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30. KAWABATA MAKOTO: Jisetsu” (Acid Mother temple Gold Disc Series – AMCD-019) (CD: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Limited edition numbered this one being 58/100. Rare hand-numbered and limited to 100 copies only Kawabata Makoto solo outing released on his private imprint the “Acid Mothers Temple Gold Disc Series”. This one is numbered as 58/100 and was released in the late nineties, a decade ago. This one is actually one of the best titles In Kawabata's splendid and highly collectible series. Here he embarks to dive into the deep abyss of the sacred drone…..but unlike he has ever done before or after……by utilizing as he called it the acoustic drone machine, being the sruthibox. Very minimal and mind-lifting in its execution, “Jisetsu” can be seen as a further deployment of the Toho Sara aesthetic. This is just too good, one of my all time favorite Kawabata releases. Descending the abyss and back again to embark on deep space travel, all in the span of one drone improvisation excursion. Highly recommended. Price: 75 Dollars
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31. KAWAGUCHI, SHINSUKE, TAKASHI: “Big Jar Solo Sets” (Archive DVD 2) (Mint). Japanese
heavy psych guitar exploders LSD-march performing live in a book store?? What
happened to shhhhh, quiet please, people are reading? Well actually this DVD
document of LSD-march live at Philadelphia's Big Jar books is actually a
triptych of solo sets from each of LSD-march's three members, so they are
relatively quiet (as compared to the usual full-band blow-out volume dealing).
Filmed whilst on a brief US tour last fall, the softer side of each individual
in the band is revealed. Drummer Ikuro Takahashi gets the most avant-garde,
with an odd apparatus of oscillators giving off experimental drones... while
both guitarists Shinsuke Michishita and Masami Kawaguchi do sets of gentle
vocal/guitar folkiness, a la the calm in the storm often heard in LSD-march
sets. Totally personal, and perfect for this intimate setting. Some use of
video effects adds to the psychedelic atmosphere. And of course aRCHIVE has
packaged this 550-copy limited edition (natch) DVD handsomely in a hand
silkscreened folder with some very cool artwork commissioned for this release. (AQ) Price: 20 Dollars |
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32. KITO MIZUKUMI ROUBER: “Boseki Ni Tatazumu KMR” (Papa Records – Parec-801) (Sealed). New splinter project of two Aburadako guys and Yoshida of Hasegawa Shizuo or if reverted a splinter project by the two guys of Hazegawa Shizuo and one Aburadako member. Either way you look at it works fine. New outfit of demented
Tokyo underground freaks shedding off another musical project. Self describing themselves as a dance band that sips lots of tea, the music comes over as a free form improvisation jam stuffed with a lunatic basket case vocalist howling through the sonic warfare while the rest of the sounds cave in all around you. A cataclysmic listening experience that in a way reminds me of dance contest band performing solely for mentally retarded and motoric handicapped and spastic convulsion plagued space aliens hopping around on one limb. Jad Fair could be a member musically spoken! Still that does not cover the whole load; at times the sonics are carefully crafted out, balanced but never without a fun factor and faint demonic twist shimmering through. So a new act you should watch out for if Tokyo underground rock that defies all categorization is your thing. Recommended. Price: 15 Dollars |
