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Naoki Zushi CD Live – Advaita

CD reissue with bonus track (previously released on cs in 2021), mastered to suit the CD format!

The original member of Hijokaidan, Naoki Zushi, one of the most prominent underground guitarists in Japan and currently active in Nagisa Ni Te, will reissue a CD of a trio of live performances at the 2006 Gyuune Autumn Festival.

It features performances demonstrating the quintessence of Japan’s psychedelic underground, represented by “les rallizes denudes” and “Fushitsusha.” A heavy psychedelic version of “May a flower bloom” is remarkable; it makes you feel intense passion, completely different from the delicately blooming beautiful version that decorates the end of the 4th album. It is a masterpiece that Zushi himself said, “It might be the best live performance of this song.”

Special packaging ltd version $20

Free Jazz in Japan Book – Soejima Teruto – Public Bath

Japanese free jazz critic Teruto Soejima passed away on 12 July 2014, at the age of 83. Since the late 1960s he had been a tireless booster of free jazz in Japan. In 1969 together with Masayuki Takayanagi, Masahiko Togashi and Masahiko Satoh, he helped found the New Jazz Hall, Tokyo’s first dedicated free jazz venue. Unusually, Soejima viewed promotion and production as essential components of his job as a critic, and he was closely involved in record production and arranging concert tours. He enjoyed a particularly long and fruitful relationship with the Moers Festival in Germany, where he arranged appearances by over 130 Japanese free musicians between 1977 and 2006. He was equally committed to promoting Japanese tours by Western free jazz musicians (particularly those from Russia and Korea), including Peter Kowald and Christian Marclay.

$40

New Directions for the Arts CD Projection (The Complete Inspiration And Power Live) – Jinya

A miraculous discovery! The complete live performance at “Inspiration & Power 14” at Shinjuku Art Theater in 1973. Uncut live performance of Masayuki Takayanagi’s New Direction For The Arts Discography at “Inspiration & Power 14” held at the Shinjuku Art Theater in 1973. This CD contains all the performances of the day, although only the last part of the concert was included in the album of the same title.
Recently, a cassette tape was discovered among the belongings of Masayuki Takayanagi, and Otomo Yoshihide, who once studied under Takayanagi, has restored the cassette tape to its original state – and claimed: “without a doubt, this is one of Masayuki Takayanagi’s best works“

$28

Masayuki Takayanagi – Kaoru Abe CD  – Real Jazz = リアルジャズ – Jinya

Recorded on May – July, 1970, Tokyo

Another “The Disintegration of the Sympathetic”. Masayuki Takayanagi and Kaoru Abe‘s 1970 studio live recording, 40 minutes of miracle! Miraculous discovery of Masayuki Takayanagi and Kaoru Abe’s live studio recordings from 1970! A live studio performance of Masayuki Takayanagi’s New Direction in 1970, which began to be oriented toward immediate improvisation without setting up any notated thematic motifs. 40 minutes of continuous performance.
This work is based on sound reproduction of Takayanagi’s own recordings on open reel tapes. The tapes were in a bad condition due to problems with the recording equipment and age-related deterioration, and have been restored. Although there are some parts that are difficult to hear, we have made this work because we consider it to be an important historical record.

$28

Sayozoku CD Chilhood in the cloud – Tall Grass

Comes in a jewel Case, With artwork by Sayaka Tenjin and Yonju Miyaoka, Liner Notes by Alan Sondheim, Rick Potts, Tori Kudo, Wataru Kasahara, Yu Hirayama, Yoshiaki Kurekawa, and Haruki Sakurai. All translated in English and Japanese.

Free form music, childish, poetic, strangely dreamy…

$18

Banetoriko LP /DL Kata No Wadachi

LP ltd to 315, black vinyl, 2 color  (gold and black) silkscreened jacket with obi (black or paver red), inserts and a postcard

Liner notes by Aurélien Rossanino

Printed by Alan Sherry

Release date : May 31st,  2024

Kata No Wadachi is the latest album by Banetoriko, the solo noise project of Tamaki Ueda. Her first release both on An’archives and on vinyl, it follows several albums for the Neurec imprint – 2017’s Beside the Sluice and 2022’s Yorioto Hogiokuri – and several other cassettes and CD-Rs. With Kata No Wadachi, the Banetoriko world, inspired by the Yokai (“strange apparitions” – supernatural figures, ghosts, spirits) of Japanese folklore, is at its most resonant yet.

