MUSIC

Tape comes in only 199 copies with O-card 300g wrapping clear box with j-card and laser print orange shell.

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise.
Originally released on CD in 1990 by Alchemy Records as part of the Good Alchemy Series, Rainbow Electronics marks the pinnacle of Merzbow's late 80’s noise phase. Selected and transformed from about 21 hours tape of primitive raw material recorded during three years (1987-1990) in 14 fragments lasting about 74 minutes, this monumental work is an aural trip through a cold plotted universe of intergalactic space ships and golden celestial bodies. Remastered in December 2019 and split into four parts directly by the artist for the double vinyl version it opens up with a slow, kind of creepy tempo, reaching from dirty harsh noise flows coupled with eerie reverbed screeches and scrapes of iron objects. Noise and blasts come from every angle, and all you can do is sit and take it. Then continues with solid drumbeats briefly emerging from the static and disappearing just as quickly, again long stretches of subdued electronic drones buzzing along sleepily and the occasional sudden shift of noise into something more violent, though it all happens kind of slowly and gradually. A truly mesmerizing and immersive body of sound and its intense finish is something of pure artform.
“I don't need a lot of words about Merzbow. All you have to do is immerse yourself in the sound.” translated from Japanese liner notes of Alchemy Records CD by Toshiji Mikawa.
Double vinyl comes in only 299 copies with gatefold cover that faithfully reproduces the original art work plus a 12" size insert. If you looking for a great starter title by Merzbow, an amazing piece of art, or something to get high to, this double LP is perfect! 

Tape reproduces the original art work and comes in just 199 with O-card 300g wrapping clear box with j-card and laser print green shell.

Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise.
Green Wheels is Merzbow in its most straightforward, most genuine, most uncontrolled and refined form. Originally released by the legendary US label Self Abuse Records in 1995 on CD and 5-inch vinyl record, both housed in a foil-lined cardboard box with the abstract and impressive art work created by the artist himself, which has become another of the fetishist objects of Merzbow and now incredibly hard to find. Like all of his work since the early nineties, Green Wheels is an uncompromising cascade of brutal noise. In this album you find nothing of the minimalism of his early 80s, completely overwhelmed by synthesizers and handmade objects that become his unconventional weapons to create bursts of noise.
The three tracks of the CD which are neatly reissued on the first three sides of the vinyl, radiate the listener from the rackets of a rain of nails on metal plates, the synthetic crashing of bombing, industrial percussion and the metal (green) wheels that roll and scrape. The last side of the record contains the two very short 5-inch tracks that hurt you with thousands of jabs in just a matter of minutes. Then closes with two unreleased tracks from the same fantastic mid-1990s period which can undoubtedly be considered two wonderful discoveries for their intensity and beauty; musical pieces that blend perfectly and complete the reissue on this double vinyl. When you get to the end of the fourth side, you will feel purified, once the granite landslide subsides. It is like mental liposuction, eradicating all anguishes and hesitations.
Everything was perfectly recorded and mixed in March-May 1995 at ZSF Produkt Studio, Masami Akita’s home studio from the late 80s to late 90s; the outcome it's warm and bright as the bare steel of Shinjuko skyscrapers under the (rising) sun of hot Japanese summers.
Of all the incredible artists to have emerged from Japan’s thriving noise scene, it is hard to call to mind a figure as iconic, visionary, or influential as the composer and performer Masami Akita. His work represents ground zero for nearly everything that has followed in its wake. In addition to its incredible noise sounds, this positions Urashima’s newly remastered and expanded Green Wheels 2LP in only 299 copies with gatefold cover that faithfully reproduces the original art work as an incredibly important event. Not only does it present the best sounding release of these recordings to date, but it expands to a double LP, with a never before issued two tracks recordings. Yet another crucial reissue offering from Urashima that towers with historical importance, this one is impossible to recommend enough. 

johnny’s disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as “farewell my johnny / left alone” and “aya’s samba” has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

another japanese jazz classic, aya’s samba was a debut effort by bassist eiji nakayama, who played as part of elvin jones’ jazz machine and toured with don friedman.

this album is an important release in the johnny’s disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be.

