LSD March & Albedo Gravitas

LSD March LP The Night – An’archives

LP ltd to 400, silkscreened jacket with obi (light blue, tan-ivory), inserts and postcard
Liner notes by Michel Henritzi

Shinsuke Michishita : vocal & guitar

Ikuro Takahashi : drums

Richard Horner : recording engineer
2008.02.25

LSD March is a band from Himeji, Hyogo Prefecture, whose members revolved around Shinsuke Michishita, guitarist/singer, the band’s black star, before being reborn nowadays, after several years of hiatus, as a duet with Ikuro Takahashi, legendary drummer who was the heart muscle of Fushitsusha, and of most of the underground Tokyo bands.
Shinsuke Michishita has a taste for immersion, for plunging into the electric waves of gaping amplifiers, psychedelic surfer haunted by this sonic ocean and its crushing shore breaks, where the self dissolves, becomes one with the sound, where the self escapes to his dreams and nightmares.
This album recorded in 2008 is caught in a crazy time spiral, as in a dream where one desperetaely runs without moving, with the ground slipping away under our feet. The clock turns celibate, Ikuro Takahashi fractures the rhythm, hammers it further like an impossible point to reach.
Sometimes, the guitar follows or precedes him, resets the clock, with its chords slammed on the ticking, a ceremony of fleeing time. And the voice weeps like rain, or a prayer.
LSD March has often been compared to the Rallizes Denudes, a sort of poisonous resurgence of them, with Shinsuke Michishista being seen as a revenant from those psychedelic dark times. The same dark Moire, spilling from a bog overflowing with distortion, the same nihilistic, maladjusted, collapsed lyricism, a similar sad voice singing from within the ruins of time. 

23€

Albedo Gravitas LP Eihwaz – An’archives

LP ltd to 285, silkscreened jacket with obi (red or black), inserts and postcard Free Wind Mood series

Liner notes by Jon Dale

Keiko Higuchi + Sachiko + Shizuo Uchida

Albedo Gravitas is an extension of Albedo Fantastica (released on An’archives in 2018), the duo of Keiko Higuchi and Sachiko (Kousokuya, Overhang Party, Vava Kitora).
Both of them are well known names to those who are evolving in the Japanese underground waters since each has been involved in many projects and each has a consisting discography on labels as Musik Atlach, Improvising Beings, Utech. Their respective backgrounds are maybe a little bit different but they share a common interest in different genres from jazz and rock to free improvisation and have collaborated with a cast of various musicians in the likes of Cris X, Fukuoka Rinji, Kawaguchi Masami, Shin-Ichiro Kanda…

For Albedo Gravitas, Shizuo Uchida joins on bass. A peripatetic member of the Japanese underground, having played with groups such as Nord, Onna-Kodomo, Hasegawa-Shizuo, Kito Mizukumi Rouber and Keiji Haino’s Nijiumu, he most recently turned up on An’archives as one half of UH, alongside sax player Takayuki Hashimoto (of KMR and .es).
While this is Albedo Gravitas’s first album, they play together with intelligence and sensitivity, but also with a strong capacity for the unexpected; there are many moments here where you’re wrong-footed, caught askance by the way the music comes together, and comes apart.
Higuchi’s and Sachiko’s instrumental armory is multiple : piano, drums, melodica, electronics. Maybe their most remarkable presence, though, comes through voice – the glottal contortions, heart-rending sighs and moans, and chopped’n’screwed real-time vox improvs that soar across the album’s unpredictable musical terrain. Uchida works here with temporal disruption, there with heavyweight bass punctuation; drums plot out the most welcome rudimentary anti-rhythms, as electronics and melodica shoot arcs of white light through the air, lending an avant-chamber charm to the music here.
Most startling are the dynamics of the two side-long pieces, and the way the group use silence and stilted landscapes to suggest all kinds of routes previously unnavigated. In its capacity for disorientation, it feels indeed like a surprising kind of psychedelia, one far from generic constraint, and much closer to the sidereal suspension that that most overused of terms should rend through your head. 

