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Mekong Shellac is an extremely rare collection of classical and popular styles of Khmer music from the 1930s to the 1950s. Restored from the few original remaining copies, this compilation reveals a remarkable world of early 20th-century Cambodian folk music previously lost in time through war, cultural shifts, and modernization. These recordings were selected for their distinctive musical qualities, the physical condition of the 78 rpm records from which they were sourced, and the circumstances of their survival. The selections span a range of Khmer musical forms, including Chapey, Romvong, Lakon Basak, Pleng Khmer, Ayai, and Ayai Reung, as well as classical and court-derived traditions such as Pinpeat and Mahori, alongside popular and regional styles including Lamleav and Pleng Ka. It's a miracle these discs have survived at all throughout the past century. Restoration of these 78-rpm artifacts was a challenge, but considering that, of most songs appearing on the album, less than 5 copies are known to exist worldwide today - with only two known copies of three tracks presented here, the songs survive magnificently. Produced by Adam Fargason with the critical assistance of Sam Touch and Mai Viết Cường, this limited-edition vinyl pressing comes with a deluxe 16-page booklet insert including highly detailed liner notes, essays and historical information about the recordings, and a selection of vintage photographs.
In the summer of 2010, “Zomeki Ichi” was released with a recording by Makoto Kubota of the Koenji Awa Odori dance in Tokyo. It was a big hit, receiving a great response from not only persistent Awa Odori fans, but also from world music fans and club music fans. The “Zo-meki” series has released eight CDs so far.
This is the first analog version of the “Zo-meki” series as a 12-inch single.
Topu Lyo’s debut solo album quiet scenes from tokyo collects sixteen miniatures recorded in his Tokyo apartment using little more than cello and a Roland Space Echo. Extended techniques mimic electronic effects, moving between bowed drones, rhythmic pizzicato and strange, granular-sounding passages. The nearby freeway also became part of the music: traffic seeps naturally into the recordings alongside passing announcements and the city’s daily sunset melody. Sparse and exploratory, the album finds unexpected connections between acoustic cello, environmental sound and electronic production.
Klara Lewis' Opening is a deceptive recording with veiled melodies and clandestine bangers. "Klara Lewis’ distinctive talent for disfiguring sound into forms that remain recognisably song-like reaches a new peak here. Lewis, creator of worlds, treats music as a mirror that reflects a perspective misaligned with the real image. Her music moves in unusual and often startling ways. Acoustic instruments such as ukulele and piano are subjected to processes of deconstruction and reconstruction, their original forms continually reshaped. The tracks within Opening offer an array of disorientating tactics; damaged field recordings are suddenly sliced into ominous rhythmical patterns whilst deceptively simple tactics provide foreboding dread. Often alien on entry, the progression of a piece can land in a surprising tenderness, or the other way around. The momentum grows as a physical state but also one which is questioning, desiring, encapsulating a feeling, to explore a further way of expression and ultimately connecting: A new closeness, a new perspective. Opening is an album in which the protagonist’s manipulation of sonic matter seems to extend beyond the music itself, resulting in a corresponding manipulation of the active listener. Sounds shift, dissolve, and re-emerge in altered forms, creating an experience that feels both intimate and disorienting. Lewis maintains a delicate balance between abstraction and emotional immediacy, drawing the listener into a world where familiar musical gestures are constantly reconfigured in surprising ways. The works on Opening are refracted through an exploratory and transformative lens, suggesting an artist continuing to redefine the possibilities of musical language as a space where the instantaneous and the eternal come together."
Urban and Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. The result is a work that exposes the fixed assumptions about the constructed boundaries and flows between musical traditions and practices. On its own this is the ultimately problematic place where many of the so-called musics concerned with the world reach an impasse, incapable as they are of questioning their own basic assumptions and ultimately end up strengthening those very same boundaries and flows that they had apparently set out to challenge. Musci and Venosta go further, principally and more fundamentally, by picking away at the margins of pure sonorous events and musical material, noise and sonance. In doing so, Urban and Tribal Portraits repoliticizes the notion of pastiche, engaging as it does in a kind of ecopractice, turning the process rather than the musical object into the poetic focus of the work. Fixed categories are rendered ephemeral, temporal and spatial categories including the margins, so hard to overcome, between composition, improvisation, authorship, recordedness and live performance are deconstructed. In the end, where one would expect seriousness there is levity and where one might see some postmodern appropriative ironic juxtaposition there is intensity and respect of the magical organicness of the material sources.