“aya’s samba” is a mellow jazz samba in minor key that’s considered a japanese jazz classic. slow ballad “yellow living” is drenched in melancholy with emotive keys and sax notes, while the dreamy “sea sea town” impresses with a captivating, expressive sax solo. the 4 tracker ends with “far-away road,” an uptempo tune with rhythmic keys.

This is Calm's first beatless chillout album.
The sound quality is also softer than usual, giving it a more organic finish.
Continuing from the previous work, the main members have participated in several songs, but this time, rather than jazz-like freedom, Calm's play that is close to the writer's style is added.
And the best feature is that it seals the long arrangement that is good at it, and it has a structure like a good old record album era, with a total of less than 50 minutes and an ending in no time.
FJD, a friend from the first, is in charge of the design.

The analog edition is configured with the good old LP era in mind.
A new challenge in a sense for Calm, who recently had a lot of double-disc sets.

Studio recordings from 1988 are officially released after 34 years of absence.

The tape recorded by Yuji Takahashi (synthesizer, sampler) and Masahiko Togashi (percussion) in a studio on November 23, 1988 was found for the first time in 34 years and is now officially released as a CD album. This album is the culmination of the Takahashi/Togashi duo, which began in the spring of 1988 at the Shinjuku Pit Inn, and is an improvisational performance in which Togashi responds to Takahashi's leads without a score. Each member's different musicality is inspired by the other's, and the music is built up in dialogue. The electronic sounds of Takahashi's early samplers and digital synths, the calculated acoustic percussion of Togashi, and the lush interplay make this sound journey a rare and precious work.

Tropical ambient set on a fictional tropical island! First official LP record of the "Doshin the Giant 1" soundtrack for the NINTENDO64DD game!
In 1996, Moodman made his solo debut on M.O.O.D. label, and in 2001, Alec Empire, who received his debut album, enthusiastically offered to release his first full-length album on Geist, the label he had started. Tatsuhiko Asano has also provided music for various other projects, including label compilations such as Daisy World and Transonic. 15 tracks were released in 2000, including new recordings and versions not used in the game before it was converted for the 64. Included in the collection are the following songs.
As Asano himself describes the music as "fluffy, fuzzy, soft and warm, like a living creature, sounding like something from over the mountains," its charming, yet somehow elusive, quirky appearance makes it stand out from the myriad of game music.
Kuniyuki Takahashi was in charge of remastering the album for vinyl release. Limited edition of 1,000 copies.

The other day, Koshiro Hino, who succeeded in the Tokyo premiere of his masterpiece "Virginal Variations" as a composer, is finally attracting attention from both inside and outside the country. His solo unit YPY's worldwide distribution album is finally released. The undisputed 2010s talent, Hino, is a track maker / musician who emerged from the club scene, but due to his strong writer's ability to be inversely proportional to his low waist, he couldn't fit in an underground box, and the creative power that erupted. The state of holding down. YPY is devoted to live performances and recordings every day, but in reality there are few releases and the value of this work is quite high. This album reveals an early impulsive and multifaceted rhythmic quest that is different from the stoic attitude of his band, goat. This time, his ally, Yosuke Yukimatsu, gave advice on song selection, and Hino's urge was firmly established in the album. One of the characteristics of YPY is that it has a compressed and massive sound and the style is electronic music, but it has a strange organic feeling like a living thing like the indigenous music of Africa, which is a cassette tape for sound making. It is also related to the use of. The title song "Zurirezumu" is a mysterious work that takes advantage of the equipment trouble that happened by chance, and is YPY's first recording!

"The trajectory from the initial impulse of Koshiro Hino = YPY as a track maker, not as a brain of goat, bonanzas. However, the trajectory does not mean that it is heading straight somewhere. , The path is constantly ZURE. Why. Because he is constantly trying. Why keep trying. It is to explore the possibilities hidden there. Here is a fragment of Koshiro Hino so far. And the pieces from now on will also ZURE polyrhythmically. Are your ears listening to the sound of the heart? John Cage continued to question the possibility of hearing. The possibility awaits us. ing."
-Yosuke Yukimatsu
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"I listened to it and thought," It's the sound of a live house! " There is no so-called chord feeling or melody, it is not noise, it is not music that can be heard only by "sound", it is not dance music, but it is a familiar sound. Is it physical music? It is a playful work. You should listen to it first without thinking about anything. -Phew

The shocking COMPUMA (Koichi Matsunaga)'s first 12-inch !!! The problematic work of the endless computer original problematic work that reconstructed the problematic work "Haku no Ongaku"! It is no exaggeration to say that it is the most important must-listen work of Japanese underground dance music in 2015!