23€

Special price for both albums together : 42 €

Please note we can ship with UPS with most of European destinations, from 12 to 22 € until 2Kg

For a quote, please do not forget to mention your location, city, zipcode & phone number

clerouley(at)free.fr

anarchives(at)sfr.fr

Jacks CD 2nd Jacks show, 1968

Jacks CD Second jacks show, Jul 24, 1968 Super Fuji

First official reissue since 1973, it was only available through their fanclub and has turned into being one of the most hunted; This version comes remastered with 2 more tracks for a total of 14 essential and miraculous songs !

We only have a few, we don’ t have any wholesale

$30 regular edition

$45 Disk Union ltd edition, comes with a A2 poster folded in 4

Suishou No Fune 2 CS set

Suishou No Fune 2 cassettes set “Moonlight” – Sour Tapes

Live concert at Underground Spirit VIII – Moonlight, May 11, 2017.

Hideo Matsueda, Jun Harada ( Jun has just gone, all our warmest thoughts and condolences to his family and friends), Kageo and Pirako Kuranai

Limited edition of 100 , pro cassettes, double case

sold out

Koji Wakamatsu ost Jacks, Food Brain

Koji Wakamatsu – Food Brain CD Shinjuku Mad -Solid

Nice collection, this one is the soundtrack to Wakamatsu Koji’s 1970 film “Shinjuku Maddo” – with Chen Shinki

$19

Koji Wakamatsu – Jacks CD Haragashi onna-Solid

Soundtrack to Wakamatsu Koji’s 1968 film “Haragashi onna” ( A Womb to Let).

Evey Jacks is just indispensable !

sold out

Tori Kudo & MSBH CDrs

We have only a few copies of each title so regular customers will be served first

Maher Shalal Hash Baz CDR The Waste Land – Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Maher Shalal Hash Baz CDR eM Seven – Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Maher Shalal Hash Baz CDR Gara Kei Seven – Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Tori Kudo – Hiromitsu Shoji – Mikiko Suzuki CDR at Gallery Fall Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Tori Kudo – Doronco – Tsukasa Takahashi CDR 11 pm at Kobundo- Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Tori Kudo CDR Jaki – Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Tori Kudo CDR Blues Du Jour 28/10/07 – Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Tori Kudo CDR les barricades mystérieuses – Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Tori Kudo CDR 贫穷三部曲- Yamabato Design Collective

Xeroxed and handwritten CDR ltd ed

SOLD OUT

Bill Nace LP Solo Guitar 2 / One Note – Open Mouth

Bill is one half of body / Head project with Kim Gordon.

Archival album at 45 rpm for an abstract and detailed music, far from rock music.

Pasted screenprinting on Tip-on jacket, last copies !

Some copies have some slightly rounded corners

$29

Itaru OKi – Mototeru Takagi – Kang Tae Hwan

Mototeru Takagi – Susumu Kongo – Nao Takeuchi – Shota Koyama CD Live at Little john, Yokohama, 1999 – NoBusiness

CD $15

Itaru Oki Quartet CD Live at Jazz Spot Combo 1975 – NO business

CD $15

Kang Tae Hwan CD Live at Café Amores – No Business

CD $15

Kang Tae Hwan – Midori Tanaka CD An eternal moment – No Business

CD $15

Wadada Leo Smith – Sabu Toyozumi CD Burning Meditation

CD $15

Kaoru Abe / Sabu Toyozumi CD Mannyoka – No Business

CD $15

Choi Sun Bae quartet CD Arirang Fantasy – No Business

CD $15

Barre Phillips – Motoharu Yoshizawa CD Oh my, Those Boys ! NoBusiness

CD $15

Ton-Klami CD Prophecy of Nue NoBusiness

Midori Takada, Kang Tae Hwan- Masahiko Satoh

$15

Derek Bailey – Mototeru Takagi CD/LPLive at FarOut, Atsugi 1987 – NoBusiness

CD $15

LP $24

Masayuki Takayanagi / Noboyushi Ino / Masabumi Kikuchi CD Live at Jazz Inn Lovely 1990 NoBusiness

$15

Otomo Yoshihide x Kawashima Makoto CD

Otomo Yoshihide x Kawashima Makoto CD Duo – Homo Sacer

2 generations, guitar + saxophone

Cardboard Sleeve and Fire !