The Loa of Music is the first recording project of Milanese composer and musician Roberto Musci inspired by Voodoo Religion; Vever (the magical voodoo paintings) and Loas, the dark and magic spirits. The deep charm of non-Western music has led him to travel for many years across Africa, India and Asia, studying rhythms, scales, performance and interpretation of the most varied traditional and indigenous music, as well he make many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa of Music. Recorded in 1983 originally had 80 minutes of music but only half was released on original LP. SOAVE pressed for the first time the Complete Recording Session from original tapes of this masterpiece that combines in a natural, spontaneous and unforced manner the sounds of distant and historic cultures, loopped, cut and effected, with avantgarde and mystical approach creating a very personal and inspired innovative musical language.
Isik Kural’s Motorcycles and Cherry Wind is a sonic travelogue of stories waiting and wanting to be told, of seekers passing through a loop of time as they become witnesses to the glories of the ancient ruins. The album holds sounds of timeless quality—like inherited folklore, draped with secondhand nostalgia—taking the shape of whoever is eager enough to claim it as their own. Rich and full of character like the dusty mystery of an archeological site, Kural whispers to the living and the long gone alike in the poetic embrace of Motorcycles and Cherry Wind.
A communication with the spirits. A sacred performance on a Papua New Guinean bamboo flute. Under the umbrella of Editions Mego, Ideologic Organ, one of the leading experimental labels run and curated by Stephen O'Malley (of Sunn O)))) fame, has released a new album on the same label. It was sampled on Bjork's latest and greatest album "Utopia", which makes it all the more controversial. This is a previously unreleased field recording of New Guinea made by Ragnar Johnson in 1979. This is a music heritage level recording!
This is a recording of musical heritage level! This is a rare field recording of a bamboo flute played by adult males in the Madang region of Papua New Guinea for ceremonial purposes, using long female and male bamboos. This is a solo performance of the bamboo flute with an all-too-rare sound, woven with mysterious breaths and occasional birdsong. The mysterious performance, like a dialogue with nature and spirits, seems to come from another world or dimension. These performers seem to be the last generation to have been taught this performance technique, and there is no doubt that this is a recording of great documentary value. The sound quality is perfect, no matter where or when it is played, and the production is flawless, with digitizing and mastering by Dave Hunt at Dave Hunt studio and cutting by Rashad Becker at Dubplates and Mastering. Notes by Ragnar Johnson and Jessica Mayer. Cover photo by Ragnar Johnson.
In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.
Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyū, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.
Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyū, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.
Unfolding as a single, continuous piece, Sen’nyū drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.
Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyū is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyō ongaku, environmental music born from place, shaped by it, and inseparable from it.
As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.
Sen’nyū marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title 失日本百景 (One Hundred Lost Views of Japan), a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.
Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.
Garefowl is an international collective of musicians combining strings and electronics: Nathan Bontrager (viola da gamba/harmonium/banjo), Stuart Graham (bouzouki/harmonica/harmonium), Chris Jones (concertina/mandolin), Ewan Macdonald (fiddle/smallpipe drone), Richard O’Flynn (island sounds/percussion/XRD drones), Jess Whelligan (cello). "Garefowl is a project connected to the archipelago of St Kilda, Scotland. Ewan Macdonald and his father Murdo, relatives of one of the men who killed the last Great Auk (Garefowl), conceived the project to reflect on and mark this family history. Things That Vanish was recorded on Hirta, the main island of St Kilda, at night. The soundscapes of Hirta breathe across the record: a quiet rolling swell of winds, waves, birds, and the otherworldly thrum of the snipe. Taking influence from the traditional folk music of St Kilda, the tunes on the record are inspired by the threatened seabirds of the islands. The band were intrigued by the folk stories around these birds, and how they often are depicted to imbue a primal, dark and haunting nature. In such tales, the birds retain a quality akin to a sea monster: preying upon calves and sheep, and believed to be the pelagic souls of drowned sailors or the cursed spirits of cruel captains. No synthesizers were used on the recording. Instead, the production draws entirely on sampled and processed field and hydrophone recordings collected on St Kilda. Additionally, drones were created through a process pioneered by Richard O’Flynn and Joe Gardner. Rock or bone samples are analysed using X-ray diffraction (XRD), which creates a spectrum with peaks corresponding to the sample’s chemical composition; this spectrum can then be mapped to sine waves, forming a drone." Stock Status and Shipping Information In our checkout you can opt to group items in your order into a single shipment, or opt to ship them separately, as they become available. If a physical stock item shows as “On Backorder” that means that the item is, to the best of our knowledge, available from the supplier and should ship to you within the time-frame indicated. If there are any issues with availability, we will notify you. Please also note that all shipping dates for Pre-Orders are estimates and subject to change.
