Tomoyuki Aoki & Harutaka Mochizuki LP

Coming in the next days

Tomoyuki Aoki & Harutaka Mochizuki LP “Tomoyuki Aoki & Harutaka Mochizuki LP” Nashazphone

Vinyl LP pressing. Reissue of the now long sold-out debut album (2014) by the guitar and saxophone duo of Aoki Tomoyuki (Up-Tight) and Harutaka Mochizuki. Initially limited to 200 CD copies only, this record features nine, reverb drenched, mourning pieces characterized by this duo’s specific melancholic language via guitar and alto saxophone. Immediately evoking the Velvet Underground inspired electric and echo filled ballads of Les Rallizes Dénudés, it is also augmented with haunting horn improvisations simultaneously reminiscent of Anthony Braxton and Kaoru Abe.

This is one of my favorite album recorded in the last decade !


Les Rallizes Denudes 2LP

Les Rallizes Denudes 2LP – green obi – “The Oz Tapes” Temporal Drift / Oz Records

Craft board sleeve. Includes liner notes, booklet and obi, recorded at OZ, Kichijoji, Tokyo 1973.

* First-ever official worldwide LP release by Les Rallizes Dénudés
* Fully authorized by The Last One Musique
* Notes by Yosuke Kitazawa with an intro from OZ manager Minoru Tezuka
* Remastered from the original analog tapes by Makoto Kubota

Tuff Beats Online Store limited Green Obi Version

We only have a very few – $70

Chie Mukai & Yonju Miyaoka

Chie Mukai & Yonju Miyaoka CD “Songs of Trees” Tall Grass records

Comes in jewel case, with 8 page booklet and English translation kraft sheet.
artwork by Yonju Miyaoka
Lyrics translation by Alan Cummings
Long notes by Takuya Sakaguchi, Short notes by Alan Cummings and Yu Hirayama.

“Chie Mukai (Ché-SHIZU), an erhu player with a cult following in Japan and abroad, has been performing her unique style for over 40 years. And the newcomer Yonju Miyaoka, who has been quietly attracting attention both at home and abroad with his work on “Bunsuirei,” “Shuko No Omit,” and “Sayozoku”. These two artists of different generations, who naturally gravitate toward each other based on their aesthetics and sensibilities that they can somehow communicate without saying it out loud, have a chance encounter that transcends generations in their gentle, song-filled performances and mysterious songs. At times sharp and gentle, at other times fresh and simple, this is a journey into daydreams.”
Text by Tsunaki Kadowaki (Meditations). If there’s only one thing I can add is how I’d have loved to have it released on An’archives….


Sayozoku CD “星 Studio” Tall Grass records

Sayaka Tenjin – vocal, percussion, instruments
Yonju Miyaoka – vocal, guitar
Yasuo Kikuchi – Bass


Elodie LP Enteha

Elodie LP “Enteha” A colourful storm

Andrew Chalk and Timo van Luijk embody a bold, free-spirited approach to music making whose improvisational processes can be traced to a distinct period of Europe’s post-industrial landscape: the former’s Ferial Confine project finding a home on Broken Flag (Ramleh, Kleistwahr) while the latter co-founded Noise-Maker’s Fifes, a Belgian audiovisual project employing unusual homemade instruments. 

More than two decades of ambitious solo and collaborative work would solidify both Chalk and van Luijk as masterful craftsmen exploring (and exposing) the tension between composition and free play. Their individual lists of collaborators boasts a certain fin-de-siècle faction of the avant-garde: Christoph Heemann, Giancarlo Toniutti, David Jackman and Colin Potter, to name but a few, have recorded with Chalk while van Luijk has also welcomed Heemann as well as a guard of other artists including Raymond Dijkstra, Kris Vanderstraeten and Frederik Croene.

Elodie’s first documented recording, 2011’s Echos Pastoraux, betrayed a musical interplay of extremely accomplished standards, Chalk and van Luijk’s pastoral mise-en-scène daubed with Daisuke Suzuki’s Asiatic elements creating a sound world at once mystical and eerie. A figment of two imaginations, Elodie materialised almost fully formed with each subsequent recording patiently revealing glimpses into a world concerned with time dilation, the phantasmagoric and spirits of the everyday.

Enteha is one of the duo’s more subdued and melancholic pieces and can be seen as a human response to seasonal transition, foretold by the concluding passages of 2020’s Le Nid d’Ivoire. It’s one of their uniquely longform explorations of mood and atmosphere as an air of romance drifts deftly into mystery and despair. The delicate hues of autumnal haze. The deceptive optimism of morning light. A work of supremely understated beauty, Enteha develops at an hypnagogic, if not unconscious, level and will appeal to anyone who finds solace in Harmonia, Gas, Joanna Brouk, Roberto Musci, Zoviet France and other investigators of pastoral arcana. 