Recorded across 2022 and 2023, the three tracks on Kata No Wadachi have Ueda performing in a particularly elevated manner. Her sound is highly tactile and grittily sensuous, the better to capture the ritualistic repetitions, and hypnotic methodologies, core to Banetoriko. The scrape and scratch of Ueda’s self-made metal instrument, the Banetek, gives these improvisations a unique throb, even as their mood, of introverted focus and elaboration of minutiae, gestures towards broader histories of noise and abstract art. Kata No Wadachi evokes, to some degree, the urban ritual noise of the likes of The New Blockaders, Organum, or Ferial Confine; elsewhere, the abraded, rough-housing textures bring to mind the eighties tape works of Hands To and John Hudak.

Ueda embraces the dream evocation that’s possible when loops of blurred texture collide with the gnaw and groan of energised metal, while mantric, dissociated vocals, and the oppressive weight of deep breath, gather around these compositions like a ghost’s shroud. While she’s been making noise for some time, since the nineties, Banetoriko was formalised as a project in 2011, while Ueda lived in Los Angeles. Relocating to Osaka in 2021, she’s carved out an utterly unique space for herself in Japanese noise, and her music contains an absolutely elemental vibration. Framed beautifully with poetic liner notes by Aurélien Rossanino, Kata No Wadachi is an oppressive, yet quixotically blissful trip.

25€

Kazuki Tomokawa CD 1989 Live recordings – Modest Launch

Gatefold, papersleeve

Nice compilation taken from 2 live recordings with 2 unreleased songs and some nice versions of songs taken from”Umi Shizuka” with a full cast of musicians such Toshiaki Ishizuka, Masachi Kikuchi (shakuhachi), Kazutoki Umezu…

$20

New album is coming in the next weeks !!!

Tori Kudo & 3C123

LP ltd to 400, black vinyl, 2 color silkscreened jacket with obi (grey with particles, textured tan, black and red), inserts and a postcard

No digital / DL version

https://anarchiveslabel.bandcamp.com

https://anarchives.com

Label : An’archives

Réf : [An’44]

Printed by Alan Sherry

Release date : March 22nd 2024

Contact – wholesale : anarchives@sfr.fr – anarchiveslabel@gmail.com – clerouley@free.fr

Distribution in UK : This Ain’t Distribution / Japan Blues

Shop in Paris & distribution in France : Souffle Continu

US : Worldgonemad

An’archives are pleased to announce the release of a self-titled album by Tori Kudo & 3C123. A reissue of a cassette that was originally released on Uramado in 2020, this is the first time this live session has appeared on vinyl. The performance, featuring Kudo on piano and 3C123 on clarinet, was recorded on October 18, 2009, at the Uramado venue in Shinjuku. A beautiful and quixotic forty-minute set, it reconnects both Kudo and 3C123 with various musical histories, including those of classical composition and free improvisation.

The performance documented on Tori Kudo & 3C123 is a curious one. While they both appear to slip into improvised ruminations at times, for the most part, Kudo performs pieces by Erik Satie on the piano, over which 3C123 teases an excoriating stream of improvisation from the clarinet. His playing here is wild in its poetry: sometimes lushly nestling alongside Satie’s melodies, elsewhere loosing Ayler-esque squalls from the instrument, it’s a bravura performance that is matched, in an indirect manner, by the poise and pacing of Kudo’s generous, fluent recital.

When asked about the thinking behind the performance documented here, Kudo explains by describing the historical juxtaposition of Satie with Takehisa Kosugi’s improvised violin as “an essence of the Japanese art of collective improvisation.” The playing here, as within Japanese collective improvisation, is about sitting ‘alongside’ each other, not necessarily in direct (or even indirect) reference, but rather sharing the space; “just being there together,” Kudo says, and letting go of the need for performers to engage in interplay.

Tori Kudo & 3C123 is certainly part of that tradition, and this is where its curious poetry resides; in that ‘third space’ that sits in between, but not directly connecting, the two performers. Kudo makes an analogy with Fluxus, which is appropriate. But you can also hear their shared history here, somehow, as Kudo and 3C123 have known each other since the eighties, when they shared a house in Kunitachi City, Tokyo. Their musical paths have been multiple – Kudo, of course, best known perhaps for his Maher Shalal Hash Baz ensemble; 3C123 as a member of Vedda Music Workshop, and with other Japanese musicians like Koichiro Watanabe.

It’s a lovely album that’s as mystifying as it is direct and beautiful.

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