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33. LAIS: “The Ladies Second Song” (Bang) (Sealed). Laïs was born in 1994 - a group of three girls singing songs that grew straight from their Flemish folk roots and evolved with them through their own unique sound. Jorunn Bauweraerts, Annelies Brosens and Nathalie Delcroix have sculpted their own path, taking risks and finding exciting new ways to present themselves. With ‘The Ladies' Second Song' – their fourth album – Laïs have surprisingly embarked on a new direction, far removed from their previous albums and now steeped in a healthy tradition of avant-garde induced sounds ala Univers Zero, acid folk touches, psyched-out notches and ethereal female vocals. Apart from penning their own lyrics they have also picked up some words from such greats as W.B. Yeats, Paul Verlaine and Pablo Neruda to work with instead. In order to craft out their new and intoxicating sound they got assisted by Dan Lacksman (from Telex) who did the mixing and together they worked on something new and innovative. The new dimensions of their latest record stem also from the musicians that they are now working with. These talented players have backgrounds in pop, avant garde, rock, country and ska music. They are Elko Blijweert on guitar (Dead Man Ray, Kiss My Jazz, OW), Bjorn Eriksson (ex-Zita Swoon, Maxon Blewitt, The Partchesz) on guitar & electronics, Jeroen Stevens (I Love Sarah, Black Cassette) on drums and Filip Vandebril (Antwerp Gipsy Ska Orchestra) on double bass. With this fresh sound under their belts the band has yet again found a place in the new international folkscene. This new folk genre sees a revival that leads to the discovery of forgotten artists like Karen Dalton, Vashti Bunyan and Judee Sill and sees similarities in the artists of today, such Devendra Banhart, Coco Rosie and Joanna Newsom who make up a whole new wave of folk talent. Laïs has a great future within this vivid and experimental folk scene. Their voices have become mature, their music has a lot more depth and their appeal is undoubtedly (and more than ever!) universal. Easily the most surprising new record I have heard this year, filled with awesome arrangements that swirl all over the place, angelic female vocals cascading out of the speakers and blotting out the sun with their lysergic twists and turns, killer riffage, acidic touches, demented shape-shifting patches and much more. One of the best female “psych” folk albums since nitwit critics began banging out and inventing scenes like weyrd folk, new weird
Americana and other thrift store labels. This disc is awesome and will ill you with awe. One of the best – if not THE best – album of 2007. Price: 22 Dollars |
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34. LA MONTE YOUNG: “The
Second Dream of the High-Tension Line Stepdown Transformer From The Four Dreams
of China” (Gramavision – R2-79467) (CD: Near Mint/ Booklet: Near Mint/
Case: Near Mint). Original la Monte Young press and one of his finest works to
date. A bitch to dig up these days. Price: 200 Dollars |
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35. LA MONTE YOUNG & THE FOREVER
BAD BLUES BAND: “Just Stomping – Live at the Kitchen”
(Gramavision – R2-79487) (2 CD Set: Near Mint/ Case: Near Mint/ Booklet:
Near Mint). Brilliant 2 CD live set by La Monte Young released almost more than
a decade ago and out of print since the day it came out. Essential in any La
Monte Young collection. Price: 200 Dollars |
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36. LANDFALL: “Frogsession Tapes Vol. 2” (Captain Trip) (CD; Case, Booklet and Obi are Mint). Rallizes Denudes related release. Trio unit spearheaded by one time Rallizes collaborator Yokai takahashi and flanked by Fushitsusha member Hiroyuki Usui and Morihide Sawada of G-Un on drums. Together the churn out some great acid induced session jams that will liquidify your brains. Awesome. Price: 20 Dollars
