Monthly Archives: February 2022




Jacks 2LP 68’7’24

Jacks 2LP 68’7’24 – Super Fuji

Gatefold jacket with poster and exclusive insert ( a drawing of the second Jacks show by Makiro)

Firstly released in 1972, only 400 copies were pressed at that time.

8 songs from the 1st album “Vacant World”, 2 songs from the 2nd album “Jacks’ Miracle”, 2 songs only for singles, and “You are Hinagiku” and “Yumiko is not” (later Wakamatsu) Koji’s movie “Stomach Lending Woman” was made into a CD as a soundtrack album), and the above 14 songs and 53 minutes were recorded by the same members as the 1st album, but at a precious and spectacular live just before Haruo Mizuhashi’s withdrawal. Both songs have a high degree of perfection, and it is no exaggeration to say that this is the definitive edition. This is the most important and historical record in the history of Japanese rock, as it was once described as “the music of that flash of sparkle in an instant”, which was not known in the two studio albums, this is Jacks. It will be the best masterpiece. It is a masterpiece live album of the highest level as a psychedelic-acid folk even from the world level of the same period.

[Jacks Jacks]
Yoshio Hayakawa –Vocal, Side Guitar
Haruo Mizuhashi –Vocal, Lead Guitar
Hitoshi Tanino –Wood Bass, Bass Guitar
Takasuke Kida – Vocals, Drums, Flute, Vibraphone
July 24, 1968 From Ochanomizu Japan-France Hall “2nd Jacks Show”


Meitei LP & CD

Meitei CD Kofu – Kitchen Label

On ‘Kofū’, Meitei masterfully closes his trilogy of lost Japanese moods with an engaging interrogation of artforms and aesthetics as a provocation — or, as fashioned in the album’s subtitle, a “satire of old Japanese aesthetics”. Each entry’s distinct flavour has earned Meitei acclaim for conjuring a bygone culture through his transportive form of ambient music. ‘Kofū’ arrives as a deconstruction of this approach.

These stories cloud the overall mood of ‘Kofū’, but Meitei takes a Mizoguchi-like approach to mould that unimaginable pain with tenderness. ‘Oiran I’’s hidden subtitle is Hana, and ‘Oiran II’ is Shiokaze. As Meitei explains, “Hana means gorgeous and glorious. Shiokaze is the sea breeze — for her life.” Tracks like ‘Urameshi-ya’ and ‘Gen’ei’ provide a meditative space amidst the turbulence, while ‘Shōnen’ takes a turn for the cinematic. The eight-minute odyssey is engulfed by shadowy voice loops, mixed best for a headphone experience in a solitary setting.

Meitei bids farewell to an expedition first sparked by a passion for a long-forgotten cultural past. ‘Kofū’ is a definitive conclusion with an open invitation to listeners from Japan and beyond — encouraging continued appreciation of this sacred part of history, wholly untethered from the world at large.

Glass-mastered CD housed in a die-cut outer case with rounded obi, 16pp inserts with words in Japanese and English from Meitei. Offset printed, full colour on premium matt paper.

Only a few $26

Meitei LP/CD Kofu II – Kitchen Label

180g heavyweight vinyl in 12″ debossed sleeve with capped obi, 16pp inserts (22 x 14cm) with words in Japanese and English from Meitei. Offset printed, full colour on premium matt paper. LP ships with tracking. Glass-mastered CD housed in a die-cut customised debossed outer case (14.5 x 14.5cm) with rounded obi, 16pp inserts with words in Japanese and English from Meitei. Offset printed, full colour on premium matt paper.

Meitei sounds right at home celebrating the past he first reimagined in his previous work. The merriment is palpable in its first two tracks of Kofū II – a loop of cheery whistling amidst the clanking of wood leads into strings, cricket sounds and flutes, all united in bustling harmony. Happyaku-yachō is where it comes into focus. Pitch-shifted vocal samples roam around in the crowded sonic field as Meitei conjures the vibrancy of a dense Edo of the past. The affair becomes bittersweet as the track leads into the desolate Kaworu, a composi- tional piece lifted from his Komachi sessions – a final requiem to his late grandmother.

The album is bursting with spectral vignettes of wandering samurais, red lanterns, ninjas, puppet theatres, poets, even a vengeful assassin (Shurayuki hime, known to Western audiences as ‘Lady Snow- blood’).

