Tomoyuki Aoki & Harutaka Mochizuki + Hasegawa-Shizuo

Tomoyuki Aoki & Harutaka Mochizuki



情趣演歌   [Enka Mood Collection ]


Split 10 inch LP ltd to 250, comes in a silkscreened gatefold  jacket with obi (grey, blue, white) insert + postcards…

Liner notes by Alan Cummings

Third in the enka collection series, this split LP features 2 duos

Aoki Tomoyuki is mostly known as the guitarist & vocalist of  Up-Tight (Alchemy records, 8mm) and for more than 2 decades he has been behind some albums  which mix plaintive echo-drenched imprecations, love of bitter-sweet folk and blissfully nihilistic guitar noise reminiscent of Les Rallizes Denudes and Mizutani’s velvetian ballads.

 Harutaka Mochizuki is a multi-instrumentalist, mostly known for his saxophone improvisations recalling other lonely satellites and solo thinkers like Masayoshi Urabe, Arthur Doyle, Anthony Braxton and Kaoru Abe. Aoki and Harutaka have been recording together for a couple of years and this is their first new collaboration after a remarkable self-released CD that saw the light in 2014.  Terribly human, passionate and intense, their association is just one of the most inspiring and burning free unit since the apex of the P.S.F era.

Hasegawa-Shizuo is Hirotomo Hasegawa and Shizuo Uchida.  Hasegawa is the lead singer of seminal early eighties Japanese punk/hardcore group Aburadako (Greasy Octopus), while Uchida was a long-term member of Haino’s Nijiumu medieval dream-drone unit. For  more than 2 decades, the latter was involved in many projects such Le Son de L’os, Kito Mizukumi Rouber, L’extase Métallique and many more. This duo has now been active for a decade, their work being documented on few releases that sadly became scarse over the last years.
Here, the group’s instrumentation is highly unorthodox once again, placing Uchida’s mysterious bass textures against the wet skirl of Hasegawa’s hichiriki, an ancient double-reed wind instrument, the haunting upper register tones of which are an unmistakable feature of gagaku court music.  Deliriously strange and enigmatic, their enka cover sounds like a dark composition of their own, associating humour to their unique strangeness.

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PRICE  : 17 euros

France : 20 euros (letter)

Europe : 24 euros with airmail

Rest of the world : 26 euros with airmail

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Tenniscoats CDs Tan Tan & more

Tenniscoats CD “Tan Tan Therapy” 7ep

New edition with one Japan  bonus track of this long acclaimed album originally released in 2007 with a great cast of swedish friends such  as Andreas & Johan Berthling..


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Bibi & Tenniscoats 7′ “Tamashi / Akuma made todoku koe” Majikick


bibi tenniscoats

Jad Fair, Tenniscoats and Norman Blake CD “How Many Glasgow”  Sweet Dreams


Jad Fair Tenniscoats

Gezan & Tenniscoats CD “Live In zaban” Majikick


gezan  tenniscoats

Koharu Yanagira & Tenniscoats CD “Akiratori”

Stunnig collaboration with this shamisen / shinnai player  and edo period singer..


koharu yanagida tenniscoats

UP-Tight LP st

Up-Tight LP s/t Desastre records

Nice re-release of their first album recorded in 2001

LP, 300 copies black vinyl.

UP-TIGHT are a noxious trio from Japan leade by Tomoyuki Aoki, ghost of Les Rallizes Dénudés, who augment their sound with crushing, Sabbath-styled dynamics, earsplitting acid leads and beautiful Velvets-inspired ballads. Just when you thought you’d got to grips with Tokyo’s paradigm destroying psych scene, this one hits like a sucker punch.



Tenniscoats CD Music exits 1, 2 & 3

Tenniscoats CD “Music exits 3” Majikick

Once again, we have here some nice pastoral and folky dreamy songs mixed with some nice winds. Only a few


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Tenniscoats CD “Music exits 2” Majikick


Tenniscoats CD “Music exits ” Majikick


Marginal Consort – Kazuo Imai – Hirose

Marginal Consort 3CD “08.09.13” Meena

Marginal Consort is the collective improvisation project made up of Kazuo Imai, Tomonao Koshikawa, Kei Shii, and Masami Tada. All of the members were students of Takehisa Kosugi at Bigakko art school in 1975. They started the project on the invitation of Imai in 1997. Each year Marginal Consort holds from one to several concerts in which they perform continuously, without interruption, for two to four hours. Various electronic and acoustic sounds blend and coexist, and myriad sound colors/textures and reverberations flow in a free and spacious way while making large-scale transformations over time. Superb. These 3 CDs document Marginal Consort’s live performance at a gallery in London in September 2013.


