Kazuki Tomokawa 3CD Box

Kazuki Tomokawa 3CD Box “1975-1977” Blank Forms

A poet, soothsayer, bicycle race tipster, actor, prolific drinker, self-taught guitarist, and living legend of Japanese sound, Kazuki Tomokawa catapulted into Tokyo’s avant-folk scene in the mid-1970s, forging a sound and sensibility marked by throat-wrenching vocals and searing ennui. Among his musical peers in postwar Japan, Tomokawa distinguished himself  as a pioneer of radical individualism. He had “the personality of a hydrogen bomb”—as the notorious ultraleft band the Brain Police once put it—and a sound to match. Now, Blank Forms Editions gathers Tomokawa’s earliest records for the first time in a deluxe three CD boxed set comprised of Finally, His First Album (Harvest Records, 1975), Straight from the Throat (Harvest Records, 1976), and A String of Paper Cranes Clenched between My Teeth (Harvest Records, 1977).

In each record, Tomokawa shouts, cries, wails, and croons, his folk stylings tinged with psychedelia and swelling into ground-shaking rock. Many tracks are performed in his native Akita dialect, a highly regional vernacular of north Japan rarely heard beyond the prefecture, and even less often used in music. Matching his guttural, all-out vocals are profoundly existential meditations on everyday life and the world around him; this is, as record executive Kiichi Takara dubs it, “I-music.” It looks toward the interior, the quotidian, and the domestic with piercing and ever-honest eyes. 

The accompanying liner notes (here translated for the first time) include introductions by Takara, a round table discussion with Brain Police, and lyrics for all three albums—tracking the rise of Tomokawa as the “screaming philosopher” of Japan. The boxed set will be in conjunction with the release of each record in LP format in 2022, and the musician’s 2015 memoir, Try Saying You’re Alive! (Blank Forms Editions, 2021), the first-ever English translation of his prose; together they provide the definitive introduction to the singular world of Kazuki Tomokawa.

$45

C.I.A Debutante LP

C.I.A Debutante LP Dust – Siltbreeze

Second album on Siltbreeze the CIA Debutante duo – formed by Paul Bonnet (Disposition Matrix) and Nathan Roche (Le Villejuif Underground)

Dust finds our heroes at the top of their game; the captivating je ne sais quoi formed around vocal recitation & percolating electronics has been honed to perfection, moving them beyond whatever references were made in the past into a catagorization where they are known as ‘Themselves’.

$24

Aunt Sally (Phew) CD

Aunt Sally CD Aunt Sally – Mesh Key

4-panel digipak CD edition of Aunt Sally’s studio album. Fully remastered from the original analog tapes for CD release

This seminal, eponymous post-punk album by Japanese group Aunt Sally, fronted by experimental singer Phew, was first released by the iconic Vanity Records label in 1979. Over the past forty-plus years, Phew has forged a singular path through a wide range of styles – from free improvisation to pop – and has collaborated with the likes of Ryuichi Sakamoto, members of Can, DAF, Einstürzende Neubauten, The Raincoats and more. But Aunt Sally is where she got her start and, despite the members’ young ages (still in college at the time), Phew and the band delivered a mature, timeless take on minimalistic punk. 

$18

Andrew Chalk & Elodie cassettes

Andrew Chalk cs “Light of the World” Faraway Press

wraparound cover, 3 tracks.

$13

Elodie cs ” Le nid doré : musique ne scène IV” Faraway Press

Andrew Chalk & Timo Van Luijk recorded in Kulta Saha 2017, wraparound cover

$13

Camp One LP

Camp One LP “Revengeful is the mask of darkness” Zaius Tapes

Some 40 years after it’s release, Camp One’s sole album from ’81 remains as mysterious as ever, the quartet of D Jones, I Good, L Williams & P Sage still hiding in plain sight. Ask any deep digger you might know, it seems none of them can shed any light on this stunning, enigmatic lp. There are those who’ve never seen a copy, let alone heard it. Speculation here, an educated guess there, not exactly Captain Kidd’s treasure map. ‘Revengeful’ doesn’t fit neatly into any niched genre; its almost a Baroque-like, outsider take on Prog Rock & Postpunk at once, eccentricity crackling off it’s grooves. Imagine if you will, the fattier bits of A Moore’s oeuvre, the suet of L Voag + the gristle of Mark Perry, all baked into a most succulent Yorkshire pudding for the ears. After a recent Negative Reaction reissue, this one is a nice addition to some obscure and hard to categorize stuff

$24

Keiji Haino 2LP My Lord Music…

Keiji Haino 2 LP “My Lord music I Most Humbly Beg Your Indulgence In The Hope That You Will Do Me The Honour Of Permitting This Seed Called Keiji Haino To Be Planted Within You” Purple Trap / Black Editions

Double vinyl housed in pure black paper gatefold with
metallic silver printing and black paper inner sleeves

For over 25 years, Keiji Haino has used the Hurdy Gurdy to channel dark dimensions- creating music that bridges the centuries between distant medieval eras and a future awash in densely layered sounds that grind and float in an otherworldly atmosphere. “My Lord Music…” is a suite of nine pieces that reveal the startlingly distinctive and wide range of Haino’s approach to the instrument. The music is at once dissonant and hypnotic, rich with unfurling drones that dynamically ebb and flow – Haino’s musical sensibility and physicality, always present and unmistakable.

