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An’archives label

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


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


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.


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.


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


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. 


Friends in US can purchase An’archives titles at World Gone Mad :

Mura LP An’archives

Mura LP “2008-2021” An’archives

LP 12” ltd to 385, silkscreened white or chipboard jacket with obi (Black,vanilla or grapesicle), inserts and a postcard – Liner notes by Jon Dale

Please note : all vinyls have a click and pop on B side

Mura were a previously little-known group from Japan, formed by friends Kota Inukai (vocals, guitar), Masaki Endo (bass) and Sho Shibata (drums) in the late noughties. Performing mostly in small events in Sapporo, they were outsiders, and felt a kinship with few other groups, though Inukai mentions rock group Green Apple Quick Step, and hardcore band Ababazure as fellow travellers. This isolation surely feeds into the uniqueness of Mura’s music – they sound little like much that we know of the taggable Japanese underground of their times, and the music they recorded for this, their debut album, spanning a decade, is gloriously all over the shop, from delirious punk wig-outs to strange pop miniatures.

The group formed young – Inukai was only fourteen when they started, and Mura were his first ever band. When pressed on what they were listening to while making their music, Inukai recalls that he “used to listen to the works of Haruomi Hosono a lot”, and you can hear traces of this, perhaps, in the breadth of the sound Mura explores, from the lovely, country-esque shuffle of “In The Talk”, through the garage-y plunk of “Rest” and the reflective, melancholy “Younger Brother”. They were also big fans of video game music – “even orchestral covers of video games”, Inukai smiles – and that’s in there, too, in the split-second responsiveness of the playing, the way they flick through ideas and genres almost impatiently, taking minutes to cover terrain that other groups might spend albums and years exploring. But the songs were also grounded in Japan’s history, with many of the songs inspired by “old Hokkaidō,” Inukai recalls, “from the Meiji, Taishō, Shōwa periods.” With Inukai coming up with the melodies, and Shibata fleshing out arrangements, all three members then contributed lyrics. You can hear that collective effort in the way the music moves, every player listening carefully to each other, the songs moving gracefully, but not without verve and vim. It’s a delightful album, full of pop songs that take unexpected turns, with glinting melodies sung out, here sweetly, there with gruff candour, guitars tangling together like an unholy union of Tom Verlaine and Jad Fair, every song charged with a new, unpredictable spirit.


Katra Turana CD

Katra Turana CD ” Reboot” Telegraph Records

Formed in 1980 by Atsushi Hiroike, vocalist, composer and arranger. After their early performance group activities, they released their first album “Katra Turana” on Telegraph Records in 1982. This album was also released in Europe through RECOMMENDED RECORDS in the UK. After a major line-up change, they released the 30cm single “The End – The Gradient of the Skin” (Switch Label, 1985) and their second album “KIMERA” (Telegraph Records, 1986). At the time of their first album, Atsushi Hiroike, who was dressed in women’s clothes and sang in a mysterious way, was often focused on, and the band was described as a “bizarre antique decadent music box” or “deformed chamber rock. However, they gradually started to aim for minimalistic and psychedelic avant-pop, and this trend became more pronounced when bassist Teko Kitajima joined the band. In any case, they were an outlier in the 80’s, when the New Wave was sweeping the scene. The band went on hiatus around 1990, but in December 2015, they held their first live revival in over 20 years at the Kichijoji Star Pines Cafe.The performance, which further promoted the musicality of the band’s later years, fascinated the packed audience with Atsushi Hiroike’s neutral and mysterious performance. This album also includes new songs.

$25 gatefold with obi

Gerogerigegege CDs

The Gerogerigegege 2CD >​(​decrescendo) Final Chapter = デクレッシェンド 最終章 – Undo records

Recorded in a park before dawn in August 2019, it was released for the first time in December on a series of cassettes by fashion brand CAV EMPT and sold out immediately. In 2020, “Ugusudani Apocalypse” was released on LP by The Trilogy Tapes in the UK.In 2020, he self-released a cassette box with three versions recorded in the same park. In 2021, The Trilogy Tapes will release a second pressing of the album with a poster in a double-page jacket. Finally, a limited release of a record buried in the same park for a week. For the first time on CD, the entire recording will be released on two discs as a completely new and final form of sound image. Recorded 18/9/2019 iphone Mono Recording. No Cut No Overdub Edit. Hapi Drum: Juntaro Yamanouchi Disc 1 : Farewell Dream Treatment (aka Our Dreams is Over) 48:18 Disc 2 : Destructive Crust Treatment (aka To The End Of The World) 35:32 Farewell Approached by J.Y + Toshihisa Hirano 19/1/2022


The Gerogerigegege CD + CDR in a 7′ xeroxed jacket “Tokyo Anal Dynamite Singles ” Vis à Vis


Hisato Higuchi CD

Hisato Higuchi CD “キ、Que、消えん?Ki, Que, Kien?” WV Sorcerer

After over two decades of releases on P.S.F. Records, Family Vineyard, Apollolaan and his own label Ghost Disc, WV Sorcerer is honored to present the latest physical release of Tokyo-based musician Hisato Higuchi (樋口寿人). An album of melancholy guitar melody and whispers, like a longshot of the overflowing light on the Tokyo street, a monologue from far away. Hisato is responsible for some of the most breathtaking, delicate, and smoke-filled guitar playing side of Loren Connors or the quieter sides of Keiji Haino. Those comparisons perhaps help to give an idea of where Hisato’s work floats, but it’s clear listening to him that his work is a very personal musical expression. His music is a Tokyo labourer’s blues.


Liang Yiyuan CD

Liang Yiyuan CD “Thing loses itself” WV Sorcerer

One of the pioneers of the Chinese experimental music scene, this is the latest composition from Liang Yiyuan, an album for prepared yangqin. This is an album composed for yangqin. Some bamboos, woods, and iron clips were clamped to the strings during the recording. A violin bow, several small iron boxes, springs, drumsticks, and other metal objects were also used, to create a special timbre.


Yamash’ta & the Horizon LP/CD preorder

Yamash’ta & the Horizon LP/CD “Sunrise from West Sea” Wewantsounds

Performance by Stomu Yamash’ta accompanied by Jazz pianist Masahiko Satoh (well known for his involvement in the New Herd Orchestra and his ‘Belladonna of Sadness’ soundtrack) and Taj Mahal Travellers founder Takehisa Kosugi on Electric Violin. The line up, also comprising Hideakira Sakurai on Electric Shamisen, is a spaced-out improvisational soundscape over the two LP sides. Remastered from the original tapes, the album is reissued here for the first time ever on LP. The LP comes in its beautiful original gatefold artwork with OBI strip, 2 page insert and a new introduction by journalist Paul Bowler.

remastered from the original tapes, comes in a gatefold jacket with obi

LP $26

CD $16

Jan Bruyndonckx LP

Jan Bruyndonckx LP “rails and other tracks” Metaphon

first ever release of concrete and electronic collage works by Belgian underground sound explorer Jan Bruyndonckx. ‘Rails and Other Tracks’ contains autonomous compositions, music for film and documentary, all independently recorded in his private studio between 1958 and 1965.
A small collection of adventurous and mysterious sound evocations with text/poetry (Paul De Vree) recited by Julien Schoenaerts.


Mototeru Takagi & M. Yoshizawa 3CD Box

Mototeru Takagi & Motoharu Yoshizawa 3CD Box Duo & Solo , Live at Galerie de Café 伝 Tokyo 1987・1989- King International