Psychedelic / Progressive
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This is the official reissue of the fantastic 1998 solo album by Naoki Toushi, a solitary guitarist who was an original member of the "King of Noise", JUKAI-KAIZEI, and also a member of the Japanese psychedelic rock band "Nagisa de". The latest mastering from the original mixed DAT master!






"There was a time when the strength of a musician's vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic." --Jim O'Rourke
An unholy grail of near-mythical status is finally now available in the form of this first-ever reissue. Masahiko Sato composed this elusive, sensual, psychedelic free jazz score for the stunning 1973 Japanese witchcraft animation Belladonna of Sadness (Kanashimi no Belladonna) directed by Eiichi Yamamoto. Since the mid-2000s, Belladonna of Sadness has risen from the ashes and now shines brighter than ever. Now, on the eve of its third or fourth global DVD release in 2015, fans no longer have to settle for third-generation VHS telecine dubs or stuff their wish-lists into the hands of lucky friends visiting Tokyo. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers, and other creative types along the way. Original copies of the soundtrack, however, are much less likely to rear their heads, with prices literally doubling each time the original stock copies swap hands among the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, originally released by the Italian Cinevox label in 1975, has extra credentials. Finders Keepers Records and Sato himself agreed that this record should finally be liberated among those who know the magic words. With the decision to keep this album "strictly Sato," a track from the original release has been removed -- the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana -- which in all honesty is very much detached from Sato's psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato's wife at the time, Chinatsu Nakayama, including the track titled "TBFS," which only appears on the master tapes and never actually made it onto the theatrical cut of the film (though the theme is briefly alluded to, with different instrumentation, in a cut-scene available on the German DVD release). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in film music, jazz, and avant-garde composition.


Recorded in their home studio in Taipei, “Mystery 秘神” is a psychedelic journey into Taiwanese folklore combined with the 80’s media obsession with the supernatural. It’s a record that manages to combine nostalgia and tradition with humour and an underlying intrinsic earthiness to create something unlike anything else out there.
Brothers Hom Yu and Jiun Chi also play in Prairie WWWW (落差草原 WWWW) and Dope Purple. They both returned to Taipei in 2017 after finishing their studies and before long began to explore their mutual obsession for Taiwanese occult-inspired art and vintage superstitious imagery, channelling it through music. Mong Tong means many things in Chinese, but the translation they choose to fit their music is “the east-side of dreams”.
Growing up in Taiwan in the 90’s, the brothers listen to 電子琴音樂 which they describe as “relaxing Chinese synth pop” along with video game soundtracks, psychedelic music, doom metal and sound collage/library music. On “Mystery秘神” these inspirations combine with the dark humour of Taiwanese folklore and a love of conspiracy theories to form what they describe as “a psychedelic journey to the east.”


Hailing from the seaside communities surrounding Enoshima, a small island located 50 km southwest of Tokyo, maya ongaku is a ragtag collective of local musicians whose brand of earthy psychedelia transcends widely beyond the roots of their inner souls. The name derives not from any kind of ancient civilization, but rather a neologism defined as the imagined view outside one’s field of vision. The band—currently a trio of Tsutomu Sonoda, Ryota Takano, and Shoei Ikeda—finds sanctuary at the Ace General Store, a beachy vintage shop and salon-like space just hidden from sight from the bustling, touristy riverside Subana Street. Between discussions on music and art, curating the vinyl section and manning the register, and chatting up with locals young and old, the members find time to jam and record their spontaneous ideas in the studio tucked away in the back. It’s in this unlikely setting where maya ongaku finds its origins, the culmination of what Sonoda describes as 自然発生 (shizen hassei), meaning spontaneous generation, or the supposed production of living organisms from nonliving matter.
Approach to Anima, the group’s debut album released on Guruguru Brain, finds maya ongaku building a foundational groove while tapping into their innermost psyche. Sonoda’s malleable guitar and vocals, Takano’s sinuous bass lines, Ikeda’s floating woodwinds, and a sprinkling of delicate percussion—all coalesce into an aural experience that’s assertive yet abstract, calm but unsettling. The slow building, sax-laden “Approach” serves as an introduction to maya ongaku’s world, while the appropriately-named “Water Dream” floats its way toward the gentle finale of “Pillow Song.” It’s a concise distillation of their many interests and influences, from Neo-Dada and Fluxus, to where contemporary art intersects with the development of modern recording technology in the ‘60s and ‘70s.
As the title suggests, Approach to Anima is not intended to be a terminus; it’s merely the beginning of an exploration. The three childhood friends that comprise maya ongaku are always looking beyond the confines of the idyllic but rapidly gentrifying enclave of their beloved Enoshima. Feeding off of the energy that still radiates from the triumphant, decade-long journey of their label bosses’ band Kikagaku Moyo, who rose to global prominence from scrappy beginnings busking on the streets of Takadanobaba, they hope to go wherever inspiration takes them, to anywhere around the globe where their music can find a home.
Ultimately, maya ongaku’s uninhibited world-building will make it possible for us to see the unseen, expand the possibilities of the naked eye—all through the unbridled vibrancy of their music.








(Limited quantity/ Black vinyl With Japanese obi) This album was recorded at Oxford and Abbey Road Studios at the same time as “Wall Of Eyes” and features a string arrangement by the London Contemporary Orchestra. Produced by Sam Petz Davies, who has previously worked on “Wall of Eyes,” Thom Yorke's latest solo album “Confidenza,” and Radiohead's “A Moon Shaped Pool,” the album was mastered by Greg Calbi, the same producer used for “Wall of Eyes. The album artwork was created by Stanley Kalbi, who also did the artwork for “Wall of Eyes”. The album artwork was also painted by Stanley Donwood and Thom Yorke during recording, and several songs from “Cutouts” were premiered during The Smile's UK tour in March 2024, despite the high pace of production, releasing two albums in a year, The album is truly a super band in its own right, clothed in an extraordinary sense of scale by the explosion of its insatiable creativity and artistry.





In 1980, Les Rallizes Dénudés, with the participation of Fujio Yamaguchi, made a legendary studio recording.
Side A
1. 氷の炎 / Flame of Ice
2. 夜の収獲者たち / Reapers of the Night
Side B
1. 夜、暗殺者の夜 / The Night, Assassin's Night
2. The Last One_1980
