INABA, SHUJI The Rapture Of Being Destroyed Is The Flipside Of The Misery Of Destruction (Last Visible Dog) cd 12.98
With a previous cdr on Last Visible Dog (and a cd on PSF some years before that), Shuji Inaba is a Japanese avant-folk singer and guitarist who hasn't reached the same level of documentation as peers like Kan Mikami and Kazuki Tomokawa. No 13 cd box set for Shuji yet! And some might find the prospect of such a box set quite frightening -- a single disc of his raw acoustic guitar playing and whisper-scream vocalizations will be more than enough for a lot of folks. Others will find Inaba's Rapture Of Being Destroyed to be a harrowing yet compelling listen. With some tracks filled with stark outbursts from silence and others more 'song' like, this is a great record recommended for those who already dig the likes of Dead Raven Choir and the aforementioned Kan Mikami. This Last Visible Dog cd release comes with Inaba's poetic lyrics translated into English by Alan Cummings, always a nice touch although the emotion of the man's singing and playing requires no translation. And to quibble: we suggest that perhaps the word 'flipside' in the title might have been better rendered as 'inverse'... 'flipside' just seems too slangy for stuff this deep and intense.
MPEG Stream: "Modern Terrorism"
MPEG Stream: "Uranium235"

INABA, SHUJI Yoenzanga (Last Visible Dog) cd 12.98
Live acoustic recording of intense, dismal outsider folk from rural Western Japanese singer/songwriter Shuji Inaba. Yoenzanga was previously one of LVD's cd-r releases, back when they were a cd-r label only, and is now blessed with an actual cd edition. You also may recognize Inaba's name as he has had a disc released by Japan's PSF label a few years back. And indeed his raw, emotive balladry is comparable to the politically driven psych folk of fellow PSFers Kan Mikami and Kazuki Tomokawa, whom we love.
Alan Cummings provides English translations of Inaba's lyrics in the liner notes, which is a plus, though really (as with Mikami and Tomokawa too) there's plenty just to FEEL in Inaba's harrowing voice and the haunting, sometimes violent, way he plays his guitar that goes beyond language.
MPEG Stream: "Fate And Fortune"
MPEG Stream: "My Apple"

INCAPACITANTS 73 (Alchemy) cd 21.00
BACK IN STOCK!
They are the best noise band. 'Cuz they're the noisiest. Simple as that. At least that's what Allan thinks, and he's got almost all their umpteen cds. Though we haven't really done a scientific test of noisiness, Merzbow vs. Hijokaidan vs. Masonna vs. Incapacitants, we all agree they sure would hold their own in any imaginable noise contest. Japanese extreme noise duo (and bankers by profession) Toshiji Mikawa and Fumio Kosakai aka Incapacitants have been blowing minds and eardrums for years now. This new disc on Alchemy consists of four brutal wall-of-sound tracks, exploding electronics almost psychedelically dense. One of these tracks was recorded live in Canada at the No Music Festival in 2003, another one captured at club called Lush in Tokyo last year, while the other two are studio recordings (not that it matters much).
Their banking experience is perhaps reflected in the song titles "What A Stupid Bureaucrat!!!" and "Fund Trap", while the title of the 22 minute track "Please Don't Try This At Home" almost goes without saying!
MPEG Stream: "What A Stupid Bureaucrat!!!"
MPEG Stream: "Please Don't Try This At Home"

INCAPACITANTS Box Is Stupid (Pica Disk) 10cd box 117.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Man, sometimes this business of actually "reviewing" things just seems superfluous...or ridiculous... or even supercalifragilisticexpialidocious. All those terms apply in the case of this, a TEN cd box set by Japanese noise band Incapacitants, that says "Incapacitants Box Is Stupid" right on the front of it fergoshsakes. That's the title, in silvery metallic print on the lid of the black cardboard box that contains these ten compact discs full of sheer, unrelenting, exploding, horrible grinding noise by one of the most extreme Japanese noise bands in the biz. What more need we say? Other than to explain that Box Is Stupid, released on Lasse Marhaug's Pica Disk label, heroically collects the contents of the duo's cassette-only releases from the nineties, stuff released in limited editions that we'd never seen or heard before. And they're all "remastered from the original master tapes" (which you might find to be a pretty funny statement after hearing this). Each cd comes in a cardboard sleeve, bearing graphics from the original cassette releases, or sometime a color photo of the actual cassette(s). The discs are: Stupid Is Stupid [Studio Materials], Stupid Is Stupid [Live Materials], Extreme Gospel Nights, Ad Nauseam [Edition Mikawa], Ad Nauseam [Edition Kosakai], Ad Nauseam [Edition Live], D.D.D.D., The Tongue, Cosmic Incapacitants, and I, Residuum. That's about ten hours of dense, dynamic, uber-distorted NOISE. Also packed in the box is a thick, 40 page booklet, with full color photos from various spasming live Incapacitants actions, and liner notes printed in both English and Japanese from fans/fellow musicians Otomo Yoshihide (Ground Zero, ONJO, etc.) and Jim Sauter (Borbetomagus), as well as personal band histories from both members of Incapacitants, founder Toshiji Mikawa and loyal sidekick Fumio Kosakai.
Otomo's essay is entitled "I Love The Incapacitants More Than Anything"!! He doesn't think Box Is Stupid. To him, Incapacitants are the ultimate questing expression of what got him into improvised music and noise to begin with, the legacy of Japanese free jazz masters Masayuki Takayanagi and Kaoru Abe. Elsewhere in these essays, we learn that Eye from the Boredoms was once Mikawa's collaborator in Incapacitants, early on before Kosakai joined. We also find out from Mikawa why they're called Incapacitants (it's worth quoting: "The term is a military one used to designate the various kinds of chemical substances which can be used in times of war or terrorism, not to injure or kill enemy combatants, but rather to render them incapable of resistance. My intention was consciously extreme - to attack the audience's auditory canals with my noise and thus render them incapable of fighting back."). It's clear from their writings that Mikawa and Kosakai both bring a lot of serious thought and artistic passion to the noise they make. And clear from the noise they make that they are INSANE. Just kidding. While listening to Box Is Stupid might drive some folks mad, others of us will find it almost psychedelically trance-inducing.
Incapacitants is not only beloved by Otomo Yoshihide, but they're also Allan here at AQ's all time favorite Japanese noise group. Why? Maybe he was smitten by the sharp graphics of their Alchemy label cd releases. Maybe he likes the idea of two middle-aged, mild mannered, slightly chubby Japanese professionals indulging in freaked out electronic mayhem. Maybe they ARE the noisiest. And maybe it just makes sense to pick a favorite Japanese noise artist, 'cause it would be tough to keep up with 'em all. Heck you could go broke trying to buy every Merzbow release, for example. (Though, Allan does own the 50-cd Merzbox, as do several others of us here at AQ.) While Box Is Stupid isn't a fetish object quite on the scale of the Merzbox, it still pushes many of the same absurd noise-lovin' buttons. Gotta have it, if you're a real Incapacitants fan. In fact, that's the definition of anyone who would buy this!
MPEG Stream: "Stupid Is Stupid"
MPEG Stream: "Bitter Insect"

INCAPACITANTS Default Standard (Alchemy) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
The latest from this semi-legendary Japanese noise duo. A really painful noise storm as only these mild mannered bankers can create, with their usual delightful finance-related song titles (like "Securitization of Eel"). For some reason, this is Allan's favorite Japanese noise band.