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37. LAPORTE, JEAN-FRANCOIS: “Mantra” (Metamkine – MKCD-028) (Mini CD and gatefold paper Sleeve jacket are in Near Mint Condition). This disc rocks and I know of no one better to hail it to its true potential then the lovely people at Aquarius Records. They nailed this one spot on. “When one of our friends told us about this little cd containing an experimental piece using the sounds of a Zamboni, we got very very excited. A Zamboni! (That's that unusual machine that resurfaces the ice in hockey rinks.) Upon hearing it, we were even more thrilled, 'cause it's an amazing 20 minute drone work! And practically everyone who works here has bought one by now...This cute 3" cd, released through Metamkine's esteemed 'Cinema Pour L'Oreille' series of electro-acoustics and musique concrete, contains one track, "Mantra", which opens with a trio of motors starting up and emitting a gentle purr. As these engines warm up and shift through various perfunctory cycles, a wide spectrum of metallic vibrations slowly spins through the stereo field. While it would be nice to believe that these movements coincide with a Zamboni circling a really nice binaural microphone, it's more likely that Laporte exercised his artistic license with a judicious use of crossfading and stereo panning upon his field recordings. As the disc draws near its end, it sounds as if a screw or bolt is loosened by the vibrations and two pieces of metal begin a clamorous bell-ringing arrhythmia. When these motors finally are shut down, those pieces of metal still resonate for a beautifully sustained coda. Back to the Zamboni issue: we'd been told by 'reliable' informants (Loren Chasse who heard about it from Ferarra Pan who heard it on Scot Jenerik's radio show) that the source material for Jean-Francois Laporte's "Mantra" was a Zamboni. As the liner-notes (all in French mind you) indicate that Laporte incorporated the sound of an air compressor from an ice-skating rink, it didn't rule out the possibility that indeed that air compressor could belong to a Zamboni, but it didn't actually say anything about Zambonis. (Are they even called Zambonis in
France, anyway?) As you can tell, we Aquarians like the Zamboni and would really like to believe that the Zamboni was responsible for this album. Thus, we contacted the label, who merely sent us an English translation of the original liner notes, which again stated the source material to be an air compressor. Thus, we are left to ponder the quandary: is it or is it not a Zamboni? Putting this grand existential question aside and the true origin of the source material out of sight for the moment, what's true is that Laporte has indeed sculpted one of the most compelling drone compositions that we've encountered in quite some time. For loyal readers of these lists, that's no idle comment as artists like Organum, Jonathan Coleclough, Mirror, John Duncan, and Francisco Lopez still rank highly for us in the pantheon of dronescapers. Not only as working model but also as a something of belief system, Jean-Francoise Laporte applies the ideals of the mantra to the urban landscape. To him, the hypnotic audio elements of refrigerators, motorcycle engines, and in this case the Zamboni / air compressor rise above their mundane properties to become something that can be meditated upon and hold transcendent properties. A very, very nice recording, Zamboni or not. Even if you don't normally buy all the weird, droney experimental stuff we recommend, you might want to take a chance and try this out. After all, it's only 20 minutes out of your day and eight bucks. And, maybe it's a Zamboni!” (Aquarius Records). Right ON!! A Minimal music classic…..Price: 40 Dollars |
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38. MABUKI JUNKO: “Ai no Dorei ~ Slave Of Love” (Tiliqua Records – TILAR-5010) (Mint copy). One copy back in stock of this Tiliqua release that sold out in only one week. A new installment in Tiliqua's seemingly never-ending “Erotic Oriental Sunshine” series brings you this time the first re-release of Mabuki Junko's sole recorded artifact “Ai no Dorei”, originally released as a cassette-only by Victor Records back in 1980 as part of their “Yoru no Driver” series tapes. The series was designed specifically to target the sexually frustrated, long-distance trucker demographic in order to bring them a little erotic aural companionship on those grueling overnight hauls. Junko appeared on the scene of hardcore bondage and S&M flicks after Tani Naomi had thrown in the towel and with she would be the last of the big screen porn and S&M stars to emerge during