90s is Asteroid Desert Songs, 00s is Smurphotokogu, and in recent years, the first 12-inch impact of Koichi Matsunaga aka COMPUMA, a stubborn electro crew who admits himself and others with his musical connoisseurs who are dying in "Devil's Swamp". drop. Only computers can interact with "Haku's music" on an equal footing! I delusionally asked to rebuild the album. This is the work that came up! ?? !! The experimental result that the computer says, "It looks like an original work ...". However, in order to faint in agony and complete the original request, I decided to announce it under the name of Compuma meets Haku. An electro song with a non-trivial atmosphere that has a feeling of devotion from each note of snare, kick, hat, etc. 80s US Old School-Tasteable dance music that has blossomed suspiciously in the depths of Japan across the Atlantic Ocean from the 1960s!

Here's a great one. This is from Death Is Not The End, a great place for digging up antique music from all over the world, from pre-war blues to immigrant music and South American folklore. It's also a great place to dig for antique music from all over the world. This Japanese project follows on the heels of Katsutaro Kouta, which was released in 2018 and was very popular in our store, and contains haunting and unique sounds that show how cultural fusion with the West was beginning to be reflected in popular songs before the influence of Western pop music during the post-war American occupation. This is a work that every Japanese should be exposed to at least once.

Here's a great one. This is from Death Is Not The End, a great place for digging up antique music from all over the world, from pre-war blues to immigrant music and South American folklore. It's also a great place to dig for antique music from all over the world. This Japanese project follows on the heels of Katsutaro Kouta, which was released in 2018 and was very popular in our store, and contains haunting and unique sounds that show how cultural fusion with the West was beginning to be reflected in popular songs before the influence of Western pop music during the post-war American occupation. This is a work that every Japanese should be exposed to at least once.

DOWN 2 EARTH, which was established by Toshio Nakanishi as a "Nagomimono" music line within the Major Force label, has finally released the album of the group of gods, known as the pinnacle of exotic music, on analog. !

An exotic work that can be said to be an extension of the Watermelon Group, Toshio Nakanishi, Masayuki Kudo, steel guitar player Genichi Tamura, who is also known for activities such as Little Tempo, and Shunji Mori of Natural Calamity gathered in Bali to record. This album is an exotic sound that has been consistently slowed down in line with the label's concept.
A work that can be said to be the highest peak of domestic exotic music.
Works in 1992

Tracklist:
Side A
1.BEYOND THE JUNGLE (there’s something)
2.MOON HOTEL

Side B
1.DEATH A GOOD ADVISER
2. NUMBERS
3.WHEN THE SKY FALLS

DISC 2
Side C
1.MOVING WATER (GET HOT, GET WET)
2.SLACK BABY SLACK

Side D
1.THUNDER ISLAND
2.SPACE COWBOY
3.VOICES

Musique Hydromantique is the second solo album by Tomoko Sauvage archiving many years of her performance-based practice on the waterbowls -- the natural synthesizer of her invention, composed with porcelain bowls filled with water and amplified via hydrophones (underwater microphones). While her first album Ombrophilia (2009) was studio-recorded/composed work, Musique Hydromantique is about experimentation and improvisation with the environment -- acoustics affected by the architecture, temperature, humidity, and the human presence. For more than ten years, Sauvage has been investigating the sound and visual properties of water in different states, as well as those of ceramics, combined with electronics. Water drops, waves, and bubbles are some of the elements she has been playing with to generate the fluid timbre. Since around 2010, hydrophonic feedback has been an obsession -- an acoustic phenomenon that requires fine tuning depending on the amount of water, a subtle volume control, and interaction with the acoustic space. "Calligraphy" was recorded in a genuine echo chamber, with about ten second reverbs, situated in a former textile factory. Like an endless exercise to draw perfect curves and forms floating in the air, the subaquatic feedback frequencies are pitch-bended with the mass of water sculpted by a hand changing its quantity. "Fortune Biscuit" is about the singing bubbles emitted from the pieces of "biscuit" (porous terra-cotta). Depending on the texture of the surface, each biscuit makes different sound. "Clepsydra" (meaning "water clock") features Sauvage's classical technique, a random percussion with dripping water. Sauvage tunes the waterbowls by adding and removing water, making flowing glissando, to find the balance point in ever-changing tonalities. Just as the flow of water is subject to a number of variables such as temperature and pressure, water clocks mark a time that is shifting and relative. However, slowness dominates throughout the album as a result of favoring the full resonance of the instrument. Hydromancy is a method of divination by means of water. Unpredictable bubbles and water ripples become oracles. Evaporation and acoustic space constantly play a chance operation. All the tracks were live-recorded without electronic effects or editing. Recorded during night or very early in the morning, and the whole album is to be listened to during that period of a day. Mastered by Rashad Becker at Dubplates & Mastering. CD version comes in a digipak; Edition of 1000.

