New Wave / Post-Punk
144 products
OOIOO has always created a musical language all its own. Under the leadership of Yoshimi, also a founding member of Boredoms, the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. Four years of work went into making Gamel, their bold new album inspired by the Javanese style of gamelan and the first new music from Yoshimi in over five years. Gamelan is an ancient form that has inspired a great many composers and musicians over the past century, from Erik Satie and Claude Debussy to Mouse on Mars and Sun City Girls. The introduction of this traditional form transformed the group into a super tribe, side-stepping the road between the past and the future. Their focus is not to replicate these ancient styles, but to incorporate them into their consistently inventive, constantly shifting musical frameworks. They take their love of indigenous music into an entirely new dimension by freely weaving organic and electric tones into a vivid tapestry, employing their keen sense of color and texture.
While previous OOIOO albums have been largely studio creations, Gamel is the most accurate portrayal of the band’s overwhelming, forceful live presence they have released yet. Yoshimi leads her minimalistic rhythm ensemble by making quick, impulsive shifts in tone and attack, the group acting as one mind under her expert instruction. While the gamelan elements will be brand new to many listeners, the band offsets the bizarre with familiar, at times even nostalgic and childlike, melodies. Gamel is euphoric, bursting at the seams with an exhilarating frenzy that is universal yet uniquely their own. OOIOO’s music is reflected in the ear of the beholder, with each listener taking away something different.
Yoshimi began her music career in 1986 playing drums in UFO or Die with vocalist Eye, and later joined him in the revolutionary noise-pop group Boredoms. Her explosive drum performances captivated audiences and even inspired Wayne Coyne to name a now-famous Flaming Lips album in her honor. While the band’s tours of the United States are infrequent, they are as The New York Times has stated, transcendent.
Imagine a feather floating from outer space and landing on earth. What's going on? Which bird did this feather come from? That's what OOIOO's (pronounced oh-oh-eye-oh-oh) music is like? so colorful and shiny that you can't even see what is happening.
OOIOO's Gold and Green reveals the group's hard-to-categorize and refreshing avant-garde rock music, which adeptly incorporates elements of punk and more traditional tribal music. Their rhythms are unique and the organic interplay with the vocals is compelling. The music is complex and challenging and playful and childlike. Previously released only in Japan, Gold and Green includes guest appearances including Seiichi Yamamoto (Boredoms), Yuka Honda (Cibo Matto), and Sean Lennon. The album packaging, designed by Yoshimi, is a beautiful miniature gatefold album jacked filled with drawings and photographs by Yoshimi and other artists.
OOIOO began as a fictitious band for a photo shoot for Switch magazine in 1996. An all-female four-piece ensemble started by Yoshimi, the Boredoms' drummer, the band quickly gained attention by being the opening act for Sonic Youth in 1997. On Gold and Green, Yoshimi shows off her musical imagination and virtuosity with her songwriting, as well as by playing the guitar, flute, and trumpet, singing, and adding a number of percussion elements. Yoshimi is joined in OOIOO by the striking Kayano on guitar and vocals, the petite and powerful Maki on bass, and the amazing Yoshico on drums.
OOIOO toured the United States in 2004 for the first time in over five years in support of their recent release, Kila Kila Kila. Their soldout tour performances were notable for their unique exuberance and captivating stage presence. Starting off with a vocals-only polyrhythmic song, the band struck a chord like no other. They will be recording a new album for release in the fall of 2006.