Japan's Golden Age of Roman Porno. She was especially great in S&M movies such as “Showa Erotica – Bara no Kifujin”, “Dan Oniroku – Hakui Nawa-Jigoku” and “Onna-biyôshi: Nawa-shiiku” and her on screen presence caused Dan Oniroku to dub her as “if Tani Naomi is the Marilyn Monroe of the SM scene, then Mabuki Junko is its Ingrid Bergman”. Junko solely recorded at the height of her short-lived career the tape “Ai no Dorei”, which is possibly the most perverted and sexually deranged recording ever to be released. “Ai no Dorei” is built on a lush instrumental carpet of covers of famous enka tunes, upon which Mabuki Junko rolls and writhes, enacting hardcore BDSM fantasies, perversions and degenerate sexual dramas for her lonesome big-rig listeners. The real draw though is Mabuki Junko's aural evocation of the utterly perverse and degenerate sexual actions, as she journeys deep into the depraved depths of hardcore bondage, lesbian S&M, golden showers, torture, suspension bondage, and master-slave relationships. A little knowledge of the Japanese language reveals “Ai no Dorei” as truly one of the most filthy and sexually disturbing recordings ever to be released. Mabuki delivers it all with no lack of conviction. Due to the triple X-rated nature of its contents, Victor Records refrained from releasing this historical gem on vinyl, thus confining its existence to gas station and truck-stop cassette racks. For the same reason and in order to escape domestic morality claims, Tiliqua decided to keep a low profile and release this gem as a limited edition CD only, LIMITED to 500 COPIES only. Comes housed in a sturdy hard card mini-LP styled gatefold sleeve depicting a bound up Mabuki Junko miniature poster. Digitally remastered from the original master tapes and graced with faithfully reproduced artwork and obi. Comes with 4 pages of extensive liner notes. Price: 40 Dollars |
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39. MARGINAL CONSORT: “S/T (Improvised Music From Japan – IMJ702/5CD) (Individual CD's, inserts and cloth bag are all mint). Participants on this set include Kazuo Imai, Yasushi Ozawa, Tomonao Koshikawa, Kei Shii, and Masami Tada. Discs 1 & 2 contain the complete recording of a performance that took place in the gym of the former
Mikawadai Junior High School, Roppongi, Tokyo, December 7, 2003. Discs 3 & 4 contain the complete recording of a performance that took place at Kotoku Morishita Bunka Center, Tokyo, November 20, 2004. Marginal Consort is a collective improvisation project launched in 1997. All of the members, brought together by Kazuo Imai, were students of Takehisa Kosugi at Bigakko art school in 1975. Once a year, Marginal Consort gives a continuous, uninterrupted performance two to four hours in duration. This 4CD set contains the complete performances of 2003 and 2004 (each on two CDs). The listener is overwhelmed by the myriad sound colors and textures arising from the combination of electric and acoustic sound, and the dynamics that surge and subside like advancing and retreating waves." Packaged in a handmade cloth bag of various fabrics and designs. Comes with a fold-out sheet of notes, performer profiles and photographs in English and Japanese Price: 120 Dollars
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40. MERZBOW: “Metalvelodrome – Exposition of Electro-Vivisection” (Alchemy Records
– ARCD-061/64). (4 CD set: Mint/ Outer Carton Box: Excellent ~ Near Mint/
Plastic 4 CD Box: Near Mint/ Insert Poster: Excellent ~ Near Mint). Without a
doubt one of the hardest Merzbow titles to dig up, released on Alchemy Records
way back in 1993 in an edition of only 500 copies. 4 CD’s filled with analogue
blistering tsunami noise and one of the best and rarest releases in the Merzbow
discography. First time even I have a copy to spare. Massive ear damage!!