INCAPACITANTS Feedback of NMS (Alchemy) cd 21.00
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INCAPACITANTS Live Incapacitants (Alchemy) cd 21.00
Allan's favorite Japanese noise band ('cause they're chubby bankers by day, chubby noise-freaks at night?) return with a disc of live material. Wait, I thought all their recordings were (more or less) live? Anway, this documents a November 5th, 1999 show in Austria and a December 25th, 1999 show in Tokyo (aptly titled "The Strongest Christmas Ever"). For the latter performance, this electronics duo is joined by drummer Tatsuya Yoshida of the Ruins, who does his best to add to the din and contribute to the holiday spirit. As always, NOISY!

INCAPACITANTS Lon Guy (Harbinger) cd 14.98
Hella noisy. No suprise there!

INCAPACITANTS New Movements in CMPD (Alchemy) cd 21.00
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INCAPACITANTS Quietus (Alchemy) cd 21.00
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INCAPACITANTS Repo (Alchemy) cd 21.00
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Alchemy Records digs into their vaults yet again to re-issue on cd a 1989 Alchemy LP by the notorious Japanese noise act Incapacitants. This makes for Incapacitants' eighth cd release on Alchemy! Wow, what a legacy of high-end skree, low-end rumble, and everything in between. As well as the "Repo" LP, this disc includes a bonus track taken from a 1985 cassette, the "Triangle8000" split release with Hijokaidan, which main Incapcitant T. Mikawa recently remixed. If you like NOISE you're already an Incapacitants fan, but if you don't -- stay away!

INCAPACITANTS / (ISOFC) Vitamin Buckfact (Starlight Furniture Company) lp 13.98
Japanese noise otaku, here's a limited-to-300 vinyl-only artifact you might be interested in... Collaborating with mysterious British noisican Abdul Squeerter's (In Spite Of Flaming Creatures) project, Allan's favorite ear-flaying Japanese noise duo the Incapacitants are in fine form here. Six tracks of dense, dynamic, electronic noise fuckery. If you need to figure out if you're part of "Vitamin Buckfact"'s target audience, look around your room. Is that a stack of vintage Bananafish magazines in the corner? Some precious Chocolate Monk cassettes in that box over there? Alchemy cds on top of the stereo? Well then this is for you if you act quick! It's basically a Bananfish 'zine love-in (indeed, until now, the only wide-spread documentation of Mr. Squeerter's creativity, or mere existence, was some writing he did for Bananafish).

ISHIHARA, YOU Passivite (Creativeman) cd 17.98
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White Heaven singer's solo album.