音楽フリーク注目のレーベル、Warp傘下の〈Disciples〉からPhewの最新作『Vertigo KO』がリリース！
"このアルバムは、2017年から2019年、10年代の終わり、この閉塞的な期間に制作された音のスケッチです。
言い換えるなら、幻想に浸るでもなく、音楽へ逃避するでもなく、また世界観を提示するものでもなく、2010年代後半のある個人のドキュメンタリーミュージックです。
このアルバムの隠されたメッセージは、「なんてひどい世界、でも生き残ろう」です。” - Phew
日本のアンダーグラウンド・ミュージック界の伝説的なアーティスト、Phew。1978年に大阪で最も初期のパンク・グループの一つであるアーント・サリー (Aunt Sally) のフロントを務めたのを皮切りに、80年代にはソロ・アーティストとして坂本龍一、コニー・プランク、CANのホルガー・シューカイ、ヤキ・リーベツァイト、アインシュテュルツェンデ・ノイバウテンのアレクサンダー・ハッケ、DAFのクリス・ハースなど、多くの著名なアーティストとのコラボレーションを行い、近年では、レインコーツのアナ・ダ・シルヴァ、ジム・オルーク、イクエ・モリ、オーレン・アンバーチ、ボアダムス/OOIOO/SaicobabのYoshimi (Yoshimi P-We) などとのコラボレーションも行っている彼女が、最新作のリリースを発表。
本作は、これまでに、ブラック・ロッジ、ボグダン・ラチンスキー、ヒズ・ネイム・イズ・アライヴといったカルト・ヒーローたちの未発表音源を世に発表して音楽ファンから一目置かれてきたレーベル〈Disciples〉の審美眼に適った初の日本人アーティスト作品となる。
Phewの80年代初期のニューウェイブ指向の作品には、日本のみならず海外のコアな音楽フリークやレーベルから多くの関心が寄せられており、コラボレートしてきた著名なアーティストたちの数々も印象的だが、〈Disciples〉は『Light Sleep』『Voice Hardcore』といった近年の作品は、彼女の素晴らしいキャリアの中でもモダン・クラシックと呼ぶべき傑作であり、Phewが今、再び最盛期を迎えていることを確信し、本作のリリースへと繋がった。〈Disciples〉が今回のリリースにおいて探求したいと思ったのは、まさに彼女の今なのだ。『Vertigo KO』は、前述の2枚のアルバムと同じ時期に録音された楽曲と、今回のリリース用に制作の新曲を収録。アルバムには20ページのブックレットが付属しており、Phewについての文章と、表紙にもなっている塩田正幸の写真が収録。
This Heat's Charles Bullen started this project with his friend Julius Cornelius Samuel after the band broke up, and the result is Lifetones, an eclectic mix of dub, post-punk, and krautrock that combines ethnic exoticism with UK streetwise elegance. The band's only release, "For A Reason" from 1983, has been reissued for the first time!
The title track, with its dubby strings and catchy chorus, makes you squirm in agony at the distortion of the acoustics coming at you in the latter half of the song, as well as the lo-fi sound of the equipment used in the post-punk era. In addition to the remastered original tapes, the album comes with a booklet with valuable photos and liner notes, and a gatefold jacket. This is a definitive reissue that will bring tears to the eyes of old and new post-punk fans!
Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.
Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.
With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.
Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).
The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.
Daydream Nation was Sonic Youth’s sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen.
Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wider commercial success without compromising their artistic vision.
More recently, Daydream Nation has been recognized as a classic of its era: Pitchfork ranked it #1 on their “100 Greatest Albums of the 1980s”; Spin listed it at #13 on their “125 Best Albums of 1985-2010”. Daydream Nation was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006 and it was voted "One of the Greatest Albums of All Time" by Rolling Stone.
NTsKi is a Kyoto-based artist and musician. She began making music while living in the UK and began working in earnest in 2017 after returning to Japan. She works seamlessly to create tracks with gentle but somewhat eerie vocals and a mixture of diverse musicality. In 2021, she was selected by Bijutsu Techo as one of the newcomer artists who will open up the 2020s. Her collaboration with 7FO, released through EM Records, was selected as one of the best of the year by Shintaro Sakamoto. In addition to her self-produced works, she has participated in the works of Giant Claw, CVN, Shokuhin Matsuri a.k.a foodman, Dengaryu, KM, etc., and has released through overseas labels including TAR and Orange Milk. Also, she has contributed music to the Japan Pavilion hosted by the Ministry of Economy, Trade, and Industry at SXSW 2019, where Yoichi Ochiai was the general director, virtual singer te'resa, and an Australian bag brand. On August 6th, 2021, her debut album "Orca" will be released via Orange Milk / EM Records.