Price: 185 Dollars |
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41. MOPS: “Iijanaika” (Express Liberty) (CD: Mint/ gatefold Mini LP Sleeve: Mint/ original Obi: near Mint/ Additional Obi: Near Mint/ Inserts: Near Mint). 2003 limited CD release. Fantastic reissue with replica (only attached to 300 copies of this CD) of the original obi artwork that graced the original vinyl press of this album. Together with their initial (Psychedelic Sounds in
Japan
) album, this is the ultimate Mops album. Brilliant brain ripper of a disc. Price: 35 Dollars |
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42. MORISHITA TOKIHIKO + HIS FRIENDS: “Toccata” (Polydor/ Universal Music
Japan – PROA-83) (Cd: Mint/ Mini LP Paper Sleeve and Obi: Still in shrink/ Insert: Mint). If hopelessly obscure early seventies Japanese private press psych records are your thing, than here is one for you that probably has never ever crossed your path. Originally active as a jazz pianist cruising through Tokyo's nightclub underbelly, Morishita is probably best known for his 1979 electronic music masterpiece “Yokaigenso” (see list) which he created in collaboration with underground cartoonist Mizuki Shigeru. However, before that, Morishita was responsible for churning out one hideously rare privately released pipe organ driven psyched out record that is revered by those in the know. “Toccata” was released in 1972 on the privately run Dharma Records in a limited run. The disc was later picked up and released by Polydor but that version is also one that never turns up. The Dharma Records one is the most sought after and remains for most of the time elusive to say the least. The whole affair was recorded on two days in August and September 1971. Music-wise the disc lifts off with a short church-like pipe organ hymn before steering off into free form key riffing that gradually transcends into eerie sonic realms that in its turn decent into the nebula of free form interplay spiced up with slowly emerging psyched out effects. Through the clouds this atomic avant-freak out vibes a choir blessed with angelic qualities breaks through and the dust settles. Saints appear briefly before they are pushed aside for seasonal winds to take over, breathing out a vibe of a bath acid trip while grooving to classical interludes moving into a hallucinatory downhill ride. And just when you think all is lost, Morishita unleashed a series prog psych compositions all heavily underscored by the pipe organ going nuts, while in the back a band tries to keep the pace. Morishita steers a bit into the better side of Hiro Yanagida styled compositions but still he has a hard time to keep his weird and experimental side under his cape. Some excellent guitar riffage and toned in fuzz sounds also pop up at the most odd occasions, making this disc a strange, eerie and hard to come to terms with item. It may take some time to chew through the hybrid nature of it all but once you do you will recognize the masterpiece you hold in your hands. In all a fantastic record that keeps you on the tip of your toes at all times and each time you think you have him cornered, Morishita again will do something that will leave you puzzled and frazzled. Just great, fuzz licks pop out of the mists and counterattacks the organ riffage with Morishita trying to guide his tune into good lanes before going astray again into neo-avant-psych-balladry. This guy was one strange and hard to pin down cat. When you have him figured out, be sure to give me a call. Mega rare and filled with brilliance in disguise. Highly recommended. Price: 35 Dollars |
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43. NITSCH, HERMAN: “Das Orgien Mysterien Theater 10 CD Metal Box Set – DOMT-001-010” (private release). (Can/ 10 CD's/ Insert. Woodblock/ Bag with undisclosed contents: All Near Mint) Private release put out by Nitsch himself in a numbered edition of only 50 copies. This is the first box set in a series of ten, this one numbered as copy 50/47. Massive field recording of an ongoing happening into the Dionysian aesthetic of Nitsch. Massive and highly limited Price: 150 Dollars
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44. NITSCH, HERMAN: “Das Orgien Mysterien Theater 10 CD Metal Box Set – DOMT-011-020” (private release). (Can/ 10 CD's/ Insert. Woodblock/ Bag with undisclosed contents: All Near Mint) Private release put out by Nitsch himself in a numbered edition of only 50 copies. This is the first box set in a series of ten, this one numbered as copy 50/47. Massive field recording of an ongoing happening into the Dionysian aesthetic of Nitsch. Massive and highly limited SOLD |