ISHIKAWA, AKIRA & COUNT BUFFALO Uganda (Tiliqua) cd 34.00
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This incredible far out and fantastic Record Of The Week has been out of stock for a while, seemingly out of print, but recently the label discovered a stash, so we grabbed as many as we could, and you now have one more chance (most likely your last) to grab one of these before they're gone for good. You won't regret it, everyone we know who bought a copy freaked out and declared it one of their new all time favorites, and for good reason as it's an amazing, mind blowing, tripped out chunk of pure sonic inspiration. It's strange and beautiful and weirdly heavy, and proggy and tribal and it's funky as all get out... Here's our original review from when we first made it our Record Of The Week:
It's no longer out of the ordinary for a rock band to look beyond rock for inspiration. Or a jazz band, looking to expand their sound. It definitely makes sense as musicians are generally constantly striving to explore, to open their minds, their music, searching for unique instruments, new ideas, new sounds, even looking for something much more ineffable, something more spiritual. Psychedelic rock bands have typically looked East, The Beatles are probably the prime example of a rock band looking to India for musical AND spiritual inspiration. But on a much smaller scale, modern music develops and expands by incorporating new influences, the more 'exotic' the better. So for years, we could watch bands do just that, incorporate new instruments, sitars, tablas, whatever, alternate tunings, Eastern scales. Jazz musicians on the other hand, tended to look to Africa for inspiration, the tribal drumming, the vocal chants, all found their way onto tons of amazing records, amazing in part because of what they borrowed from the African music that was their genesis, as with many many discs by the Art Ensemble, Coltrane, Don Cherry, etc., etc.Š
So if all this borrowing and influence is so commonplace, what's the big deal with this disc, a deluxe reissue of a rare 1972 LP entitled Uganda, by Japan's strangely named Akira Ishikawa & Count Buffalo? Well to begin with, imagine a Japanese jazz drummer in the early seventies, so obsessed with African music, that not only are his records already rife with African influences, but he eventually travels there, and proceeds to play with local musicians, collects indigenous instruments, and returns, driven to realize the record he knows he must make, Uganda, a record that manages to sound like African music, jazz and psychedelic rock, while sounding like nothing else. Ishikawa teamed up with fellow percussionist Larry Sunaga, a bassist and guitarist, and a saxophonist, who instead of playing sax, composed all four lengthy pieces here, the results are amazing. Dense, dizzying, abstract and tribal, fuzzy and tripped out, long stretches of solo hand drum percussion, furious acid fuzz freakouts (courtesy of guitarist Kimio Mizutani, from Love Live Life+1, People, and other freaky Japanese '70s psych units), chanting and handclaps, all woven into an expansive, sprawling divine chunk of out there Afro-fuzz-psych-jazz-rock divinity.
Take the first track "Animals and Dawn", nearly 12 minutes long, and over those 12 minutes, the song veers and drifts through about ten distinctly different sounds and styles, all held together by the relentless African drum jam that runs through all four tracks. Beginning with what sounds like some strange low end synth buzz, those drums kick in, intense and hyper rhythmic, amazingly recorded, so on headphones it sounds like drums are all around you. That buzz, pulses and undulates beneath the frenzied drumming, and this goes on for almost 3 minutes, which is when some wild super distorted acid psych guitar swoops in, jagged and freaked out, spitting out soaring wah wah drenched buzz, before the bass joins in and the drums coalesce into a more recognizable groove, and the band nails it, heavy, slithery proto-metal, churning and pounding, eventually locking into a super technical prog workout, and then dropping out completely, again leaving just the drums, which are soon joined by hand clapping, and chanted African style vocals. Finally, for the last four minutes or so, the band unwinds a groovy jazzy prog workout, still underpinned by those same rhythms, but now the bass carries the groove, letting the guitar go wild, wild psychedelic leads all tangled up in great strange shapes over the groovy rhythm below. Eventually, the song is swallowed up by effects, reverb, delay, echo, as if the band were playing on some huge elevator, as we sit on the surface, listening as the band slips further and further into darkness. Holy shit. If this were a $30 single, that track alone would make this essential for folks into psychrock, proto-metal, free jazz, avant African music or really anyone into strange and fantastical sounds.
The second track, "Asking For Love", once again begins with African drums, the two percussionists, offering up wild tangled beats for nearly two minutes, until in swoops a weird synthy buzz, which quickly transforms into a seriously Led Zep worthy riff, the drums a strange counterpoint to the distinctly rock and roll riffage, and the vocals soaring and shouting, but this kick ass riff fades out only after a minute, and we're back to more dense drumming, Mesmerizing and hypnotic, locking into incredible grooves, veering off into off kilter time signatures here and there, but always returning to that groove. This continues until about one minute from the end, when the bass and guitars explode in a buzzing psychedelic freakout, the drums mirroring the intensity of the axes, locked into an ever expanding supernova of blown out sound, until the furious explosive finish. Whew.
Track three (on the original, the start of side 2) "Battle", begins with some straight up jazz prog, angular and complex, the drums and guitars locked tight, the whole thing convoluted and intricate, stopping suddenly after 30 seconds, at which point an African thumb piano plucks out a delicate music box melody, while in the background, other strange instruments scrape and thump and honk, eventually blossoming into a full on Afro-jam, the drums pounding away, male and female vocals, call and response over the mesmeric beats below, but again, this only lasts a few minutes before switching gears and launching right back into the angular prog that opened the track. This happens a couple more times. Long stretches of abstract percussion, plenty of buzz, and rattle, melodies played out on mysterious African instruments, separated by brief blasts of that  buzzing tangled prog, which is exactly how the track finishes off.
The closer, "Pygmy" begins with a groovy walking bass line, a cowbell heavy almost-funk rhythm, eventually some acidic wah wah guitar, and suddenly we're in some serious seventies, Blaxploitation soundtrack style jazz funk, the bass a constant presence, that groove irresistible, the vocals soulful, the percussion still busy and intense, beneath the more static rhythm driving the songs. The guitar and vocals get all tangled up, the vocals more sort of scatting, the guitar offering up jagged shards of high end, or unfurling soaring psychrock leads, the bass and guitar locking into step right at the end, for one final super tight psychprog finish.
It almost seems ridiculous to describe each song in detail, as that's only part of the story. All four tracks work together, leading into one another, offering up bits from pervious songs, giving up little sonic hints as to what might come later, and it's not just the arrangements, it's the feel, the mood, the vibe, and while mere description might make some of the songs sound schizophrenic, flipping back and forth from part to part, some parts lasting only a few seconds, nothing could be further from the truth. The composition here is as deft as the performance, the arrangement is simultaneously free and abstract, yet, tight and composed. The songs breathe and open up, drift and wander, but never seem to lose their direction, and the grooves ever present, even if on the surface the band seem to be drifting though inner space.
Uganda is truly unique, freaky and far out for sure, but most definitely an essential chunk of jazzy, proggy African Japanese psych rock bliss, organic, expansive, epic, rhythmic, space-y, proggy, heavy and funky!! If you've got Julian Cope's Japrocksampler book, you'll find it in his Top 50 list of Japanese psych essentials, right above the debut from Flower Travellin' Band.
As with all Tiliqua releases, gorgeously packaged. This one is housed in a full color miniature box, printed front and back, with a Japanese style obi of course, and inside extensive liner notes in both Japanese and English, with tons of photos. And it is limited of course, not sure how limited, but judging from how quick past Tiliqua releases fly out of here, better to be safe than sorry. And this is actually the first in a new Tiliqua series called Distorted Oriental Sensory Perceptions 1969-1978 focusing on "Obscure Japanese Psychedelic rock artifacts." We can hardly wait to see what they dig up next... there's a lot of others on that Japrocksampler list we'd love to hear...
MPEG Stream: "Wanyamana Mapambazuko"
MPEG Stream: "Na Tu Penda Sana"
MPEG Stream: "Vita"

ISHIZUKA, TOSHIAKI Drum Drama (PSF) cd 16.98
First new record in six years from Toshiaki Ishizuka, a veritable underground drum legend in Japan. Having founded Japan's first radical political punk combo Zuno Keisatsu, as well as having played and recorded with Kan Mikami, Keiji Haino, Masayoshi Urabe and many others, you might be expecting some sort of super intense deconstructed psychrock drum damage rhythmic workout, but Ishizuka's solo percussion recordings are of an entirely different stripe. No blown out psychedelia, no punk rock pound, no splattery free jazz freakouts, instead, Drum Drama, Ishizuka's third record of solo percussion, is just that, dramatic, a dark and dreamy series of slow shimmering soundscapes, as much, if not more, about texture and mood than rhythm. The drum kit here is only a part of Ishizuka's palette, spread out in a very un-drum kit like manner between wide open expanses of huge gong swells, chiming bells, bowed metal, wood blocks and tinkling chimes. Incredibly deep and physical sounding, a slow burning series of drones and shimmers. Drum Drama contains three brand new tracks, as well as two redone pieces from his long out of print debut, but they flow perfectly. An organic drift of midnight ambience, punctuated by strange bits of percussive filigree, but spending most of its almost 40 minutes drifting through deep dark cavernous expanses of sound.
Huge low end reverberations underpin delicate drifting bells, all the sounds given ample time to spread out and flutter into the ether. All woven into moaning minimal melodies constructed from dense overtones and subtle shimmer. Here and there twinkling high end sparkles surface, super percussive skitter wraps around super melodic tom fills, occasionally sounding kind of like a super slow abstract free jazz "Wipeout", but played by the Starfuckers... just drums, spread way out across the soundfield, with some serious stereo panning, the fills swerving from one speaker to the other, a dizzying dreamy soundscape of percussive melody and strange rhythmic texture.
Elsewhere, the drones morph subtlely into super affected free jazz splatter, over a dense cacophony of clanging metal and industrial clatter, very kitchen sink with bits of cutlery, tea kettle scraping and all manner of shuffling and clinking and rumbling amidst smooth resonant muted drum fills.
The second half of the record is an even more subtle wash of undersea shimmer, thick rumblings build to propulsive percussive overload, just about as psychedelic as a room full of drums and pieces of metal can get. The record fades into a barely there drone, the hiss of the tape and the analog recording almost as loud as the simple subtle rhythmic shadings....
Hard to believe a record like this is the work of a drummer. And that there is even a drum kit involved at all. Shimmery percussive dronescapes, bowed metals, reverberating gongs, rolling metallic balls, little squalls of splattery free jazz shuffle, bits of martial drumming all woven into a lovely and zen like exploration of a dark and mysterious world of rhythm and sound. So good.
MPEG Stream: "Ca"
MPEG Stream: "Mu"