Devo 's Hardcore documents the group's beginning as pre-punk outcasts in the fertile Akron, Ohio underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, Devo formed as a conceptual art project armed with a radical philosophy of de-evolution. Mothersbaugh brothers (Mark, Bob, and Jim) and Casale Brothers (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of "devolved blues" that could hold its own alongside the beatnik groove of 15-60-75 (aka The Numbers Band) or the primal rock poetry of the Bizarros.
Recorded on various 4-track machines and in tiny studios, basements, garages and between 1974-1977, Hardcore Reveals Their strikingly clear vision: rock n 'roll stripped bare of its collective cool and jerked back into propaganda fit for the post-modern man. It's no surprise That These transmissions would soon catch the eye and ear of Brian Eno who later produced Their landmark 1978 debut album. Noisy synth, strangled guitar chops, and a primitive rhythmic thud power the early Devo sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera, and Devo 's long-running topic of choice: sex, or lack thereof.
Few moments in pop music history can match the grinding, pent-up energy of "Mongoloid" and the spastic bounce and sputter of "Jocko Homo" (two anthems presented in Their earlier and superior versions here). Cult favorites like "Mechanical Man" and "Auto-Modown" make Volume 1 essential listening.
Superior Viaduct and Booji Boy Records are proud to present Devo 's Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha's stunning cover photography. As David Bowie said in 1977 Devo is indeed "the band of the future."
Love generously robs us, and love tears us apart ... all the crystals of loss that were once launched beyond post-punk are now regaining glare! A collection of phantom sound sources by the late Kiyoaki Iwamoto, finally lifted after about 40 years !!!-Tamotsu Mochida (factory worker and real industrial writer)
There used to be a musician who buried his past and disappeared. Its name is Kiyoaki Iwamoto. I don't know the reason. What we know is that we have left behind a "super-translation" cover of Joy Division's "Love Will Tear Us Apart," which surprised even the minimum original songs and ECD.
Iwamoto appeared in the post-Tokyo rockers era scene and participated in that "Urban News" as a post-punk band
This work is the only solo work "SOUGI" (1983) that Iwamoto independently produced by Kojima recording, a rework of "Love Will Tear Us Apart" by Chisako and Junta, and NOISE "Emperor" by Tori Kudo and Reiko somewhere. It is the addition of an unreleased song by Rei Mi, which is reminiscent of. Iwamoto's four original songs, including the song "In the Sad Town" from the beautiful era, have a rhythm box, several chords played on guitar and bass, and short poems that look like they have been cut down. It is a characteristic of Japanese punk / new wave that frustrating emotions hit the inside of oneself, but Iwamoto's humorous vocals seem to amplify the frustration even more, and Joy Division's "super translation" has a nihilistic climax of loss.
Was "SOUGI" a "funeral"? ?? Michio Kakutani would have responded. The untouchables of the 80s indie film continue to shake us and bite those who want to be loved!
Japan Indie's hottest work !!
The initial collection of works has finally arrived !!
The improvisational trio of Yokohama, Inryofen, which was formed in 1978 and released the new work "Hugging" [EM1125CD] for the first time in 29 years, is far left and heretical even in the Japanese underground music scene. , The reason is thoroughly disclosed in this collection. Is there any other band like this at that time and now?
Their starting point was the idea of "converting surrealism to the sound of" automatic writing "", and they were active in the Tokyo / Yokohama underground scene, recording vigorously from 1980 to 1982, and three works. announced. This "early work collection" is the definitive edition that remastered all of these works from the master tape, expanded and recorded the unrecorded parts that were edited and cut, and remastered with high sound quality. In addition, for this release, the five works other than "Uncompromising" were given "song titles" for the first time (see the work description for the reason).
