl.

Good evening ladies, gentlemen and all in between. Welcome back to the Tentenkoverse for our evening broadcast on the next episode of Tentenko’s storied discography, the subject matter of which is her third - yes, third! - release of 2017, released in March (that’s the third month!) of that year. This release is called “Good Night Dub.” It focuses primarily on dub.

Something I may not have adequately established over the course of this series is that Tentenko’s experiments with dub have mostly been insults to her audience’s patience. There are some exceptions - “Obake” is one of her strongest bangers and I guess “Make Up Dub” is okay - but these pale in comparison to the reams of listless basslines and interminable repetition she has foisted upon us. To put this in context, here is a very important ranking of genres she has explored in order of how well she has explored them.

1. Noisy techno
2. Synthpop
3. Noise/industrial
4. Un-noisy techno
5. Darkwave
6. Minimal wave
7. Dub

Doesn’t look good, right? Well, while it’s not on the same level of awfulness as Tentenko no Seimei Daiyakushin, one of Tentenko’s supreme disasterpieces and dub album inside-out, the word on the street about Good Night Dub is that this shit blows. Let’s go! “Monster Riddim” is a decidedly unmonstrous bassline stuck on repeat for five uneventful minutes, “Deep Sea Riddim” is the same deal except the phaser is turned up high enough for it to be used for underwater nature documentary animes for children age -1 to 1 years, “Freefall Dub” is literally “Twinkle Twinkle Little Star” with extra toms, and “Bikibiki Dub” - wait a second! - is actually fairly okay because she introduces a load of noise and feedback while bitcrushing the melody enough to make it at least a little intriguing. More of this please, Tentenko!

It pains me to say this, but this dub CD-R is an abject failure. The reason I can tell this is that the best bits have the least to do with dub. “Echooo”s 1 and 2 are ambient interludes(?) that still take after dub but nod towards Monolake-esque minimalist techno. The percussion on these is a little elementary, but they hold up solidly as atmospheric cuts. ‘Solid’ is not enough to redeem this CD-R entirely, but it does just about keep it above the flames of absolute bottom-tier Tentenko. Hooray for that. The only other consideration here is whether the title refers to “good dub” to be enjoyed at “night”, or Tentenko bidding “goodnight” to dub as a whole. One can only hope it is the latter.




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user ratings (1)
2.3
average


Comments:Add a Comment 
JohnnyoftheWell
Staff Reviewer
September 13th 2020


28916 Comments

Album Rating: 2.3

c-tier tentenko smh

Digging: Deftones - Saturday Night Wrist

BaselineOOO
September 13th 2020


100 Comments


I always thought Tentenko had real potential. I was eagerly waiting for something new. I'm in deep pain now.

Evok
September 13th 2020


8022 Comments


Now when you say dub, are we talking about proper dub?

Digging: Svalbard - When I Die, Will I Get Better?

dimsim3478
September 13th 2020


8821 Comments


I always thought Tentenko had real potential. I was eagerly waiting for something new. I'm in deep pain now.

I mean, it's obvious from the sheer volume of Tentenko's output that a lot of her releases are just experiments; a glimpse of her "trying out some stuff"; demos, essentially. This release is part of her "monthly CD-R series" and the practice of selling limited edition CD-Rs containing demo/throwaway material exclusively at live shows and thru mailorder (as opposed to selling them thru actual retailers) is actually very common for underground Japanese artists. Moreover, Japanese audiences understand that these CD-R releases are not representative of the artist at their best, nor does the artist intend for them to be.

Of course, all this is very different from how Western artists typically operate; we rarely see any demo material from them until after the "finished product" (i.e. proper album) is out, so everything they do release is supposed to be like "this is our best effort". You can see the rationale behind the decision to withhold unrefined or subpar material, but the reason Japanese artists do otherwise is that these limited edition releases are an effective way of boosting income between album cycles. Always remember that most Japanese artists have absolutely no audience outside their own country, which means their ability to make money from their art is also much more limited than that of Western artists, hence the many differences in how they release, merchandise, market, etc.

Digging: Suddenly Boyz - ??????? -May the 4th Be with You-

bloodshy
September 13th 2020


2004 Comments


waiting for the subtitled version

JohnnyoftheWell
Staff Reviewer
September 14th 2020


28916 Comments

Album Rating: 2.3

I have already forgotten if this has any vocals. I don't think so.

@dimsim the catch here is that Tentenko at her best (ie on her Toys Factory output) has her material written and produced by other people, and virtually all her freelance stuff is shrapnel. Can't think of a single defining work that exemplifies whatever its best is supposed to be - I guess her DJ mixes come close

dimsim3478
September 14th 2020


8821 Comments


^Exactly my point. If she's yet to release a "real", properly marketed, possibly major label album that she produced by herself, it's probably because she's aware that she doesn't yet have any material worthy of that kind of release. So for now it's just disposable CD-R experiments. Honestly, I don't see that changing any time soon cuz the underground electronic artists that Tentenko runs with these days primarily release their music with the same mentality (i.e. most all of it is just experiments, or just plain "quantity over quality"). Whether fans choose to keep buying those releases is up to them. I certainly don't have the time or patience to sift thru her hefty output, so I appreciate that you've taken the time to do that for all the English-speaking fans out there.

JohnnyoftheWell
Staff Reviewer
September 14th 2020


28916 Comments

Album Rating: 2.3

Praise be to Toys Factory for giving us an easy way out lol. Also, I forgot to highlight her live album Tentenko no Otanoshimi Kai - that one is a nice sampler of most of the best tracks from her material around that era, would probs be the one I'd rec as a showcase. Much less shrapnel

Lord(e)Po)))ts
September 19th 2020


59503 Comments


Review ashnikko

Digging: Botany - End the Summertime F(or)ever

JohnnyoftheWell
Staff Reviewer
September 22nd 2020


28916 Comments

Album Rating: 2.3

you bet i will



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