ISHIZUKA, TOSHIAKI In The Night (PSF) cd 16.98
We dug the latest record from legendary Japanese drummer Toshiaki Ishizuka so much (we made it a record of the week in fact!), that we decided to track down more of his music, and managed to get a bunch of copies of this, 1999's In The Night.
Ishizuka is a legend in the Japanese underground music scene, having founded Japan's first radical political punk combo Zuno Keisatsu, as well as having played and recorded with Kan Mikami, Keiji Haino, Masayoshi Urabe and loads more.
But when he is behind the kit, armed with an arsenal of percussion and noisemakers, he is less of a drummer and more of a sonic alchemist, a soundscaper even, using the drum kit in very un-drummer-like ways. Most of In The Night is ambient, percussive, dreamy and abstract, but not necessarily rhythmic in the strictest sense of the term. Although at the same time this record is nothing BUT rhythm. Dense swirls of cymbal sizzle, brief squalls of tom toms swell and then fade, little bursts of tribal freakouts are underpinned by dizzyingly minute splatters of hand drums and cymbal crash, drums are rubbed and scraped, strange textures become near drones, hyena like chatter is somehow coaxed from drum heads, thick washes of metallic sound spreads out from vigorously beaten gongs, tiny melodies are plucked out on tinkling chimes, random bits of percussion lope and stutter, subtly intertwined with cymbal swish and strange resonant rumbles, even some occasional chanting vocals. One track does in fact feature Ishizuka seriously rocking the kit in full on freaked out free jazz mode, but even going for it with sticks, he still has a strange and subtle mastery of the kit. So cool. Essential for drummers, and the drum obsessed, but haunting and mysterious enough for anyone into dark droning rhythmic abstraction...
MPEG Stream: "One"
MPEG Stream: "Two"
MPEG Stream: "Three"

ISO s/t (Alcohol) cd 17.98
Turtable/sampler artist Otomo Yoshihide and sampler/sine wave technician Sachiko M. (both from Ground Zero, and who are also recording as Filament) are joined by percussionist/electronics guy Ichiaku Yoshimitsu in this new, very original trio. I know we talk a lot about something we perhaps inaccurately refer to as "minimalism" around here, but this recording is HYPER minimal, alternating between near-inaudible rumble and glass-shattering sine wave squeal, interrupted only by the very, very occasional digital crapout. This, their second album, was mixed by the guy from The Homosexuals!

ISO s/t (live) (Sound Tectonics) cd 22.00
Really nice packaging here -- the all-white embossed digipack is utterly gorgeous and tactile and very appropriate for the Zen-like simplicity of Japanese trio ISO's music. ISO consist of Otomo Yoshihide, Sachiko M, and Yoshimitsu Ichiraku, all of whom are probably familiar to followers of the Japanese underground improv avant garde, with Otomo of course being the best known. Unlike the mayhemic turntable/sampler cutups of his former outfit Ground Zero, or the free jazz with which he's also identified, here Otomo and co. concentrate on the minimalist soundscapes typical of the emergent "onkyo" genre. It's subtle, barely-there electronics and percussion, enhanced by the ambient sound of the place where this was recorded, outside in a 500-year old temple garden. Apparently the members of the trio were positioned where they couldn't see one another, and it's hard to understand how they were able to hear each other either, unless they were playing at volumes much louder than what seems appropriate for playback at home. Yet the centrally located stereo mic has captured a oneness of sound, a delicate performance that is truly beautiful, not boring. Less stark and harsh than his Filament duo with Sachiko M, but more minimal than his larger Cathode ensemble, ISO is one of our favorites of Otomo's many projects and we're happy to have this 40 minute live document!
MPEG Stream: "ISO live excerpt"

ITO, TEIJI Tenno (Tzadik) cd 16.98

IZUMI, KIYOSHI (Rephlex) cd 9.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mr. Richard D. Aphex Twin James discovered this on his last jaunt to Japan, the weird, funky, out-there electronica of a guy who is reputed to have been an early member of none other than the Boredoms. Pretty darn great, and, the cd is packaged in a freaky octagonal jewel box! Very advanced.

IZUMI, KIYOSHI (Rephlex) 12" 8.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Mr. Richard D. Aphex Twin James discovered this on his last jaunt to Japan, the weird, funky, out-there electronica of a guy who is reputed to have been an early member of none other than the Boredoms. Pretty darn great, and, the cd is packaged in a freaky octagonal jewel box! Very advanced.

JACKS, THE Vacant World / Super Session (Shagadelic Records) cd 21.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Fans of current underground Japanese psych stuff (Acid Mothers Temple, Keiji Haino, Ghost, Nagisa Ni Te, etc.) who'd like to delve into the early psychedelic era precursors of those acts have been lucky lately, what with that Les Rallizes Denudes double cd finally having some availability, and the Flower Travellin' Band disc we recently recommended too. As we mentioned in our Rallizes review, The Jacks were the other crucial home-grown Japanese psych band, an admitted influence on Fushitsusha certainly, who once covered The Jacks' classic "Marianne". And we just managed to get a few imported copies of this 2-on-1 disc by 'em, released last year on the Japanese Shagadelic label. Not only does it have the ten tracks of their legendary "Vacant World" but also another 11 constituting their follow-up album "Super Session" (both 1968), plus three rare bonus tracks (two from singles, one live). The booklet provides discographical information and album/single art.
With stinging Quicksilver psych guitar leads and melancholy vocals, "Vacant World" is a truly gorgeous album of darkness and murk that words like delicate, dramatic, and timeless well describe. Its sparse, sad beauty makes it one of Allan's favorite '60s psych artifacts ever, though not everyone else here is so moved. Unlike other noted Japanese 'GS' bands like The Mops or The Challengers, these guys were not mainly, merely doing covers of the current rock hits of the day from San Francisco and London. While Western garage and blues and psychedelic rock certainly shaped their sound, The Jacks seem uniquely Japanese, uniquely Jacks as well.
Now for two warnings: The second album on here, Super Session, unfortunately does seem to delve into a more commerical, less special sound. It's as if some producer or record exec told 'em they had to be more like the competition. As a result, this does venture into a bar rock zone that's not at all on par with "Vacant World". And if you like saxophone, they get into that here too. A very different mood from the debut indeed. Oh well. But it's still cool to have, kitschy fun.
Ok, here's the second catch: we ONLY have 6 of these in stock right now, so if you need this, act fast...dunno when/if we can get more, unfortunately.
MPEG Stream: "Marianne"
MPEG Stream: "Vacant World"

