Monthly Archives: June 2021

Shizuka LP

Shizuka – 静香 LP 妄想の楽園 | Paradise of Delusion

Old style / tip-on offset & partially silkscreened jacket with obi

Regular edition : 300 – black vinyl,  duotone insert + offset insert + postcard set

Limited & numbered edition : 75 (exclusive to only the label) regular edition +  silkscreened 4 panels portfolio /wraparound with royal blue obi

Liner notes by Jon Dale

Release & shipping date : June 28th

Shizuka first came to wider attention at roughly the same time as their peers in the Japanese underground – in the nineties, really, when people started to get wise to the surprisingly wide-ranging post-psychedelic sounds emanating from the PSF label, predominantly, and a few other, similar creative cells. During that window of opportunity, Shizuka only released a few albums on P.S.F records, Persona Non Grata & Last Visible Dog. It’s not that much to go by, which is why An’archives’ Paradise Of Delusion (recorded live in 2001) is a most welcome, not to mention much-needed, posthumous collection. For the first time ever, Shizuka is now released on vinyl.

Even by the standards of their closest peers, aesthetically speaking –Fushitsusha (with whom they shared two members, Maki Miura and Jun Kosugi), Kousokuya, Ché-SHIZU – Shizuka were a mysterious, occluded bunch. Led by the late Shizuka herself, a guitarist, vocalist, song writer, and doll maker, with her husband Miura, a devastatingly powerful guitar slinger, their songs were potent, seductive things: often playing out at a snail’s pace, with the same kind of flickering, sensual ‘black-and-white psychedelia’ as the third Velvet Underground album, or a more languid Les Rallizes Denudes. Shizuka’s songs always felt far more certain of themselves, far steelier in their resolve, than their face-value fragility might suggest. Perhaps it’s the seeming ponderousness of the way they go about performing their songs – Shizuka’s slow iterations of simple chord changes, her psalmic vocal melodies over the top, suggesting a world-weariness, a kind of existential exhaustion, that’s often torn asunder by a soaring surge of roaring guitar from Maki Miura.

It’s no surprise to be reminded that, alongside her music making, Shizuka was a well-known doll maker in Japan, mentored by the legendary doll artist Katan Amano. Whatever is happening here is relentlessly private, psychologically introverted in many ways, but opened out to the possibilities of both great beauty and great despair – the two states that the music of Shizuka best captures.

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

Please allow us 2-4 days to ship orders

clerouley(at)free.fr

anarchives(at)sfr.fr

Regular edition : 25 €

Ltd Edition, one per customer : 48 €

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 $49 sold out

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.

22€

Special price for both albums together : 40 €

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

Tori Kudo Box 9CD+DVD

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

Comes with an extensive booklet, in japanese & english

$115 + $15 (tracked shipping to any destination)

Ochibonoame / Makoto Kawashima

Ochibonoame CD “Syuyukan” – Homo Sacer

Second release

$19

Ochibonoame CD “Ochibonoame” – Homo Sacer

Ochibonoame is trio with Makoto KawashimaLouis Inage & Naoto Yamagishi

Fantastic first meeting, free and it leaves me breathless !

$19

la scène 裸身 EP

la scène 裸身 EP 7′ inch “Argonauta” Inner Pleasure

New track coupled with a Sarah Vaughan ‘The Mystery of Man’ cover
Guest player – Bouzouki by Shinji Kuroki (Z.O.A, Morrie) on ‘ARGONAUTA’
Cutting Engineer – Katsutoshi Kitamura (MIXER’S LAB)
Artwork by Tetsu Makita

$20 with CDR version

Controlled Death / Hino

Controlled Death / Mayuko Hino LP picture disk

Two giants of the Japanese Noise scene present exclusive material on a special limited vinyl release.

Controlled Death is the nom de plume of Maso Yamazaki (MASONNA), who unleashed his claustrophobic Death Industrial / Blackened Electronics debut for Cold Spring last autumn (the sold out split LP with Rudolf Eb.er). “Devil’s Sacrifice” (in 6 parts) continues Maso’s obsession with heavy, Korg MS-20 drones. Deranged vocals choked under impenetrable, blood-soaked atmospheres of doom, death and decay, saturated with washes of anxiety, paranoia and alienation.

Mayuko Hino, ‘Queen Of Japanese Noise’, delivers two lengthy tracks. While the first track is filled with feverish, dense noise and swathes of savage electronics, the second, mind-melting electronic piece (reminiscent of her debut album ‘Lunisolar’ for Cold Spring) descends into a diseased, suffocating maelstrom, finishing on the verge of psychosis. In addition to self-made instruments, Mayuko plays noise with her six-theremin oscillators (in bright pink) – the one and only in the world, specially made by Ryo Araishi (a.k.a. ichion). Mayuko is most well-known for forming C.C.C.C. (Cosmic Coincidence Control Center) in 1990, together with Hiroshi Hasegawa, Fumio Kosakai and Ryuichi Nagakubo.

Picture disc LP. Ltd x 400 copies in a heavy PVC archive sleeve.

$26 only a few

Weiches Loch cs

Weiches Loch cs “Live at Hokage 20210306” Advaita

Weiches Loch is a band of three metal percussionists (Tamon Sin, Sano Atsushi, and Jere Kilpinen) who are actively performing in Osaka. While inheriting the acoustic depth of ORGANUM’s metal sound and the powerful metal percussion of Test Dept and Crash Worship, the sound of using only metal percussion is unique in that it has a strong sense of rhythm from traditional Japanese drums, which has been handed down from ancient times in Japan, but still is a very sophisticated composition.

This is a festive record of three metal percussionists fascinated by metal and will be an interesting tape to explore the latest underground industrial noise in Japan.

SOLD OUT

Miminokoto LP

Miminokoto LP “Mayoiga” Plunk’s Plan

Junzo Suzuki / Vocal, Guitar
Takuya Nishimura / Bass
Koji Shimura / Drums

Recorded at Peace Mesic, Tokyo April 23, May 31, 2016
Engineered by Souichiro Nakamura

10th Album of Tokyo Psyche-Twilighters MIMINOKOTO is coming form LP and cassette! 6 songs. roaring fuzz guitars and twilight ballads are ace for fans of legendary garage compilations like “Oil Stains” “New England Teen Scene”! With a nice homage to Kaneko Jutok from Kousokuya

$28 we only have a very few