= Work description =
-"Uncompromising" at the beginning is a mysterious work that made known the shadow hunting rottenness, and it was also the first release of the prestigious indie, Cragale Records, known to those in the know. According to them, "Cover of Tony Conrad & Faust", but perhaps during the recording of this performance, a student activist broke into the stage and started a horse mackerel speech. The band that keeps playing silently, the activist who incites, the PA who tries to prevent the speech, the ending of the three-way! ?? !! This version is a complete version that contains all the patterns of this "legend".
-The "hammer clock" and "aiming cat" (included only in the CD version), in which the crazy electronic percussion instrument pulse is delivered, are forcibly called "articles" from the symbol with three squares on the jacket. A work recorded in the popular 7-inch EP.
-The band's true essence, the 23-minute automatic descriptive performance "Grand Rock", the masterpiece "The one that came down from the sky" where heavy percussion with a sense of mass trembles and cuts through the space, and the suspicious "Forest record" "(CD version only) is a 1st album recording work in which the band name, song name, and kata number are not written in a pure white jacket, and the agency company has declared that it cannot be distributed.
CD version:
＋ CD bonus 2 songs
＋ Normal jewel case / liner included
＋ Commentary: Atsushi Harada
＋ Japanese / English notation / Rare photos posted
Following "Light Wave", M's J-Indie pop is a new album by Bank, a 5-member group that pursues HYPE pop that has nothing to do with the atmosphere of the times. Mixing / mastering is that Tomoki Kanda!
Bank is an angler scene in the early 90's: Tokyo Neo Acoustic-Early Club Music-Crue-L (presided by Kenji Takimi) who has been active around the very "Shibuya-kei" parties, Bridge, Love Tambourines, Arch. Formed in 2006 by musicians who have worked in a legendary band. The core is Dai Nakamura (gtr, voc) and Nozomi Suzuki (drums). The motto is "good music with good performance" without any strangeness, but Nakamura's helplessness is new wave-post-punk-neo acoustic, fake jazz-funkaratina, which are their indelible foundations. 80s lovers naturally come out, and the sound is indistinguishable between old and new (for some reason, everyone likes Duran Duran).
Supporting the inorganic songwriting of Nakamura is Suzuki, who has the characteristics of Fumio Hirami (ex. Love Tambalins), who is a pillar of rhythm with AOR in the background, and YMO-like drumming of non-groove. The strangely comfortable urban groove created by this mismatch is also attractive. Mixing / mastering is Tomoki Kanda (genius!), Who has been an ally since the 90's. This time we will also release the bank's first vinyl version!
Members Naoyuki Masuda (g), Masamichi Oyama (key), and Atsushi Harada (dr) met through a surrealist research douujinshi, and based on the idea of converting to the sound of "automatic writing", improvisation was the main axis. Started activities. He released various works in 1980-84, but his name was difficult to read, his songs were like symbols, and his titles and works with pure white bindings that didn't even have a sword were all crushed, but his unique personality was unparalleled. Since then, it has been a mysterious existence and has received strong support until now.
This "Houaku" was recorded in 1985, but after many twists and turns, it will be submitted here as a "new work" and a second album. The recorded music was recorded by improvisational performance based on the image recalled from the video by projecting a photograph taken by Masuda in Spain into the studio, and it was edited and completed later.
Using an electrified / synthesized instrument, the amorphous music that sometimes looks like Sun Ra (unintentional) is timeless, and it's hard to tell when and where it works. The unknownness is a word of "cool !!" "I learned for the first time at this time that the time difference of" several decades "in improvisation does not mean much. I think there is no such thing as" evolution of rising shoulders "in music," (Atsushi Harada, commentary. Than)
Following this work, "Initial Works" will be released to celebrate the 35th anniversary of the band's formation! First, the unreleased original complete version, a remaster of the sound quality dramatically improved, presented in 2014 Japan Indie's hottest work !!