JAPANESE INDEPENDENT MUSIC (Sonore) book+cd 28.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Originally published in France (and in French) in 1998, this exhaustive, indispensable encyclopedia of Japanese independent music is, well, once again published in France, but now in English! Totally revised and expanded threefold, this is currently the most comprehensive overview to what's been happening in Japan's underground for the past 25 years or so. With contributions from many experts from various continents, including Tokyo resident Alan Cummings and Ongaku Otaku editor/AQ pal Mason Jones, as well as many artists themselves, we finally have a Trouser Press for a musical culture which tends to be frustratingly mysterious to Westerners. In addition to the hundreds of artists biographies and discographies (which are expanded beyond the small "selected" discographies of the first edition), there are essays and Q&A's that give insight into why and how so much unusual and amazing music is being produced. In addition there's a huge list of label contacts, websites for artists, online resources and maps with brief descriptions of major cities. Finally, an eighteen track cd is included with exclusive tracks from: Ruins, eX-Girl, KK Null, Hair Stylistics (Violent Onsen Geisha), Sachiko M. with Toshimaru Nakamura, Harpy, Gaji, Yuko Nexus6, Wono Satoru, Kangaroo Pow, Jyoji Sawada, The*Saboten as well as tracks previously available (but only with the first edition of Japanese Independent Music) by: Acid Mothers Temple, Keiji Haino, Hoppy Kamiyama, Tetsuo Furudate, Haco and Bondage Fruit. By no means is this book complete, nor does it profess to be the be-all-end-all of the Japanese underground. Indeed, a quick glance by AQ's resident Japanophiles revealed a few errors and omissions (don't trust the discographies -- they'll say CD when they mean LP or 7"!), but overall it's an impressive work and a useful resource.

JIGEN Blood's Finality (Shiranui) cd 19.98
Release from the Japanese label Shiranui, which has developed a rather unique variant of drum & bass, which employs spastic asynchronous breakbeats accompanied with austere modernist jazz overtones of bowed metal, stand-up bass, and muted horns. Not at all dissimilar to the early Spymania releases by Squarepusher, though more dissonant and less groove-based.

JUNZO, SUZUKI Pieces For Hidden Circles (Utech) cd 16.98

JUTOK, KANEKO Endless Ruins (PSF) cd 22.00
Dark, distorted solo guitar and voice from Tokyo psychedelic-scene veteran Kaneko Jutok (of Kousokuya), with bass and drums help on two tracks. It's blackness, sheer blackness. One for fans of Keiji Haino, no doubt (and his vocals are much easier to take than Haino's). Kaneko's ragged, emotional compositions/improvisations are heavy, beautiful, downer psych outpourings essential for fans of Fushitsusha, White Heaven, High Rise, etc. One local Japanese psych expert considers this nothing less than "a freaking atonal masterpiece" and we'd agree. Turn it up loud!
RealAudio clip: "The Everlasting Labyrinth"
RealAudio clip: "Longing For The Ray"

JUTOK, KANEKO AND TAKAHISA KIKUKAWA Wedged Night (Siwa) lp 18.98

KADURA From The Depths Of The Other Space (Charnel Music) cd 11.98
From Osaka, Japan: Eastern psych-trance space rock. A treat for fans of Ghost and other mind-expanding PSF-label bands. Really nice, especially when leader Atsushi Kobayashi is playing his zurna (double-reed horn).

KAITO Special Life (Kompakt) cd 17.98
Get your dancin' shoes polished up and ready to go 'cause Kaito (aka Japanese producer Hiroshi Watanabe) has offered up over 75 minutes of sleek and sharply executed trance-meets-house grooves. There's all-out thumpin' bass rumpshakers to total gonna-love-you-downtempo numbers and a super spacy atmospheric closing track mysteriously called "Awakening (Beatlesstrumental)". This is his first full length, but please note, it compiles his three previous 12"s with a few new tracks.
RealAudio clip: "Breaking The Star"
RealAudio clip: "Awakening (Beatlesstrumental)"

KAMINUMADA YOHJI 2nd Album (Ebisu Records) cd 19.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Obscure, modern-day Japanese psychedelic rock band, kind of like Ghost but perhaps folkier and poppier. With traditional Japanese elements as well. Nice.

KANENOBU, SACHIKO Misora (Chapter Music) cd 17.98
Heralded as supposedly the first Japanese female singer-songwriter, Sachiko Kanenobu's debut solo outing from 1972, Misora (Beautiful Sky), has an aura of legend. A hard-working presence in the burgeoning Osaka folk scene in the '60s, Sachiko worked for record labels and various bands before striking out on her own. Since it was rare for a woman to be playing her own songs, she quickly managed a record deal. But her love affair with American music critic, Paul Williams, forced her to decide to move to America three months before Misora was released. Without her in Japan to promote it, the record sank without a trace. While in America, she tried to revive her career with the help, of all people, sci-fi writer Phillip K. Dick (!!!), who had become friends with the couple through a piece by Williams for Rolling Stone. Dick, a longtime music obsessive, had always wanted to produce a female songwriter, but unfortunately died of a stroke before that could take place. Her major revival didn't occur until the early '90s when musicians from the buzzing Shibuya-kei scene, such as Cornelius, Takako Minekawa and Kenji Ozawa began citing Misora as a major influence and Misora as a favorite record. The music here is soft and dreamy reminiscent somewhat of Joni Mitchell but with her own innocent flair along with nice arrangements of flute and guitar. One can definitely trace Sachiko's influence on the dreamy sounds of Japanese female vocalists Takakao Minekawa, Tujiko Noriko, and Mineko Itakura from Angel'n Heavy Syrup. Beautiful!
MPEG Stream: "Look Up, The Sky Is Beautiful"
MPEG Stream: "I Wish It Would Snow"

KANENOBU, SACHIKO Misora (Guerssen) 2lp 33.00
Now On Vinyl!
Heralded as supposedly the first Japanese female singer-songwriter, Sachiko Kanenobu's debut solo outing from 1972, Misora (Beautiful Sky), has an aura of legend. A hard-working presence in the burgeoning Osaka folk scene in the '60s, Sachiko worked for record labels and various bands before striking out on her own. Since it was rare for a woman to be playing her own songs, she quickly managed a record deal. But her love affair with American music critic, Paul Williams, forced her to decide to move to America three months before Misora was released. Without her in Japan to promote it, the record sank without a trace. While in America, she tried to revive her career with the help, of all people, sci-fi writer Phillip K. Dick (!!!), who had become friends with the couple through a piece by Williams for Rolling Stone. Dick, a longtime music obsessive, had always wanted to produce a female songwriter, but unfortunately died of a stroke before that could take place. Her major revival didn't occur until the early '90s when musicians from the buzzing Shibuya-kei scene, such as Cornelius, Takako Minekawa and Kenji Ozawa began citing Misora as a major influence and Misora as a favorite record. The music here is soft and dreamy reminiscent somewhat of Joni Mitchell but with her own innocent flair along with nice arrangements of flute and guitar. One can definitely trace Sachiko's influence on the dreamy sounds of Japanese female vocalists Takakao Minekawa, Tujiko Noriko, and Mineko Itakura from Angel'n Heavy Syrup. Beautiful!
MPEG Stream: "Look Up, The Sky Is Beautiful"
MPEG Stream: "I Wish It Would Snow"

KARIE, KAHIMI K.K.K.K.K. (Le Grand Magistery) cd 12.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Kahimi's ultra-sweet baby doll vocals twit and twitter around a Gainesbourg/Bacharach-sque melodious stew. Much like a super amped up Pizzicato Five. Lots of Momus here (words, music, production, etc), but Add 'N' to (X), Stereo-Total, and Buffalo Daughter also put in their two bits worth. Soaring pop on a grand scale. Warning: may induce sugar shock.