A deeply confounding trip into the sublime from master of contextual dream-weaving Nozomu Matsumoto on perhaps his most heart-piercingly beautiful work to date, including a 13 minute choral section that might just be the most stunning piece of pseudo-classical/liturgical alchemy we’ve heard all year. Huge recommendation for followers/lovers of Kara-Lis Coverdale, Ryan Trecartin or Mica Levi’s ‘Zola’ score Leading on from his ’Remain Calm’ album to accompany visual components by regular collaborator Nile Koetting, ‘Immunotherapy’ offers therapeutic solace through a personalised form of Japanese environmental music. A conceptual continuation of themes explored on 2018’s ‘Climatotherapy’ and 2020’s ‘Sustainable Hours’; Nozomu’s 3rd solo vinyl release reprises his uncanny ability to evoke a reflective headspace with a blend of classical ambient tropes, text-to-speech synthesis, and a contemporary cinematic vernacular that’s both nuanced and moving. In 2022, against the backdrop of global warfare, a pandemic, and ecological collapse, Nozomu’s work grasps the nettle with a sober lucidity to make time and space for his, and your, wellbeing. ‘Immunotherapy’ carefully evokes its own temporality and atmospheric conditions via a grandiose but intimate palette of strings, keys, blissed chorales, and electronic webbing which provide the bed for narration by Amazon’s vocaloid, Polly. The results create an unusual duality - a human/inhuman intimacy rooted in some uncertain semi-robotic near-future that references the original ‘80s era of classic Japanese ambient music, which itself emerged as a soothing response to the headlong rush of a technologically enhanced/enchanted society. Across six parts in 22 minutes, ‘Immunotherapy’ resolves from the initial inset of a panic attack in public, via passages reflecting on “diseases of affluence” thru to spine freezing synth pads and an extraordinary denouement of emotive Koto and shearing synthesis on ‘Vertigo’ before entering a final state of blissed stasis on that closing 13 minute ‘Filippo Pacini’ section - a haunting ode to the c.19th Italian anatomist that uncannily reminds us of Kara-Lis Coverdale’s collaboration with Yasuaki Shimizu - a sound that feels all-too-human despite it’s synthetic contours. A whirlwind of emotion, right on the cusp of bliss and melancholia.

Les Rallizes Dénudés' original album "'67-'69 STUDIO et LIVE", released in August 1991, has been reissued with vinyl LP! This is a valuable collection of sound sources from the early days of the band's activities, filled with the electric guitar feedback that would determine the direction of the band's later activities.

FACE A 
1. Smokin’ Cigarette Blues (Live Version) 
2. La Mal Rouge 
3. 眩 暈 otherwise My Conviction 
    Vertigo otherwise My Conviction 

FACE B 
1. Les Bulles de Savon 
    Soap Bubbles 
2. 記憶は遠い 
    Memory is far away 
3. 鳥の声 
    Bird calls in the dusk 
4. My Conviction (2nd. Version) 
5. The Last One _1969 (Live Version)

*The two bonus tracks "Résonance" and "Tobacco Road" on the CD reissue of the same title will not be included on the LP.