Love generously robs us, and love tears us apart ... all the crystals of loss that were once launched beyond post-punk are now regaining glare! A collection of phantom sound sources by the late Kiyoaki Iwamoto, finally lifted after about 40 years !!!-Tamotsu Mochida (factory worker and real industrial writer)
There used to be a musician who buried his past and disappeared. Its name is Kiyoaki Iwamoto. I don't know the reason. What we know is that we have left behind a "super-translation" cover of Joy Division's "Love Will Tear Us Apart," which surprised even the minimum original songs and ECD.
Iwamoto appeared in the post-Tokyo rockers era scene and participated in that "Urban News" as a post-punk band
This work is the only solo work "SOUGI" (1983) that Iwamoto independently produced by Kojima recording, a rework of "Love Will Tear Us Apart" by Chisako and Junta, and NOISE "Emperor" by Tori Kudo and Reiko somewhere. It is the addition of an unreleased song by Rei Mi, which is reminiscent of. Iwamoto's four original songs, including the song "In the Sad Town" from the beautiful era, have a rhythm box, several chords played on guitar and bass, and short poems that look like they have been cut down. It is a characteristic of Japanese punk / new wave that frustrating emotions hit the inside of oneself, but Iwamoto's humorous vocals seem to amplify the frustration even more, and Joy Division's "super translation" has a nihilistic climax of loss.
Was "SOUGI" a "funeral"? ?? Michio Kakutani would have responded. The untouchables of the 80s indie film continue to shake us and bite those who want to be loved!
Japan Indie's hottest work !!
The initial collection of works has finally arrived !!
The improvisational trio of Yokohama, Inryofen, which was formed in 1978 and released the new work "Hugging" [EM1125CD] for the first time in 29 years, is far left and heretical even in the Japanese underground music scene. , The reason is thoroughly disclosed in this collection. Is there any other band like this at that time and now?
Their starting point was the idea of "converting surrealism to the sound of" automatic writing "", and they were active in the Tokyo / Yokohama underground scene, recording vigorously from 1980 to 1982, and three works. announced. This "early work collection" is the definitive edition that remastered all of these works from the master tape, expanded and recorded the unrecorded parts that were edited and cut, and remastered with high sound quality. In addition, for this release, the five works other than "Uncompromising" were given "song titles" for the first time (see the work description for the reason).
= Work description =
-"Uncompromising" at the beginning is a mysterious work that made known the shadow hunting rottenness, and it was also the first release of the prestigious indie, Cragale Records, known to those in the know. According to them, "Cover of Tony Conrad & Faust", but perhaps during the recording of this performance, a student activist broke into the stage and started a horse mackerel speech. The band that keeps playing silently, the activist who incites, the PA who tries to prevent the speech, the ending of the three-way! ?? !! This version is a complete version that contains all the patterns of this "legend".
-The "hammer clock" and "aiming cat" (included only in the CD version), in which the crazy electronic percussion instrument pulse is delivered, are forcibly called "articles" from the symbol with three squares on the jacket. A work recorded in the popular 7-inch EP.
-The band's true essence, the 23-minute automatic descriptive performance "Grand Rock", the masterpiece "The one that came down from the sky" where heavy percussion with a sense of mass trembles and cuts through the space, and the suspicious "Forest record" "(CD version only) is a 1st album recording work in which the band name, song name, and kata number are not written in a pure white jacket, and the agency company has declared that it cannot be distributed.
CD version:
＋ CD bonus 2 songs
＋ Normal jewel case / liner included
＋ Commentary: Atsushi Harada
＋ Japanese / English notation / Rare photos posted
This double A-sided 7-inch features two new cool, sophisticated and funky melodic pop songs from Bank. Tight bass lines, multi-hued percussion, snappily intertwining guitars, yearning melodies and clever production touches abound. These Tokyo veterans evince their love of all varieties of funky pop from recent decades in these two sweet sides.