KARIE, KAHIMI s/t (Minty Fresh) cd 14.98
Super saccharinely sweet female vocals from this woman who has been called a female Cornelius. He guests on this record, as does Momus.

KARUNA KHYAL Alomoni 1985 (Phoenix) cd 17.98
So imagine you're a longhaired Japanese hippy freak in the mid-'70s. You've been grooving to the cosmic sounds coming out of Germany on import LPs for the past few years, as well as digging the homegrown stuff too. Taj Mahal Travellers, Foodbrain, Speed Glue & Shinki, Magical Power Mako, yeah. But now you're looking for something even MORE potent. And primitive. And peculiar. Thankfully, on a visit to the Tokyo equivalent of Aquarius Records, you discover this release by a tiny Osaka based record label called Voice. And you, the jaded Japanese hippy, once again your mind is blown!
And thankfully for those of us not lucky enough to be born Japanese hippies in the '70s, this mind-blowingness has now been reissued on cd by Phoenix, joining that label's reissue roster of other crucial Japanese '70s prog/psych like Flower Travellin' Band's Satori and The Far East Family Band's Nipponjin (reviewed here last list). This one, if you're curious, earned the 19th spot on the Top 50 list found in Julian Cope's book Japrocksampler.
It's record by a mysterious outfit known as Karuna Khyal, entitled Alomoni 1985. We're not sure why it's called that, in fact, we're not sure of much about this, not even the year it was first released ('75? '76?), except that it's freakin' far out and totally amazing. And that they're probably the same folks who recorded another awesome album under the name Brast Burn, that we assume Phoenix will also get around to reissuing (they'd both been previously put out on cd some years ago by Paradigm Disc, that's how come we're familiar with them, but those reissues are long gone).
It consists of two side-long tracks, each around 24 minutes of hard to describe insanity. The first one starts off like some sort of krautrock meets Native American pow-wow, stoned vocal chant accompanied by harmonica blowing and slide guitar, flowing into a more murky zone of Can-like groove, with relaxed, rhythmic percolations from hand percussion, caressed by free improv piping. Then about half-way through the track, it takes a plunge into proto-isolationist drones and distortion, with backwards tape manipulations and echoing FX... later still, the throbbing, nodding pulse is adorned by more mumbled Beefheartian blues babble. By the end of the track, it's a looping phantasmagoria of voice, electronics, harmonica, like a backporch Philip Jeck jam! Ok?
Then track two begins. Even further out, in a black void... a beat starts... steady... then it quickens, slows, stops and starts again amidst a sinister swooshing swirl of disembodied voices and electronic detritus. Wow. Weird. Bad trip territory! It builds and builds, with kazoo-like sounds buzzing and blapping over a repetitive martial rhythm violently strummed or drummed on some sort of distended, elastic instrument, a bass heavy chunk-chunk-chunk drilling deep like a trepanist's tool, through your skull into your soon to be free brain. Eventually it morphs into twisted harmonica-blowing jam, hypnotic and disturbed, voices hooting and mewling and laughing and mantrically chanting... The second half of this track is total bedlam, but still utterly hypnotic.
Good grief! We have to assume the Boredoms are familiar with this record. And doubtless Kawabata Makoto would give his left arm, or even his beard, to get his Acid Mothers Temple to sound this far out.
Limited edition of 1000 copies, in a cardstock "wallet" sleeve like the label's other releases.
MPEG Stream: "track 1 "
MPEG Stream: "track 2"

KATO, HIDEKI Green Zone (Doubtmusic) cd 17.98
Japanese bass player (with some help from friends) takes on the US invasion of Iraq! That's right, the new album from electric four-stringer Kato Hideki (Ground Zero, Death Ambient, Dying Ground, Bass Army, etc.) is an instrumental concept album taking a critical view of Bush's Iraq war and occupation. We're probably in full agreement with Kato's views, though the problem with making INSTRUMENTAL music to "say" something non-musical is evident -- other than guessing from the song titles, you wouldn't know without being told what the heck Green Zone was "about". However, Kato's concern with the situation in Iraq is what's on his mind and so why not use it to give purpose to his art? The resulting music is definitely powerful and passionate and now we know why. Political ideas aside, Green Zone is definitely the sort of thing that fans of Japanese bands like Ground Zero and Ruins will enjoy, heavy-duty prog power trio skronk from professionals. These slow burning build-ups of distorted grinding guitar over Magmoid bass burps and hard-hitting drumming are gonna also appeal to anyone into the likes of Gone and Stinking Lizaveta, we'd imagine.
Like most Doubtmusic titles, packaged in a nice digipak featuring a distinctive die-cut hole in the cover.
MPEG Stream: "Bremer Walls"
MPEG Stream: "Enemy Within"

KAWABATA / PAUVROS Extreme Onction (Fractal) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
"Extreme Onction" is the first collaborative production between Acid Mothers Temple's guru Makoto Kawabata and France's Jean-François Pauvros. Kawabata has led the Japanese collective on some wild trips through psychedelic mayhem and eerie dronescapes, and Pauvros has a number of releases of improv guitar work on Spalax. These two have revisted the guitar isolationist sounds that found their way on Sentrax and Subharmonic in mid '90s: thick guitar reverberations taking on the challenge of creating a dark ambient music entirely out the guitar (and of course a shit load of effects). Just as Buckethead (he's got a bucket on his head - that's funny) and Bill Laswell had the ability to produce some amazingly expressive and dark atmospherics, Kawabata & Pauvros have succeeded in getting their guitars to speak with a bleak torpor. But similar to their predecessors, Kawabata & Pauvros want the listener to know that they are masters at their instrument and can shove 30 million notes in less than 10 seconds. Wow. What virtuosity.
RealAudio clip: "Vertige"