Only a very few – Heavy jackets, insane shipping costs and tax duties can explain the price

SOLD OUT

Tori Kudo 9CD box

Tori Kudo 9CD+DVD box ” Tori Kudo At Goodman 1984-1986″ Voice of Ghost

$125 only a few available

Tori Kudo / Maher Shalal Hash Baz LP

Tori Kudo / Maher Shalal Hash Baz LP “maher goes to the worldly frequency”

Ltd to 205, each copy comes in a pasted Deutsch Grammophon recycled jacket, so they are all different

comes with a risograph booklet.

We don’ t have many !

$52 SOLD OUT

Suitons / Guys’N’Dolls (Tori Kudo) CD

Suitons / Guys ‘N’ Dolls CD

Suitons tracks were previously released by Uramado records as a ltd CDR. This CD version has 8 tracks morecovering Guys ‘N’ Dolls repertoire

Tori Kudo, Takuya Nishimura & Ikuro Takahashi recorded in 2014 and 2007

$19

Marteau Rouge & Haino Keiji CD

Marteau Rouge & Haino Keiji CD “Concert à Luz 2009” Fou Records

Jean-Marc Foussat, Jean-François Pauvros, Makoto Sato & Haino Keiji

$17

Takayanagi & Seikatsu Kōjyō Iinkai LP

Seikatsu Kōjyō Iinkai – Seikatsu Kōjyō Iinkai LP Aguirre records

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

$26

Takayanagi Masayuki New Direction for the Art – La Grima LP Aguirre records

Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs & extensive liner notes by Alan Cummings.

The performance by Takayanagi Masayuki New Direction for the Art at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.

“La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.

The ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like Takayanagi, Abe Kaoru, and Takagi Mototeru appearing alongside radical ur-punkers Zuno Keisatsu, heavy electric blues bands like Blues Creation, and Haino Keiji’s scream-jazz unit Lost Aaraaff.

$26

Mikami Kan CD “Sono Saki ni mieuru mono” Operiko Records

New and concise album…It’s a short one but maybe one of the most interesting for years

Carboard jacket with insert; sorry for the price but I haven’ t any wholesale and only have a few

$35

Ki LP Mico, Tamio Shiraishi & Fritz Welch

Available on May 13, 2022

Ki (Mico – Tamio Shiraishi – Fritz Welch) LP ” Tearful face of my cute love [is begging to me] “

ltd to 285 copies -Silkscrened jacket with obi & inserts, liner notes by Jon Dale

Ki is a trio that pits long-time collaborators Tamio Shiraishi (saxophone, voice) and Takahashi Michiko aka Mico (drums, voice, vocoder, melodica, piano, percussion) against drummer, percussionist and vocalist Fritz Welch. They each bring a wealth of experience, from Shiraishi’s early moves in the Japanese underground of the late ‘70s and early ‘80s – he was a founding member of Fushitsusha, and played with Taco and Machinegun Tango – to his legendary, late-night solo New York subway performances; he and Mico also spent some time playing with No Neck Blues Band, while Welch, currently based in Glasgow, has a long history taking in stints with Peeesseye, Lambs Gamble and FvRTvR.

Tearful Face Of My Cute Love (Is Begging To Me), named after a yakuza song, is Ki’s first LP, after CD-Rs on Chocolate Monk (Ki No Sei, 2009) and Unverified (Stops Dropping, 2010). Documenting two live performances from 2008, it’s a startling, wild freedom chase, each piece stretching languorously across one side of the vinyl, giving the trio maximum space to thunder their way through space and time. Their West Nile 2008 show, on side one, opens with a battery of drums, fierce and livid, before Shiraishi’s unmistakable and remarkable whinnying, high-zone tone slithers into earshot. The stage is set, the battle moves forward, yet there’s remarkable simpatico between the three players, with Mico and Welch volleying guttural vocal exhortations at each other. When it does offer respite – see the sudden swoop into near-silence at around 12:30– everything’s still tense; who knows what’s around the corner?

For all its fury, though, Tearful Face Of My Cute Love… is full of oddly lyrical moments, too – see the sweet melody that winds out, with gentle melancholy, near the very end of the West Nile performance. This lyricism also haunts the second side of the album, a performance from Glassland, Brooklyn, which seems more focused on the intersection of incidents, from clattering cymbals to ghostly swarms of sax scream, to dive-bombing spirals of vocoder. There’s an appealing sense of audio verité here, as though you’re in the room with the performers, shaken and stirred by every movement, lost in the interlocking maze they’re weaving in real time. It’s a bracing, thrilling document of very immediate, human music – of three bodies moving through the world, sounding their environment. 

24€

Friends in US can purchase An’archives titles at World Gone Mad : https://worldgonemad.bigcartel.com