Acclaimed composer and sound artist claire rousay has announced a new collection of music titled on holding, out Oct. 9th on her newly established label quality sounds ltd. Along with the announcement of the recording, released on very limited CD and digitally, rousay has shared the single “holy sedative,” a lithesome, quiet arrangement of slow-motion piano melody and chords, its electronics gracefully dotting the horizon as field recordings shuffle in and out. rousay’s music captures the casual beauty of day-to-day living, of pausing to notice. “I am launching my new label quality sounds ltd alongside the release of this new work. on holding is the first release for the label,” rousay notes. “The label is a place for me to curate music that I feel has “a quality” that speaks to me–works of sound containing distinguishing characteristics. I am thinking of quality not as a measurement of excellence but more of an intangible, personalized trait.” on holding’s recordings, largely captured during tours throughout Europe and the UK in 2026, range from field recordings while in-transit, hotel room Ableton explorations, piano recordings made between sound check and showtime using the provided pianos at each venue, interviews with people at the concerts, and live recordings of sets on tour. The resulting work distills 30+ hours of recorded material into the 5 tracks that make up the work of "on holding".
Baroque Sunburst is proud to present "Meliponica", the unique and unheard music of the interdisciplinary Brazilian artist João Machado, entirely created by electronically processing the recordings of stingless bees. Machado's work with field recordings of native bees form a sound library held in international collections such as the British Library and the Animal Sound Archive in Berlin, and his research into stingless bee communication has unfolded into experimental electronic music, finally finding its way on vinyl for the first time. Within its 40 minutes of never-stopping music, "Meliponica" reveals its unique sonic universe, flawlessly moving from complex percussive rhythms to melodies and soundscapes that seem to come as much from earth as from outer space. With an impressive ability to explore the potential of its original audio sources while pushing it to the limits, João Machado's idea of music never loses musicality and groove, even in its more intimate moments.
Lamin Fofana takes inspiration from Aimé Césaire’s 1950 poetry collection Corps Perdu, translating its ideas into exploratory electronic music built from processed melodies, fragmented rhythms and sound. Developed through reading and listening sessions in Paris, Barcelona, Tunis and New York, the album forms part of Fofana’s wider engagement with Black Studies and writers including W.E.B. Du Bois, Sylvia Wynter, Édouard Glissant and Suzanne Césaire. Its ten pieces follow Césaire’s imagery of scattering, upheaval and metamorphosis, connecting literature, sound and performance.
This is raw, unfiltered ceremonial gong ensemble music recorded on location by Laurent Jeanneau in Ratanakiri, Cambodia’s northeastern province, bordering Laos and Vietnam. Along with Mondolkiri to the south, it was once home to many of the country’s ethnic minority communities. During the colonial period, the French failed to establish full control over the region. After independence, the Khmer state also struggled to govern it, while Khmer Rouge rebels hid in its forests in the 1960s amid the wider conflict between communist Vietnam and the United States. The Khmer Rouge takeover in 1975 and the subsequent Vietnamese occupation, which lasted until 1991, could have devastated the traditions of northeastern Cambodia’s ethnic minorities. Yet during the 1980s and 1990s, Indigenous communities revived swidden agriculture, also known as slash-and-burn farming, and resumed gong playing, preserving their animist ceremonies and beliefs. Only in the 21st century have rubber plantations and corporate development, driven largely by dominant Khmer, Vietnamese, and Chinese interests, become a serious threat to the ways of life of these marginalized communities. This album features various gong ensembles being played during animist rituals and for drinking the fermented rice alcohol called Tavei. Instrumentation includes Nipple and flat gongs, bamboo tubes, male and female vocals, and drums. (Limited edition of 500 vinyl copies with a 2-page insert featuring detailed liner notes by Laurent Jeanneau and additional photos of the musicians).
Texas-born, Maui-based musician and producer Jesse Peterson aka Turn On The Sunlight's new LP via Music From Memory. "Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū. Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard. Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality. Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity. Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity. 'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself. Sleeve art and design by Michael Willis."