KAWABATA MAKOTO Osaka Loop Line (AMT) cd 17.98
If it wasn't enough that this hairy hippy rock guru, leader of Japan's prolific Acid Mothers Temple, is busy releasing NEW music at a frantic pace, now he's begun digging through his closet to find old stuff he made years and years ago and is re-releasing that as well. No complaints though, if the "Kawabata Makoto's Early Works" series turns up more material as enjoyable as this, originally released in 1981 on (Kawabata's own?) Revolutionary Extrication Project cassette-label, now reissued on cd in a limited edition of 500 copies.
Osaka Loop Line's title is suggestive of trains, and indeed the two long (22-23 minute) tracks here, parts one and two of the same extended piece, can be heard as chug-chugging (if not choo-chooing) along, a droning but active, abstract soundscape-in-motion composed of electronic hum and mechanical pulse. It's a bit different from the amped up and/or blissed out psych guitar explorations we're used to hearing from Kawabata, indeed we don't even know if he's playing guitar at all on here (he's simply credited with "all instruments and voice"). The Eastern ethnic elements found in much of his later AMT and solo work aren't so much in evidence, as this seems to be primarily influenced by '70s German "kosmische" electronics and proto-industrial experimentation, we'd guess. At the same time, it's not like he was making skinny tie New Wave punk or mimicking Journey or doing rockabilly covers or something -- this music does fit in logically with the krauty psychedelia we hear from the man today. Not bad at all for a youngster -- check out the cute photo on the sleeve of a youthful, beardless Kawabata!
Now the question is, how many Early Works are there? If he was as prolific back then as he & his cohorts are now, then from 1981-199? whenever we first encountered AMT, there's got to be a lot more cool Kawabata musical history to hear...!
MPEG Stream: "Osaka Loop Line Part 1"
MPEG Stream: "Osaka Loop Line Part 2"

KAWABATA MAKOTO & MICHISHITA SHINSUKE Basement Echo (Important) cd 14.98
Attention Japanese psych fans!!! All bow and bear witness to the divine collaboration between two pillars of modern Japanese psych, Kawabata Makoto, temple lord of Acid Mothers Temple, and Michishita Shinsuke, frontman of LSD-March! Blown out, fuzzed out, and tripped out, this monumental collaboration delivers much of what you'd expect from these two long-haired masterminds, spastic improv, dueling electric guitar, unearthly walls of damaged freak-out. Recorded live in Sapporo, Japan, Basement Echo is completely unedited and improvised, a true documentation of, like, two generations of Japanese underground meeting for the first time!
MPEG Stream: "Good Morning Dragon"
MPEG Stream: "South Sun"
MPEG Stream: "Pink New York"

KAWABATA MAKOTO, ANLA COURTIS, ROKUGENKIN Kokura (Riot Season) lp 17.98
Triple electric guitar attack, from Acid Mothers Temple mainman Kawabata Makoto, ex Reynols axeman Anla Courtis and underground Japanese guitarist Rokujenkin. We know what you're thinking, but you're probably way off. This is no psych rock blow out, some FX drenched jam session, instead, Kokura is two huge slabs of epic ambience, shimmering, chiming, glistening, sparkling, all of those ING things guitars do when they are creating gorgeous soft swirls of sound. Thick sheets of guitars are bathed in soft focus effects, and allowed to drift and gently intertwine, slowly and dreamily melting into each other. Even the noisier moments are strangely beautiful, soft fuzzy melodies colliding with dense waves of distortion, all over hypnotic melodic runs and subtle barely-there rhythms. The label describes Kokura as sounding like SUNNO))) at half volume, but it's a lot more delicate than that, at moments monstrously heavy, but at others, like a soft whisper or a ghostlike sonic shimmer. Really nice.

KAWABATA, MAKOTO Hosanna Mantra (Important) cd 14.98
NOW ON CD! Good thing too since this album's really great and the original vinyl version is both hella expensive AND now out of print anyway. And the two tracks from the bonus 7" that came with the vinyl edition are included on this cd too, yay!
It's really difficult to not start off every Acid Mothers Temple or Kawabata Makoto review with something about their ridiculous prolificacy. Which makes sense of course, especially when we're faced with a new release probably every two months, if not more frequently. But as we've stated before, the point is almost moot, as pretty much everything we lay our ears on is great! So it all boils down to how much you need, or how different each recording is, a sort of personal preference. Allan probably has 40 or 50 Keiji Haino albums, and probably thinks that is not nearly enough, whereas Andee has maybe one or two, and is positive that that's plenty.
So here we have the latest slab of divine psych from Acid Mothers Temple guru Kawabata Makoto, functioning here in his solo shaman incarnation (as opposed to his role in AMT's freaked out psych rock space rituals) and it's awesome. Really. A deliriously dreamy swirl of electric guitar, bouzouki and sitar, all woven into two sidelong tracks of glorious ur-drone! Glistening, sparkling expanses of slow shifting overtones and overlapping melodies, steel string buzz and deeeeeeeeeep resonant rumbles. Hard not to hear a bit of fellow countrymen Taj Mahal Travellers. The more static passages sound downright Niblock-like with their almost imperceptible sonic shifts.
MPEG Stream: "Scarlet Phenomenon"
MPEG Stream: "Hosanna Mantra"

KAWABATA, MAKOTO Hosanna Mantra (A Silent Place) lp + 7" 45.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's really difficult to not start off every Acid Mothers Temple or Kawabata Makoto review with something about their ridiculous prolificacy. Which makes sense of course, especially when we're faced with a new release probably every two months, if not more frequently. But as we've stated before, the point is almost moot, as pretty much everything we lay our ears on is great! So it all boils down to how much you need, or how different each recording is, a sort of personal preference. Allan probably has 40 or 50 Keiji Haino albums, and probably thinks that is not nearly enough, whereas Andee has maybe one or two, and is positive that that's plenty.
So here we have the latest slab of divine psych from Acid Mothers Temple guru Kawabata Makoto, functioning here in his solo shaman incarnation (as opposed to his role in AMT's freaked out psych rock space rituals) and it's awesome. Really. A deliriously dreamy swirl of electric guitar, bouzouki and sitar, all woven into two sidelong tracks of glorious ur-drone! Glistening, sparkling expanses of slow shifting overtones and overlapping melodies, steel string buzz and deeeeeeeeeep resonant rumbles. Hard not to hear a bit of fellow countrymen Taj Mahal Travellers. The more static passages sound downright Niblock-like with their almost imperceptible sonic shifts.
LIMITED TO 550 COPIES, packaged in a super deluxe full color gatefold sleeve. And for a super limited time we have some of the version that comes with a bonus 7", pressed on red vinyl (ONLY 150 COPIES, WE HAVE ABOUT 15), two more brief bursts of buzz, with reverb drenched chant-like vocals added to the already buzzing, droning mix. So good.

KAWABATA, MAKOTO I Wished You Were Here Again (Swordfish) lp 23.00
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
It's possible that all we need to say is "limited to 300 copies on trippy colored vinyl." (And "only 5 in stock" too.) Putting aside our sarcasm about the massive output that drives the collector's market for Kawabata Makoto and his Acid Mother's Temple, "I Wished You Were Here Again" is a solid release for Kawabata, who's by himself layering piercing feedback and amp melting distortion on top of his trademark blissful washes of cosmic guitar noise.