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45. NUNOYA FUMIYO: “Kanashiki Natsu Bate – Nunoya Fumio 1” (Hagakure – USCP-1167) (Disc: Near Mint/ Gatefold Paper Sleeve: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Lon out of print reissue from 2003 revitalizing another monster rarity, being Blues Creation's front man Nunoya's first solo outing, a record that these days fetches prices here in Japan up to 2000 Dollars. Originally released on November 21st, 1973, Nunoya dwells on this disc into totally different sonic territory than he is known for with his hard psych exploits with Blues Creation. Nothing of those testosterone heavy riffage on this one, instead Nunoya embarks into different waters all together and emerges as a deep soulful singer who dwells into folk infested waters for a change. At times vaguely comical, on other occasions venturing into Stones' inspired R&B territory, “Kanashiki Natsu Bate” beholds quite a variety of faces Nunoya eloquently puts forth. In short the album could be labeled as a folk blues type of effort that sound great every time I pop it in the player. A classic gem that remains so little known. Price: 45 Dollars |
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46. OTOWA SHIN: “Wasuregatami” (Super
Fuji) (Sealed). Limited press reissue of this hideously rare 1974 private press rural folk rarity that became amongst aficionados one of the key records to define the mid-seventies Yokohama rock and folk sound, filling up the void left behind after the disintegration of the GS boom and the Speed, Glue & Shinki styled heavy rock freak-outs that previously dominated the area's sound waves. This void became filled up by a minor league of musicians and groups such as Acid Seven, Oh! Asa Band, Original Vibration, Yoshino Daisaku Band and Otowa Shin. A strange new breed of marginal musicians to take over the scene without anyone noticing it. Otowa Shin was previously active in the band Kureo, who at one point in 1972 opened up for the Flower Traveling Band at Yokohama's Yaon Concert. Kureo eventually fused into Otowa Shin himself and by 1974 he got himself backed up by Kubota Makoto (at one point in time a member of the Hadaka no Rallizes – go and check up on your line-up info) and the Yuyake Gakudan Band, with whom he recorded this masterpiece “Wasuregatami”. Of course folk rock had already rooted in Japan with the birth of the URC label and Bellwood but Otowa Shin's vision somehow strayed from these strongholds due to its distinctive sound and its Yokohama tinted sound. Himself armed with a 12-string acoustic guitar and an enchanting voice to pull you right in, backed up by the mesmerizing slide guitar of Fujita Youma, delicately crafted basslines, Otowa Shin succeeded in creating a highly individual sound that bordered on folk, acid folk, rural dwellings and rock all embedded into one and creating a real honest and stripped own of all hypes and fashion thrills masterpiece. After the completion of the album, Otowa Shin kind of dropped of the scene and by 1976 he decided to trade in Japan for the sunny summer island of Ibiza, where he stayed until mid 1980. This sole album of him is finally dusted off and although it was a private release, it sounds sparkling fresh due to the excellent recording of the day, the ace musicianship of all the persons involved and the musical vision of Otowa Shin himself. The more one spins this disc, the more it grows on you until you get flabbergasted by its honesty and pureness, just like a breath of fresh air reviving your senses after a long winter.. Still its loner vibe it resonates out, its melancholic feel and the dialectic of breathy acoustic and caressing electric guitar enfold behind your eyelids like a mystic Kurosawa movie that feels both apocalyptic at times as well as frailly intimate. In all it is deceptively simple, yet surprisingly complicated and filled with colorful sound palettes that draw you back constantly. A deeply melancholic record spiked up with shafts of odd light in the strangest of places making it a folk classic. One of the best reissues of this year!! Price: 30 Dollars |
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47. OVERHANG PARTY: “Otherside Of” (Pataphysique Records – DD-008~009 EP-1) (2 CD's Near Mint/ 7 Inch: Near Mint/ gatefold Sleeve: Near Mint/ Obi: near Mint). This underground Tokyo psych rock ensemble presents an extensive but freakin' great live document, recorded at shows from '95 to '99, including two tracks from their 1999 US tour that for some reason they couldn't fit on either of the two cds in the package but had to press on 7" vinyl, also included! Limited, numbered, all that. Overhang Party is a guitar duo augmented with guests like
Tokyo underground superstar psych guitarist Michio Kurihara (ex-White Heaven, now of Ghost) and former Fushitsusha drummer Ikuro Takahashi. They produce gorgeous psychedelic guitar freak-out storms to match those from your most stoned Neil Young fantasy. Fans of that sort of thing, and those already into the PSF-documented "Tokyo Flashback" scene (High Rise, Fushistusha, Marble Sheep, Shizuka, etc.) should serious consider getting this. Long gone and out of print limited edition, complete with vinyl 7 inch. Essential. Price: 65 Dollars |
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