So nice to have a new and beautiful album from this lovely duo


Ichiyanagi- Michael Ranta – Takehisa Kosugi LP

Preorder, copies are on the way

Toshi Ichiyanagi- Michael Ranta – Takehisa Kosugi LP ‘Iskra 1975’ Metaphon

Toshi Ichiyanagi, Michael Ranta and Takehisa Kosugi originally got together in the summer of 1975 for an open-air concert in Sapporo. The concert felt like a great success but was unfortunately not recorded. As the desire arose to record together, they managed to arrange a studio session in the NHK Studio in Tokyo, with presence of sound engineers. What was supposed to be a soundcheck for this session became the session itself: a haunting 50-minute séance of intense avantgarde improvisation using a large instrumentation and live processing (tape echo, ring modulation, phasing). A trident travelogue of the momentum masterfully controlled by the ensemble spirit, transcending the boundaries of psychedelic underground.

Official reissue of this underground classic from 1975, originally released in a tiny edition on the small Japanese Iskra label.
As the original master tapes of these recordings seem to be lost, the master had to be taken from an unplayed original LP copy. It was carefully restored and mastered by Jos Smolders with amazing result.


Naoki Zushi 2 CS set

Naoki Zushi 2 x CS Experement Music O.C.O. – Advaita Records

 In 1979, around the time Naoki Zushi joined Hijokaidan, he brought two demo tapes “EXPEREMENT MUSIC O.C.O.” one at a time to Drugstore, an ignition point of the Kansai underground at that time. The existence of these demo tapes was mentioned in interviews with G-Modern and others, but only a limited number of people have been able to listen to them, and although Zushi himself modestly describes them as “imitations and a little originality,” they contain a variety of songs that are the raw stones for the subsequent 1st to 4th albums. Also includes two takes of the original version of “For My Friends’ Sleep,” and intense guitar improvisation that is an important missing link considering the early Hijokaidan. We decided that there was no need for excessive embellishment, so the sleeve design is based on Zushi’s handwritten notes on the master tape, which was digitized by Nakamichi Dragon with minimal noise reduction and no mastering at all, thus perfectly reproducing the master tape from that time. We are convinced that the quality of songs is incredible for a 19-year-old Zushi, who recorded it at home in a small student apartment at the time, and that it is a work of his original landscape.



Release date : July 1st


ltd to 385 copies -Silkscrened jacket with obi (tan, orange or black) & inserts, liner notes by Michel Henritzi

Formed in 1994 by Hidenobu Kaneda (Yuragi), alongside Fumio Kosakai (Incapacitants, Hijokaidan, C.C.C.C.) , Ikuro Takahashi (Fushitsusha, Kousokuya, LSD March), Ryuichi Nagakubo (C.C.C.C., Yuragi), and Morihide Sawada (Yura Yura Teikoku, Marble Sheep), Gu-N played regularly at Plan-B in Tokyo, but released little during their relatively short time together. Hazy and hypnotic, their laminar improvisations, four of which appear on this untitled album, are compelling, oneiric visions for the ear.

In his liner notes for the album, Michel Henritzi writes that these Gu-N recordings situate the group within a broader trajectory of free improvisation and collective sound within Japan – Taj Mahal Travellers, East Bionic Symphonia, Marginal Consort, each of whom sprung, in many ways, from the radical vision and creativity of Takehisa Kosugi. But there’s a unique spirit here that aligns Gu-N with these predecessors, while also marking out singular territory.

Kosakai’s background in noise, via his participation in Hijokaidan and Incapacitants, can be heard in the unrelenting oscillations and heavyweight drones that purr throughout each of these four tracks. Both Kosakai and Nagakubo were members of C.C.C.C., perhaps the clearest precursors to Gu-N in their psychedelic density, though Gu-N trade in C.C.C.C.’s volcanic energy for a more tempered, sensuous exploration of tone and time.

There’s also a brutish element to Gu-N’s improvisations – see the saturated spectrum, rumbling and phasing throughout the album, and the crushing, almost Amon Düül-esque drum tattoos that Takahashi pounds out on the second track (recorded in 1998), punctuating the music from deep inside its hallucinatory murk. Elsewhere, as on the third track (one of three recorded in 1994), Kosakai’s cello scrapes out armfuls of buzz-tone as Sawada’s bouzouki trills out, elastic and vibrant, across spindrift electronics and lung-spun winds.

What’s most impressive here, though, is the way each player, formidable musicians in their own right, defers to the might of the communal and the collective. The quintet broke up in 1998, leaving behind scant recorded evidence – just one, self-titled CD, on Pataphysique, released in 1995. This LP is a most welcome addition to the small but blissful body of recorded work made public by this mysterious quintet of spirit channelers.


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.


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’.


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. 


Andrew Chalk & Elodie cassettes

Andrew Chalk cs “Light of the World” Faraway Press

wraparound cover, 3 tracks.


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

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


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


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