We only have a very few

CD $26

LP $40

Kenda Masuda

Kenta Masuda is a composer of contemporary music who lives in Osaka.
His compositions are often written with a graphic score – like Anestis Logothetis, Jani Christou and so
on – or avant-garde style . He’s also performing & improvising with used
handmade or prepared instruments. Unfortunately those ‘broken sound’ performances are kept private and not opened to any audience.

All (self)releases are pro-duplicated and printed CDR, in jewel case

each $18

Kenta Masuda




flute -flutility

violin – bio ring

custom valved Instrument – Bone

Seiji Nagai, Yuji Takahashi, Joji Yuasa

Seiji Nagai CD”Electronic works” Edition Omega Point

Born in Tokyo in 1948, Nagai studied drums in a music class when he was in junior high school. He opened his eyes to free jazz and improvisation, started an improvisation concert with Tokio Hasegawa in 1967, and played the trumpet as a member of the “Taj Mahal Travellers” in 1969.

After that, Mr. Nagai studied sitar at an music school in India. After he returned to Japan, he performed sitar concerts all over Japan.

He started composing on a computer around 1979, so this time his works will be introducing works at that time. Two pieces were recorded on each side of cassette tape, which are written only as Medium and Sea, are a minimalist, floating sound composed mainly of synthesizer refrains, with ambiguous beginnings and endings. The sound of real waves is added to the Sea. From that time on, he was interested in environmental sounds.

The two works revealed this time are regarded by Mr. Nagai himself as “these are the origin of my synthesizer and computer music.” – from liner note by ONNYK

Regular edition $18

special edition with poster $30

In August 1979, ONNYK planned an event called “The Fifth Column Week!” (= Daigoretsu Week!), he was one of leader of the expanded category group. It was a gallery event where 22 participants from Tokyo, Kyoto, and Morioka hold exhibitions of objects and graphic works, performances, poetry readings, physical workshops, theatrical events and improvisations. As part of that, I asked Seiji Nagai to perform a live performance of sitar solo.

This special edition #1 consists of regular CD and reprinted poster (20% reduction, 410mm x 410mm) of “The Fifth Column Week!”. The poster was designed by ONNYK and Shohachiro Takahashi, one of pioneer of Japan’s concrete poetry. And it express 70’s underground culture. limited to 100 copies.

Yuji Takahashi CD “Meikai no Heso” Edition Omega Point

A collection of small pieces of tape music by renowned composers, that haven’t been talked about very much. All of them are premiere release on disc.

tr.1 Yuji Takahashi (1938 -), Meikai no Heso (The Umbilicus of Limbo, 1963)

It is also known as Window to Antonin Artaud, or The Umbilicus of Limbo. it was performed in a version of tape and instruments – poetry reading of the French poet Antonin Artaud, which was modified on the tape, and bass instruments as well as percussion instruments. This is a live recording of Musicians Group: New Direction at Sogetsu Art Center, conducted by Toshi Ichiyanagi. At the beginning of the concert, Kuniharu Akiyama gave his commentary about the piece.

tr.2 Kuniharu Akiyama (1929 – 1996), Jo-un Keiji sho (1987) It is a segment of a body of work Sound Gift, that was commissioned by WDR (Westdeutscher Rundfunk) for a show to celebrate John Cage’s 75th birthday. A short text, “Kumo Kumo-wo Joshi Keiji-suru (Kumo=Clouds, Keiji=Cage)”, which was a poetry reading by Akiyama, was looped in the tape, which then overlapped with Haiku about clouds (including English and German), words related to Zen ( in which Cage immersed himself), and sounds. By the way, an English version of Haiku was read by Ayuo Takahashi.

tr.3 Yoriaki Matsudaira (1931 -), Constellation (1984)

This is a work by using UPIC device developed by Iannis Xenakis (which can translate graphical images into sound). Here is Matsudaira’s commentary.

“I decided to draw the constellation which we can see in Japan, and chose to fade in colours depending on the brightness of each star. Each of us was supposed to indicate the tone by images, and I remember that I decided to divide the sky into four sections to change the tone little by little.

tr.4 Yoshio Hachimura (1938 – 1985), Catch in the air (1973It was produced in 1973 at NHK Studio of Electronic Music. Some Japanese traditional instruments, piccolo, tuba, violin, piano as well as electronic sounds were edited on the tape. Its sharp materialistic sound is characteristic of this composer.

tr.5 Toshi Ichiyanagi (1933 -), Music for Film Shikisokuzekuu (1974) The visual of Shikisokuzekuu is described as follows; A letter of Heart Sūtra is projected one by one on the screen rapidly. From the middle of the film, religious paintings appeared with subliminal effect, and flickering vivid colours were added. That gave the audience a dizzy sensation.” The music is mixed barbaric rhythm, electronic sound and Japanese traditionalnt.


