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The three tracks on Mommy Close The Door were all recorded live in France in late 2002 by Japanese vocalist Junko Hiroshige, whose murderous wail hypercubes Patty Waters, Yoko Ono, and the titular victim in Olivia de Havilland's 1972 crime flick The Screaming Woman, in collaboration with Yves Botz, Thierry Delles, Michel Henritzi, who extend the trad power trio into a Marclay mash with brutal rock'n'roll energies. Hiroshige joined Hijo Kaidan in the early '80s, playing a pivotal role in the evolution of the group (whose initial performances resembled happenings and Fluxus actions and got them banned from numerous venues in and around Osaka). Their current extremist bruitism centers around Junko, her husband and founding member Jojo Hiroshige, and The Incapacitants' Toshiji Mikawa. In April 2002, they met the French trio Dustbreeders in Tokyo, who formed in the late '80s around the concept of anti-records, performances, exhibitions and other oblique strategies. They compensated for the absence of technique with mechanical instrumentation; with their instruments of choice -- walkman, tape recorder, and, as of 1999, when they began using old mange-disques exclusively (aka "slot-in record players," portable 7-inch phonographs from the '70s) connected to guitar amps -- mix quotations into a brutally indifferent stew in which pop, jazz, exotica, and hard rock sink into feedback and electrical noise. Yeah, baby, it's a saucy dialectical between the memory of the original works (carried in the popular melodies) and the band's violence turned against the discs. Let's be cruel! * An extremely nasty mix of unholy screaming that'd peel paint and maniacs destroying the history of popular western music one record at a time * Hijo Kaidan's frontwoman, the legendary grand dame of Japanese shriek, recorded live in France backed by a different platoon of noisemakers