MIZUTANI / Les Rallizes Dénudés", has been remastered and reissued by Makoto Kubota, a participating member at the time!
Acoustic and introspective, this important work offers a glimpse into the personal side of Mizutani, the core of Naked Rallies.

Due to recording time constraints, "Black Sorrow Romance Otherwise Fallin' Love With," which is included at the end of the CD, was cut from the analog LP.
As a result, this record is composed of only the unique sound sources in the history of the Raleys, which were created by a chance encounter between Takashi Mizutani and Makoto Kubota in Kyoto, Japan in 1970.

Yokobue (transverse flute) player Michiko Akao's 1983 release "Yokobue: The World of Michiko Akao" is being reissued for the first time! Produced with Shigeaki Saegusa as composer and arranger, this is a new age work that goes far beyond the realm of pure Japanese music. This is a definite recommendation for listeners who are following the current new age/ambient music.

Kita --------! It's like presenting a new style and outlook on music through a "book-off" music dig that is unique to Japan. also got a score of "8.4" and BEST NEW MUSIC, but 10 points are necessary for historical significance ... The last sanctuary released on CD in Japan in the 90's Heisei. It's no exaggeration to say that the overwhelming piece "Heisei No Oto", which is a compilation of unknown left-field pop music, has ignited various revival since the 10's and is a prestigious name in Amsterdam, the Netherlands. Appeared from the label ! Including Jun Sato and Love, Peace & Trance, which were also published in "New Age Music Disc Guide", Haruomi Hosono produced Yosui Inoue's Japanese realic "Pi Po Pa", and Toshifumi Hinata produced Xácara, Sakurai. Keisuke's statement Deep House "Harai", Yoshihiko Yokokawa (P-Model, 4-D, etc.) and Kazuko Hashimoto's new-age, ambient, and experimental sounds, as well as An ambitious compilation album that includes the abstract texture peculiar to 90's J-POP, which has not been revival yet like POiSON GiRL FRiEND and Tomoko Kino, which were mentioned before. It seems to be the freshest lineup among the editing boards released from the neighborhood that has promoted the obscure analog recurrence boom since the 10s. The music was selected by Norio Sato of and Eiji Taniguchi of , both the managers of a well-known niche store in Osaka. Supporting is a heart-warming gem called ! And the perfect liner notes by Chee Shimizu. It's a monument! MUST !!!!!!!!!!!

Morio Agata cuts "Submarine" and "Airplane" as singles from his 1980 incidental masterpiece and world-important work "Norimono Zukan"! 7" Analog Limited Edition!

Also known as the leader of the jazz trio Inga, Sam Gendel is an L.A. saxophonist who has developed a free and unique sound that has been described as psychedelic, outsider, and meditative, and Shin Sasakubo is a Chichibu-based guitarist. A new album by the duo of Sam Gendel, an up-and-coming saxophonist from LA, and Shin Sasakubo, an uncanny guitarist based in Chichibu, who is also active as a photographer and contemporary artist. The two showed great chemistry in Shin Sasakubo's previous work "CHICHIBU", which has become a hot topic in many places. On this album, Sam Gendel plays on the A-side and Shin Sasakubo plays solo on the B-side, and they feature each other on the final track of each side. The music was recorded in LA and Chichibu during the Corona disaster, and the result is a quiet work with an intimate atmosphere. The release is from Cafe Carne, a cafe in Chichibu where Shin Sasakubo also frequents. The impressive artwork is by Eri Masuko, a popular illustrator who also worked on the Cafe Carne logo.

(LP / 180g / Tip-on jacket / limited to 200 copies)

■ TRACK LIST

SIDE A (SAM GENDEL)
01 IN THE DUNES
02 REEDS
03 PENSIVE FROG
04 PIPE
05 COPYEXERCISE

SIDE B (SHIN SASAKUBO)
01 CARNET
02 OPUS
03 FONTAINEBLEAU
04 HUMAN LOOPER
05 NADJA

"The Japanese avant-garde pop band strove to create a “sacred ambiance” on their second album, fusing unconventional arrangements with bouncing volleyballs and an eyes-wide air of wonder." “It’s rare that art-pop matches its extravagance with such alluring modesty. In doing so, Paradise of Replica feels like encountering cinematic spectacles in miniature.” —Joshua Minsoo Kim (Pitchfork, September 30, 2022)