Marginal Consort 3cd

Kazuo Imai CD “For Tentou Mishima” Hitorri

Kazuo Imai (born in 1955) studied with Masayuki Takayanagi and Takehisa Kosugi, and has been performing improvised music since the 1970s. While his principal instrument is the guitar, he also makes extensive use of viola da gamba, electronics, everyday items and natural objects, freely performing music born of myriad sounds. This album is comprised of five pieces from Imai’s live performance on the final day of a solo exhibition by graphic artist Tentou Mishima (who died in 2012), held at the gallery Nanzuka Agenda in Shibuya, Tokyo, in August of 2010. In the first track, which is over 40 minutes long, Imai uses an acoustic guitar, Fiedel Gamba, piano wire, branches and small objects, changing instruments and expressive techniques several times in the course of the performance. With its superb structure and dynamism, this epic work makes a powerful impression. In tracks 2 to 5 (each about 4 minutes long), Imai used (composed) Mishima’s drawings like scores and performed them on acoustic guitar. Imai’s outstanding artistry and skill are fully demonstrated in these amazing performances.



Junji Hirose “SSI-4” Hitorri

Junji Hirose became active on the free jazz/improvised music scene at the end of the 1970s. He has played the saxophone in a variety of groups and projects, including Masahiko Togashi’s band and Otomo Yoshihide’s Ground-Zero. But Hirose’s work is not limited to sax playing: in the 1980s he started performing noise music on his SSI (self-made sound instrument), an apparatus made from his collection of bicycle wheels and other everyday odds and ends. The sounds produced by hitting and scraping the objects are amplified via installed pickups, turning into complex, intricate layers of sound clusters that reverberate through the space. This is a live recording of two pieces performed by Hirose in January 2013 at Ftarri, Suidobashi, Tokyo, on version 4 of the SSI. You’re sure to be caught up in the whirlpool of dazzling sound produced by his truly unique self-made instrument.


Junji Hirose SSI 4

Junji Hirose “SSI-5” Hitorri


Junji Hirose SSI 5

Makoto Kawashima & Naoto Nishizawa CD

Makoto Kawashima – Naoto Nishizawa duo CD”Hamachidori” Homosacer records

Great duo with Kawashima on alto sax and Nishizawa  (Exias-J) who’s a percussionist and sound artist. Far from the usual ferocious playing, music has her a lot of space with Kawashima’s singular melodic and lyrical vibe.


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Ichiyanagi – Joji Yuasa – Somei Satoh

Toshi Ichiyanagi + Kobayashi Kenji 2CD “Duo Recital” Omega Point

In 1961, soon after Ichiyanagi returned from USA, 2 concerts were performed at the Sogetsu Art Center. Some members of Group Ongaku joined and the duo was also recorded at this occasion. 6 months later John Cage visited Japan for the first time and then the japanese music scene was struck by a huge “shock”. So we ca nconsider this recital as a “quiet shock” before the storm.

DISC 1: Sylvano Bussotti (1931-) : Music for violin Italy-born Bussotti is a composer, a director and a designer but also well known as a multitalented person. At an early age, he began work on a graphic score. The music he wrote had quality but it was also visually interesting. For this performance, Kobayashi took a unique style. They used overdubbe d violin sounds from a tape, which perhaps Kobayashi helped to record, and added a live performance of piano and percussion as well as some [sounds of] object.

Morton Feldman(1926-87): Duet for violin and piano Along with John Cage, Feldman is one of the leading figures from the New York experimental music sce ne. He is also well known as a soft sound composer as well as for an interesting episode when he inv ented graphic notation. Feldman was a productive composer but he often gave less creative simple tit les to his music, for example, by referring a composition to the musical instruments.

Toshi Ichiyanagi(1933-): The Pile / For String #2 (simultaneous performance) ‘The Pile’ is a piece composed for arbitrary musical instruments. At the concert, the composer him self performed with a method of playing the internal parts of a piano along with Yoko Ono’s voice w hile Juunosuke Okuyama assisted him as an engineer, which made it the first and only real piece with live electronics [3]. Like John Cage often taking this method for his work, they made a simultaneou s performance for this piece, ‘For stringed instruments, the second movement’ by Kenji Kobayashi. The only instruction in the score was; “Through the whole performance one should only play one note ” [4]. The piece was not only performed throughout the sixties but also is played today.