$18

Homei Yanagawa CD

Homei Yanagawa CD 炎群 – Homura Armegeddon Nova

2 solo tracks on alto saxophone

$15

Shūko No Omit LP

Shūko No Omit LP 秘密の回顧録 | Himitsu no Kaikoroku

LP comes in a 3 panel silkcreened jacket with obi (yellow, tan, green) with inserts and a postcard

Liner notes by Patrick O’Brien

Shūko No Omit is a trio of Yonju Miyaoka on guitars and vocals, Yuya Oishi on drums, and Taiju Sugimori on bass: a classic framework for a rock band, and yet…
Led by Yonju Miyaoka, a young prolific musician from Osaka who lives with schizophrenia, Shūko No Omit could have found a home in the P.S.F. records catalogue curated by the late Hideo Ikeezumi, sitting alongside Go Hirano, Tori Kudo, Chie Mukai / Ché Shizu, and Kousokuya. Yonju Miyaoka’s music seems haunted by the psychedelic rock of the late seventies, by its electric, solitary ghost minstrels, perhaps also inhabited by the impulsive riffs of no-wave. His voice can sound slightly out of tune to the western ear, on the edge, and maybe this is what makes it so terribly moving. His guitar seems to be soaked in the same acid as poured out by the amplifiers of Keiji Haino or Takashi Mizutani, a mercurial grain, a wild and inhabited psychedelia. The compositions crawl towards their ends in a reptilian, winding way, in a mud of saturation and distortion, almost overlaying like tracing paper sheets, in a disordered manner. These six tracks evoke inner collapse, loss, expectations and oblivion. Like his elders, Miyaoka shows a nonchalant, almost dilettantish way of building songs, preferring a chipped body, the trace of a conundrum disorder, to schoolboy academic perfection. This album is a long improvisation with a punctured, dismembered body, thrown in here like a bucket full of viscera, and reassembled in an alternate fashion. Miyaoka lies there, naked.

Release date : July 12th

22 €

clerouley(at)free.fr

anarchives(at)sfr.fr

Gate LP Winter Songs

Gate LP Winter Songs – 8mm

Michael Morley in an hypnotic and a lightly doomy meditation…

We only have a very few, not the best pressing but one excellent piece in the puzzle. Expensive as we don’t have wholesale and we didn’t get copies from the label.

$28

Maher Shalal Hash Baz ltd 2 cs

Maher Shalal Hash Baz ltd 2 cs set D’s label


Maher Shalal Hash baz first 2 cassettes(1985)
remastered from the originals tapes

Super ltd, we only have a few $52

Kawaguchi Masami & Usurabi

Shipping will start on May 7th

Kawaguchi Masami LP “Self Portrait” An’archives

Edition of 285, comes in a silk-screened tip-on / “old style” jacket with obi (red or black), inserts and a postcard
Liner notes by Jon Dale

It’s been almost three decades since Japanese guitarist and songwriter Masami Kawaguchi first broke cover, with his group Broomdusters and their debut album, 23 hours 30 minutes (Purifiva, 1997). In the intervening years, Kawaguchi has maintained single-minded discipline, through his membership of some of the Japanese underground’s greatest groups (Miminokoto, LSD March, Los Doroncos, Usurabi, and his projects with Keiji Haino: Aihiyo and The Hardy Rocks); the exhilarating music made by his own band, New Rock Syndicate; and a small clutch of intimate (mostly live) solo recordings.

But nothing in his history has been quite as distinctive, nor as singular, as Self Portrait. The title’s a strong clue, of course, but the real tell is in the consummate nature of the eight songs here – this is Kawaguchi articulating most clearly his vision of what rock music could and should be, and what it means to him. His second studio solo album, it’s both dedication and hymn to the music that keeps Kawaguchi moving. Deftly crafted and sweetly intimate, Self Portrait is bursting with great songs, shufting from gorgeous acoustic folk-blues melancholy – see “Visions Of Marianne”, and the dreamlike closer, “On The Rooftop”, which Kawaguchi describes as his answer song to the Rolling Stones’ “As Tears Go By” – to storming rock monsters.