Mu-inspired space cadets KiF Productions livicate their play of Japanese environmental ambient electronics, Hassellian 4th world, the KLF’s ‘Chill Out’, and Eno-esque harmonic perfumes, to the dearly departed Keith McIvor. "Passiflora (Passifloraceae) is a genus of around 550 species of flowering plants, native to the tropical and subtropical Americas. The Passion Flower is a plant of improbable beauty - its blooms almost too intricate to be real, its climbing habit a quiet kind of determination. It has been used for centuries as a remedy for anxiety and sleeplessness, something that slows us and the world around us down. Fresh from last year's triumphant debut by KiF; Still Out, Passiflora, the album, follows the plant from its very beginning. It opens in darkness - 'Secret of the Seed', dormant, waiting - before the first tentative stir of 'First Movement' and the long, instinctive reach of 'Seeking Light'. From there, the journey unfolds with the patience of something that has no choice but to grow: drinking, climbing, flowering. 'Song of the Vine' carries the plant's quiet insistence upward, while 'Florescence' and 'Pollination Dream' catch it at its most open - that brief, extraordinary moment of full bloom. Then the turn. 'Fruiting (Slight Return)' and finally 'Return to Earth' - the cycle completing itself, giving back what it always borrowed. Each track is a stage. The whole is a life cycle."
"Nusa"is the result of a dialogue between the photographer Masao Yamamoto and the composer and musician Akira Uchida, initiated by IIKKI, between April 2025 and March 2026. "Nusa" is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast. For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes
"Nusa"is the result of a dialogue between the photographer Masao Yamamoto and the composer and musician Akira Uchida, initiated by IIKKI, between April 2025 and March 2026. "Nusa" is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast. For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes
ベルギー・リエージュを拠点に活動するfrançois vankaによる、東ベルギーの自然保護区や森との境界線、川の谷間を巡る散策の中で採集された音の断片を凝縮し、自然物から作り上げた自作楽器やフィールドレコーディングを用いて紡ぎ出された静謐な音響日記のようなデビュー作『quelques endroits』。セイヨウニワトコから削り出したチャイムやカタツムリの殻、フランス海岸の貝殻などを用いたハンドメイド楽器の素朴な不規則音と、霜のように繊細な音色、静かに漂うピアノとループが美しく交錯。風や水のせせらぎ、鳥たちの羽ばたきといった森のささやきに澄んだ響きが優しく溶け合い、作り手と聴き手の境目をやわらかく曖昧にしていくオーガニック・アンビエント空間を創出している。あらかじめ決められた構造を持たず、時間の流れから切り取られた自然の美しさと内省的な響きが調和した繊細な音像が静かに寄り添う好内容作！
Swedish-Finnish sound artist Marja Ahti returns to Black Truffle alongside Iceland-based American clarinetist John McCowen, whose innovative polyphonic technique provides the direction for 'Errands', imprinted by Ahti's processed field recordings and sinewaves. 'Errands' opens with the perfect dupe: a snippet of a recorder performance of Messiaen's 'O sacrum convivium!' that lasts just a few seconds before the sounds are morphed with elongated, buzzing resonances. The framing is crucial: although Ahti and McCowen are both aware of expectations within the confines of often stuffy electroacoustic music, they were keen to approach it in their own way, following a traditional philosophy while taking in very different elemental components. The two met in Stockholm in 2024 when they performed at Edition Festival and recorded the set in Reykjavik, where Ahti gathered many of the album's incidental recordings. And she didn't record the puffins or the crashing tides, she wandered around the streets, capturing the humdrum ambiance that makes the city so particular. McCowan is best known for his approach to the clarinet, a usually monophonic instrument that, via an extended technique, he's been able to transform radically. And it's those wavering multiphonic moans that anchor 'Errands', integrated seamlessly with Ahti's similarly treated sine waves. 'Errands' isn't a drone record though; the two sound artists concoct a surprisingly action-packed narrative on 'Chorales', punctuating their elongated tones with piano and bringing the recorders back in the final act. On 'Physical Display', the duo's restrained drones metamorphose into high-pitched, kettle-boiling squeals that foreshadow the next movement, when the space opens up to capture a host of familiar sounds before simmering down to almost nothing. At its most peaceful, the piece reveals its most intimate elements: rainfall, distant engines, stifled breaths, plucked strings.
Music aged in time, resonating from the surface to the core through layers and sediments of stones — the strata. Four morning recording sessions with a separation between them of between three and ten months — a chronozone that will rest for a time and on which the next one will be added, thus forming the total of the six pieces of the album — becoming six strata. A slow-moving album that develops landscapes of subtle but continuous evolution, where we find layers of diverse nature created from different procedures, bathed in the calm waters of wabisabi, where melancholy, immensity, insignificance, the potential of the unemerged, coexistence and simplicity converge at the same time.
In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.
Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyū, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.
Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyū, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.
Unfolding as a single, continuous piece, Sen’nyū drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.
Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyū is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyō ongaku, environmental music born from place, shaped by it, and inseparable from it.
As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.
Sen’nyū marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title 失日本百景 (One Hundred Lost Views of Japan), a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.
Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.