Anton Webern(1883-1945) : 4 Pieces for violin and piano, Op.7 Along with Schoenberg and Berg, Webern belonged to the New Wienna School of music. Preceding Feldman , he was a soft sound composer and had a particular taste about extremely conscious tones. Unlike ot her pieces on this album, this piece was composed in the very early period in 1910.

La Monte Young(1935-): 561 to Henry Flynt [5] La Monte was one of the composers who created pieces that were later categorized as Minimal Music. B ut most notably, he was a member of Fluxus, which we shouldn’t forget. This piece is very conceptua l. The same note should be played for arbitrary number of times that was pre-determined. It was perf ormed at this concert for the first time and Ichiyanagi played clusters with both arms. By the way, Henry Flynt (1940-) was a musician belonging to Fluxus.

DISC 2: John Cage(1912-92): 34’46.776″ A piece composed in 1954 and performed in the same year on October 17th for the first time at Donaue schinger Musiktage, a music festival, (simultaneous performance with ’31’57.9864″ for a pianist’). Later that year, a score was published under the title ’31’57.9864″ for one pianist’. In this re cording, apart from Toshi Ichiyanagi’s piano and Kenji Kobayashi’s violin, one can hear female nar ration in English and Japanese, about which there was no mention in any document at the time (assumi ng it as Yoko Ono’s voice however it is not confirmed). Perhaps, Ichiyanagi reproduced it by referr ing to an early performance method of the piece [6] In a promotional document of the concert, Yuji T akahashi’s name is written as another pianist. However, according to the musician, he canceled it a fter he got an offer of a simultaneous performance due to a technical reason.


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Toshi Ichiyanagi + Kobayashi Kenji 2CD “Duo Recital”  + poster Omega Point

Ltd Edition,  same as above, comes with a 30 x 45 cm poster

This special edition includes original concert poster designed by Kouhei Sugiura and Katsuhiro Yamag uchi. Sugiura is one of pioneer of Japanese graphic design after WW2. He had created cover art of ma ny titles of Japanese avant-garde music – for example, ALM records, Japanese edition of WERGO, early electronic music of Mayuzumi, a.o. Yamaguchi was a visual artist and one of founder of Experimenta l Workshop in 1950s.



Toshi Ichiyanagi CD “Music for Piano” Omega point

Composed between 1959-1961 with Takuji kawai on piano


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Toshi Ichiyanagi CD “shikisokuzekuu-Kuusokuzeshiki” Omega point

Electronic work recorded at NHK studio, considered as one of the strongest Ichiyanagi tape works


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Joji Yuasa CD “Background Sound in Textile Pavillion of Expo 70” Omega Point


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Veltz CD “Hommage to Home Electronics” Omega Point

Ok, this is the less famous name but Akira who’s behind Velz is an intersting musican (anti) musician who used broken Tvs, analog equipments. Excellent  and far more interesting than the New blockaders and consorts.


Veltz CD Omega003

Akio Suzuki LP “Ai Sha” Omega Point

ltd edition of 230


Akio Suzuki LP omega point

Aishi Oyaushi CD

Aishi Oyauchi CD “Hikureteyomowakuraku” Armageddon Nova

Aishi Oyauchi is a radical alto saxophonist in the tradition of Kaoru Abe and who hails from the same first generation of Japanese free improvisers and he regularly plays with Deku bassist who comes out of the whole Motoharu Yoshizawa school of radical free improvisation and rigorous sound art and was a student of legendary percussionist Masahiko Togashi. Here Oyauchi plays soft, no reed torture and this release offers one more missing part of the japanese free music underground. Unrecorded despite being in his 60s and playing out for several decades so this is the only 3rd recorded evidence of the invention Oyaushi is capable of and that has attracted regular collaborators such Kan Mikami and drummer Sabu Toyozumi.


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Otaco cassette “Yoru wa kyabetsu hatake” Self Release

Otaco is an idiosyncratic singer-songwriter cum performance artist playing toy keyboards, guitar  who was born in Hokkaido and she belongs  belong to the same informal Sapporo underground network of intuitive, inventive and often funny young musicians, improvisors and video makers as Aoi Swimming , Cup & Saucers and Shimettainu, with legendary drummer Ikuro Takahashi acting as spirit guide. Her songs are very lo fi (synth, guitar, loops, rythmbox…) but believe  me she’s already  a princess and will warm up your heart if you have attention.


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Otaco CDr “L.O.V.E”


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Phew tour CDrs

Phew 3 x CDrs

Sold at gigs, very much like her excellent   last album “A new world”

Ok, it looks cheap but tracks are excellent, I have purchased directly from her and each CD is clocking around 20-30′

Only a few,  $50 for the set

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