To that end, it’s a goddamn thrill to hear Kawaguchi and friends jamming on a James Brown riff through “Awake”, squeezing all the nuance out of its stop-start, staccato rhythms. Elsewhere, Kawaguchi lazily strums a psychedelic air, on the Syd Barrett-esque “Blindfold Blues”, and rifles through his backpack to find one of his earliest songs, the strung-out, levitating “Nothing”, which he wrote when he was nineteen years old. “Song For Golden Hair” pays tribute to the psychedelic sixties; “Drinking With Mr. K” remembers Japanese psych-rock legend Jutok Kaneko of Kousokuya.

Kawaguchi’s been playing the long game, slowly whittling away at a unique and personal take on rock and the blues, one that’s equal parts reverent and forward-thinking, playful and deeply committed. Self Portrait is the clearest articulation yet of his dedicated vision. And it’s a total blast.

23€

 Usurabi LP “Remains of the Light” An’archives

Edition of 285, comes in a silk-screened (2 colors with metallic ink) 3 panels foldout jacket with obi (red or black), inserts and a postcard

Liner notes by Michel Henritzi

Remains Of The Light, the debut album by Japanese trio Usurabi, is a gorgeous thing – six generous, deftly melodic songs that stretch out slowly, breathing deeply, yet never outstaying their welcome. The members of Usurabi started playing together in 2017, but they’d known each other for several decades, meeting via their involvement in a music club at university. Led by songwriter, singer and guitarist, Toshimitsu Akiko, previously of psych-pop duos Doodles and Aminome, the trio is completed by Kawaguchi Masami (New Rock Syndicate, Hardy Rocks, Miminokoto) on bass and guitar, and Morohashi Shigeki (Majutsu no Niwa, Uchu Engine, peaflan, Alraune) on drums.

Kawaguchi and Morohashi had already played together in the legendary Broomdusters, a group they formed when they were both university students. Toshimitsu, long a fan of Broomdusters, formed Usurabi to explore what she describes as “rock music that features vocal mainly and floating sound like waves.” It’s a clear, simple and apt description of what they do. Toshimitsu’s songs are graceful, each having a dynamic arc to their construction, while allowing for all kinds of subtle inflection from her guitar, sometimes tussling with Kawaguchi’s flinty, overloaded blues; Toshimitsu drives the songs with subtletly and wit, sculpting waves of energy from his kit.

Throughout, Toshimitsu’s songs hint at questions, complexities, metaphors: allusions and illusions. Songs like “Brunnera” and the closing “Constellation” are adrift, beamed out on rays of light, the trio’s empathic playing harnessing a subtle kind of psychedelia. “Constellation” explores Toshimitsu’s thought, “Am I allowed to turn the feeling I can nothing to do into a constellation, like ancestors did?” The lovely, shaded pop of “Autumn Rain” translates a Toshimitsu solo arrangement into a stripped-back, delightful slice of happy-sad nostalgia; “The rain is always sweet to me,” Toshimitsu says of the song.

Ask the trio what other music informs Usurabi, and they share names, some expected, some surprising: Kaneko Jutok, Les Rallizes Denudes, The Doors (“The first real rock experience to me,” Toshimitsu recalls), Captain Beefheart, The Rolling Stones. You can hear elements of all of this music in their songs, but mostly it’s more a hint, or a tint, than an obvious acknowledgment; the playing certainly shares the hopeful freedom of Kaneko, and the stridency and sensitivity of the Stones at their best. It also recalls the independent music of groups like The Pastels; like that outfit, Usurabi have absolute integrity in their sound. It’s quietly ambitious, and quite beautiful.

SOLD OUT

clerouley(at)free.fr

anarchives(at)sfr.fr