Following the release of his album trilogy (Kwaidan, Komachi and Kofū), Meitei has established himself as a defining voice in contemporary Japanese music. By sharing intricate sonic stories and impressions of his nation's rich culture, he has built an aural world around his notion of the ‘lost Japanese mood’. His latest project, under the new moniker Tenka, aims to work without the boundaries of theme, storytelling or audience expectations. Spending many hours in the mountain forests that he lives close to, his latest project Hydration explores the rich sensory pleasures of his natural surroundings, focusing on colour, sound, smell, humidity, touch, atmosphere and taste. “For me, making music is not a concept of enjoyment or pleasure, but something that becomes a part of my life, a record of my daily activities, like seeing something with my eyes or breathing in something with my lungs.” A lot of the music on Hydration was created back in 2019, but Tenka felt that there was something missing in the final delivery of the work. Eventually this led to a conversation with the Berlin based, Japanese born scent designer, Ryoko, in which the pair discussed collaborating on a scent to pair with the audio. Designed as a way to give the listener a deeper connection to their own senses and the experience of the music’s author, the combination of ollifactory and aural components connect a shared love of Japanese ecosystems and traditions. ‘I began to feel that in addition to music, there needed to be another essential element - and that it must be a "fragrance”.’ Hydration is available from September 14 on LP, CD and digital formats. The fragrance can be purchased directly from the Métron Records Bandcamp page and comes in a 10ml bottle of diffuser oil, great for home diffusers, as well as an empty 10ml spray bottle in order to create a body or room mist by mixing the oil with water (instructions included for best results). All customers who purchase the fragrance will receive a copy of the album on CD with a companion booklet with words from Tenka and Ryoko about the project.

Hereby a classic japanese acid folk tale, also credited by the wizard master Julian Cope in his ‘Japrocksampler’ top 50 list. Tokedashita Garasu Bako, or Melting Glass Box, was a studio-only project of Nishiokai Takashi (Itsutsu No Akai Fusen), “Singing Philosopher” Tetsuo Saito and Takasuke Kida (of influential psychedelic freaks Jacks). Guest musicians included Kazuhiko Kato (Folk Crusaders, Sadistic Mika Band), Kazuo Takeda (Blues Creation) and mastermind Haruomi Hosono (Apryl Fool, Happy End, YMO).

Their sole release licensed in 1970 on URC (Japanese independent record label specializing in folk, co-founded in February 1969 by Hayakawa Yoshio, guitarist for the psychedelic band Jacks) became soon after a cult record leading the way for the eastern psychedelic renaissance. An authentic lysergic trip filled with mind-blowing electric guitar leads and many studio tricks thrown in! Get lost, now or never !
 

Keita Sano marks his return to ROW Records with his second offering for the German imprint, delivering five cuts of experimental electronics, warbling bass and a remix from fellow Japanese producer Dayzero. With a discography spanning sought after imprints including 1080p, Discos Capablanca, Holic Trax, Let’s Play House, Mister Saturday Night and Spring Theory, Keita Sano relocated from Japan to Berlin circa 2019 to take his music further afield and perform in New York, Miami, Paris, Milan, Munich, Oslo, Montreal and London. Now back in Japan, Sano rekindles his time spent in London experimenting with music, specifically in Leyton, perhaps inspired by the future bass and grime scenes of the capital. Nonetheless, what’s on offer here is a resplendent array of rhythmic explorations spanning trilling techno and bass. ‘Blur Ceramics‘ is powered up with a gritty and granular synthetic texture, embellished with 909 claps and mutant bass, brought to life with a timbral drum pattern, sounding similar to the output from Shackleton.

0on Zero-on, a label run by the percussion group "Kodo 鼓童" which has its roots on Sado Island, has released a cassette recording of a solo performance by percussionist Yuta Sumiyoshi, a member of the "Kodo" group. 

“Mogari” is Yuta Sumiyoshi’s debut solo album. Features six tracks of 100% shinobue (bamboo flutes) music, recorded entirely at his home studio. This uncharted exploration of shinobue sound drifts and shapeshifts through drone, noise, minimalism and more, leading to untold possibilities. Limited release of 100 cassettes + download code.