KAWABATA, MAKOTO I'm Here Still Now (Live At La Chapelle) (Ochre) cd 16.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
What would an AQ-list be without at least one or two new Kawabata Makoto/Acid Mothers Temple releases on it?? Well I don't think we're ever gonna find out... Here's a new solo release, and as usual, it's really very nice. One long piece for droning electric guitar and sarangi (a kind of Indian droning fiddle), beautifully dark and gentle. The listener will encounter some episodes of tangled string-scrape, but mostly this just slowly flows forward, soft and soothing. It sorta sounds like it should be heard in church. Recorded live (complete with little glitches) in France while Kawabata was over there hanging out with his friends in Ueh.
MPEG Stream: "I'm Still Here Now (exerpt)"

KAWABATA, MAKOTO I'm In Your Inner Most (Ochre) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
Although we might be tempted to join some sort of Kawabata Makoto backlash movement on general principles, the fact remains that the uber-prolific leader of Japan's Acid Mothers Temple has maintained a fairly high level of quality in his constant, cosmic output of music. This here release (one of FOUR Makoto-related discs we've received this WEEK) is indeed pretty worthwhile, so we're not ready to ask him to cease and desist quite yet. Utilizing electric organ, electric harpsichord, violin, tambura, percussion and electronics, Kawabata (with a little help from guest vocalist Audrey Ginestet, the bass player of French psych band Ueh) is in the dream-zone on this one, far from the distorto-rock loudness of the Acid Mothers Temple recent "Electric Heavyland", for instance. With high-pitched tones swirling about, this is spacey, droney stuff in a psychedelic Terry Riley/Steve Reich repetitive minimalist vein, that originally spread over the two sides of a limited edition LP released last year on Eclipse. (So limited, that we never saw it.) But this cd reissue appends a 15 minute bonus track anyway, so we're all good. In a word, lovely.
RealAudio clip: "I'm In Your Inner Most part.1"

KAWABATA, MAKOTO Infinite Love (Ochre Records) cd 14.98
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
This guy could poop on a stick and someone would put it out! And someone else would pay a lot for it on eBay! Thankfully, so far, he hasn't done quite that. But here's yet another (non-poop) new release from the man...
A blissful, if relatively non-active, listening experience proferred by Kawabata Makoto, leader of the wild psych freakout band Acid Mothers Temple. This is the music Kawabata makes when he's sleepy, maybe, and there are no jarring effects to disturb the blissful vibe, so it's also perfect for *your* bedtime. Improvised on guitar with no overdubs, the music sleepily drifts between good dream vs. nightmare. If you play it loud, the tension will crowd out all your other thoughts. If you play it quiet you'll feel rather soothed in its undemandingness. Three long tracks totalling 74 minutes.
RealAudio clip: "See You in a Same Dream Tonight"

KAWABATA, MAKOTO Inui 1 (VHF) cd 13.98
So yeah, about time this was available on compact disc! We've got Inui 2 and Inui 3, but ol' Inui 1 only came out as a limited-edition LP on the Siwa label back in 2000 ("roughly 100 releases ago, in Kawabata terms" as VHF themselves admit) and is of course long gone, a major prize on eBay or so we're told.
Kawabata (of Acid Mothers Temple, need we tell you?) is joined by guest vocalist Audrey Ginestet from French band Ueh for the first track on this dreamy, droning initial installment of the Inui series, Kawabata handling the rest of these three lengthy tracks all by himself using various and sundry ethnic stringed instruments from his collection (violin, sarangi, oud, bowed sitar, bouzouki, lyra, shou, and nei) plus his own vocals -- all very blissful and spacey and psychedelic as you'd expect. The last twenty+ minutes (the track "Son") is such an angelic ambient drift, shimmering, seeming like the magnified sound of a shaft of magic morning sunlight in the floating-dust filled air of an old empty room, awakening to the day.
AMT/Kawabata fans should thank VHF for reissuing this on cd, 'specially as it's so nicely presented in a hand-screened mini-gatefold sleeve done by the folks at Siwa, and guess what? It's also a limited edition!
MPEG Stream: "Shin"
MPEG Stream: "Tai"

KAWABATA, MAKOTO Inui 2 (VHF) cd 13.98
Japanese avant-hippy sound guru Kawabata Makoto (of Acid Mothers Temple, Toho Sara, Musica Transonic, and countless other projects) releases his first widely available solo cd, following up his "Inui" lp. Four long tracks of instrumental drones and tones, made with a variety of instruments of both Eastern and Western lineage (violin, zurna, bouzouki, cello, organ, electric sitar, sarangi, gong, electronics, and more). He weaves some exotic, beautiful (improvised?) melodies atop said drones as well. Very nice, very psychedelic. Good going-to-sleep music.
RealAudio clip: "Meii"

KAWABATA, MAKOTO Inui 3 (VHF) cd 13.98
It's really wonderful of Kawabata Makoto (the high priest of Japan's Acid Mothers Temple y'know) to let us in to his private inner world of drone-bliss, via this release as well as previous discs like Inui 2, Infinite Love, and O Si Amos A Sighire A Essere Duas Umbras? and his collaboration with Richard Youngs, of which this here disc certainly reminds us.
Inui 3 consists of three long tracks (the last, over 45 minutes long), making psychedelic usage of bouzouki, sarangi, electric guitar, viola and ECS-101 (whatever that is -- we thought at first it was maybe an analog sequencer, but expert in that area, Ms Cup, had never heard of an ECS-101 -- anyone know?). The results are a lot of shimmering loveliness, with high end tones over droning drones. Really really nice.
So, if all you know him for is the 'motorpsycho' guitar splurge characteristic of AMT and Musica Transonic and the like, then you'll be surprised (pleasantly we think, this is nothing if not pleasant) by the beauty and restraint of these tracks. Of course, AMT followers by now are probably familiar with, and fans of, that mellower side to Kawabata's prolific output. In either case, here's a(nother) recommended dose!
MPEG Stream: "Sui"
MPEG Stream: "Ken"

KAWABATA, MAKOTO Inui 4 (VHF) cd 13.98
Imagine being in the middle of a hectic workweek, with a project deadline on Friday. Maybe, for instance, you've got to write a ton of reviews of music releases for a bi-weekly New Arrivals list? And it's time to review the new installment in the Inui series by Acid Mothers Temple leader Makoto Kawabata. It's just one track, 68 minutes long, and you take the opportunity to relax in your chair as you listen to it before writing about it. Under the spell of its blissful wash of drones, gently burbling electronics, and mellow, repetitive guitar strum, you might even drift off for a few moments of blessed nap-time, before getting back to work tackling the next offering of indietronic dance pop, cd-r noise folk, or grim black metal in your to-be-reviewed pile.
Well under these circumstances, Kawabata's Inui 4 definitely gets the big thumbs up! Seriously, as long as you're not trying to concentrate, even the foghorn sounds at 21 minutes in, or the high-end whistling tones of Kawabata's drones, won't bother you. It's just another welcome relaxing trip to the softer side of Kawabata Makoto's psychedelic cosmos.
MPEG Stream: "Ryo (excerpt)"