Somei Satoh CD “Echoes” – Edition Omega Point

Emerald Tablet + Echoes


Kuniharu Akiyama CD “Environmental Music of dining Room” Edition Omega Point


Joji Yuasa CD “Music for film Gengitsu” Edition Omega Point

In 2017, Genjitsu was shown at the Kobe Planet Film Archive. It is a film created in 1966 by a director Tetsuji Takechi, known as a legend of Showa eroticism. But this film has been hidden somewhere somehow from the public for a long time. The film’s story focuses around a prostitute and has a strong fantasy literature style to it as one may have guessed from its title Genjitsu (Sun dog; an optical phenomenon that consists of a light source alongside of the Sun in rare climate condition).

Actually, among some music tapes that I got from Mr. Yuasa, there was indeed one with the same title. However, since the existence of the tape recording was unknown at the time, I was convinced that it wasn’t “tape music” and I left it untouched for quite a while. Hearing news of the film screening made me check what is on this tape carefully. Overall, the sounds were “prosy” with a lot of silence as well as reoccurring sounds of a prepared piano and sounds created presumably by playing inside of the piano (it is likely to have been amplified). But they were also an accumulation of experimental sounds with elements of tape music such as parallel playback with vocal pieces, delay (or tape echo) and ring modulator. In chapter 2, female jazz vocal is inserted.

According to the Kobe Planet Film Archive, the following names are included in the players list. Toshi Ichiyanagi (maybe inside play of piano), Masao Yagi (jazz piano in chapter 2), Yasukazu Amemiya (percussion).

Fantastic !

special edition with bonus CDR $50

Joji Yuasa CD “Miniatures of concret works” Edition Omega Point


Great White Light LP Edition Omega Point

Great White Light organized by Seiji Onishi, Kazuo Kawasumi, Mitsuyoshi Shioya, Goji Hamada performed at the Kishi Memorial Hall in Shibuya, Tokyo, on February 13, 1971. Ten years after the performance, Onishi released a recording of it in LP format as an appendix to his collection “The Works of Seiji Onishi 1966 → 1981”, hereinafter referred to as “Works”). Given that “Works” was published in a small edition, and Onishi moved to Belgium soon after, it was difficult to get our hands around this documentation of the use of sound in the Japanese art of the 1970s. A reissue of this recording is Japanese Art Sound Archive’s 1st LP release.

Great White Light was full of noises created by the wind from the air blowers hitting the microphones. The artists stood in the center of the venue surrounded by the devices: six loudspeakers and air blowers, all facing outward, with a fixed microphone in front of the air outlet of each blower•3. Seats for the audience surrounded the circle, and a beam projector was set next to the wall. During the performance, Onishi operated the transformers of the blowers, and Shioya the lighting. Hamada performed his “action voice” with four microphones•4. In addition to this setup, Taj Mahal Travellers joined as a guest performer. Initially, they had planned to perform only with the blowers and voice, but just before the concert, they got suddenly overtaken by pre-performance anxiety and decided to invite the guests.
(note: this reissue was made from original LP, and some sound problems – slight surface noise and vibration – are on recording.) Ltd to 300, just incredible, noisy and libertaire !

$39 top left corner slighly bumped / rounded

Tomoyuki Aoki & Harutaka Mochizuki

Back in stock !

Tomoyuki Aoki & Harutaka Mochizuki   CD “2”.

Aoki Tomoyuki from UP-TIGHT (one of our favorite band for years) with one of our favorite musician / sax player = one of the most exciting duo for years, we just love their music.

200 copies self release ,


aoki harutaka 2001

Reiko & Tori Kudo LP

Reiko & Tori Kudo LP Tangerine – A Colourful Storm

Limited LP with insert and postcard. Insert contains Japanese and English lyricssheet, postcard contains artwork by the artists. A Colourful Storm presents Tangerine, a collection of songs by Reiko and Tori Kudo. Recorded at Village Hototoguiss, Japan, in 2011 and 2012

Originally released on CD by Hyotan in 2013 

Delicate with a lot of strange details, honestly this is one of the most beautiful album ever recorded.

All Reiko Kudo albums are highly recommended but this one is the last recorded, already 10 years ago !


Aso Ai new LP

Aso Ai LP “The Faintest Hit” Ideologic Organ

New solo album with Stephen O’Malley & Boris but hopefully she stays herself.  First purple edition