Tokiyo Ooto—a musician from Osaka who has performed with And Summer Club and the Michinori Toyota Band—and Orhythmo, another Osaka-based artist with a background in hardcore, Orhythmo, formed in 2023. The project began when Ooto’s creative spirit was sparked by listening to cassette tapes of old British nursery rhymes; he then approached Orhythmo a ...Read mores the key collaborator to bring his vision to life.
The combination of Ooto—who plays bedroom music utilizing electric guitar loop effects in his solo work—and Orhythmo, who excels at drone-style electric bass playing that seems to sink into infinity, held great potential from the start. This deliberate duo adopted the concept of “lullabies for adults” and and independently released their first album, If All The World Were Paper (2024), recorded in one take at LM Studio in Osaka. Their second album, Play Nursery Rhymes and Children's Songs, was created with the vision of publishing a picture book, further developing and refining the unique world they have crafted into a more intricate soundscape. Two of the four tracks are new recordings featuring the Shiga Prefecture lullaby “Nennen Mori no” and the masterpiece “Buranko” (lyrics by Masuyo Tsuzuki, music by Yasushi Akutagawa), while the other two tracks are reworked versions of the British folk songs “Hey Diddle Diddle” and “There Was an Old Woman.” Through Play…, Tokiyo Ooto and Orhythmo use highly contemporary methods to drag out the remnants of the mythical nature of songs—which must have been inherently contained within them but were lost over the course of history—from the depths where they have sunk beneath their symbols, transforming them into allegorical forms and presenting them to us. Recording, mixing, and mastering were handled by Ippei Suda of LM Studio, with artwork by Yoshikazu Ano.

＝Product Specifications＝
+ Insert (featuring Japanese and English lyrics)
+ Includes download code

This audio recording was discovered on a tape unearthed by Toshi Ichiyanagi at his home; it is a live recording of a concert performed in 1967 at Hope College in Michigan by Cage, David Tudor, Toshi Ichiyanagi, and others.

The mid-1960s were a time when Cage and Tudor were in the midst of developing electrically amplified performance sounds ...Read more, and at this Hope College concert as well, deafening sounds were unleashed through their relentless amplified performance techniques. Lucier’s Music for a Solo Performer (1965) is the earliest recording available today relative to its year of composition, and it is being released to the world for the first time. This 1967 version, which features the Cage school’s electrical realization techniques and is entirely different in character from the one released by Lucier and Pauline Oliveros on Lovely Music in 1982, is a mass of sounds devoid of any intelligible meaning—unless one is familiar with the context, it might sound like nothing more than road construction in the neighborhood. The live performance of “Brainwaves” is handled by the masterful Tudor.

Toshi Ichiyanagi’s “Appearance” (1967) was his latest composition at the time, published as the lead article in the renowned Source Magazine; Cage himself participated in this explosive performance, which blended live electronics with acoustic instruments. While the performance itself is identical to the version released by Omega Point in 2006, the source tape used for this release is believed to be the master tape; it exhibits significantly higher linearity and substantially improved sound quality. It is also an extended version that includes audience reactions, which were not included in the 2006 edition.

This release includes a foreword by Omega Point (explaining the circumstances surrounding the discovery of the tape), a reprint of Toshi Ichiyanagi’s 2006 commentary on “Appearance,” and a commentary by sound artist Minoru Sato, a scholar of Lucier’s work who was acquainted with the composer during his lifetime. (*The cover image is a set illustration from Music for a Single Performer)

=Product Specifications=
+ 2-page insert
+ Japanese and English liner notes

Four Corners19702020

Magic Mbira1979PIsophonic Boogie Woogie

SFFoesReggae Foes1978D.D.Cold Rain and Snow2020Remembrance in a Pale Room19952Magic Mbira

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Music in DNA is an independently produced LP by Yasuhito Ohno, a young Japanese man who spent time in New York in the early 1980s and was freed from the constraints of his hometown. It is a passionate masterpiece brimming with the DIY spirit of the “outsider”—inspired by various avant-garde movements of the time, such as music, painting, and perfor ...Read moremance art of the time, as well as the locally driven energy of 1980s New York—a passionate crystallization overflowing with the DIY spirit of an “outsider.” Using just two pieces of equipment—the Roland Juno-60, a masterpiece of polyphonic synthesizers, and a 4-track multitrack recorder—along with his own voice, Ohno channeled his youthful “edge” into an exploration of uninhibited lo-fi music. The entire work is brimming with unbridled charm—the liberation of a raw, fresh human spirit diving into a new world to play. Ohno was also inspired by the human potential brought about by the technological developments of the time, such as DNA research, personal computing, and early computer graphics; some of the tracks were used as background music for early CG demo videos, and the album cover itself features early CG art. Although he later became a professional musician in Japan, Music in DNA serves as a document recording the origins of an artist’s creative vision—before he had honed his technical skills—and its raw, unadulterated innocence in extreme circumstances strikes us like a pre-Enlightenment, prehistoric myth. In an era rife with cynicism, Music in DNA is a one-of-a-kind work that revives generous innocence and our true selves. Yasuhito Ohno’s essay, featured in the liner notes, is a masterpiece that casually yet sharply questions what we are losing!

＝Product Specifications＝
+ Includes download code
+ 2-page insert
+ Japanese and English liner notes

In classical Andalusian music, the piano—an instrument of Western origin—occupied a lowly position, and it is said that Skandrani’s performance style, which he essentially pioneered, led to his works being treated as heretical. The reason for this was that, prior to his time, solo piano performances were unheard of in Andalusian music concerts, and ...Read more the very idea of performing “Istiqbal” (a style of Andalusian court music) on the piano would never have occurred to anyone else; it is said to have caused quite a stir at the time.
Algerian classical music is characterized by the fusion of Andalusian court music—which originated with the Arab-Islamic dynasties of Spain—and Turkish classical music, and it has also been influenced by Western, indigenous African, and Jewish traditions, resulting in a distinctive blend of Eastern and Western cultures. “Istiqbal” is a prelude to the court music suite form known as “Nauba” (or “Nouba”), and it exists in several modes (forms). In this work, a single mode is first played and presented as the theme, followed by variations to form a set; the piece includes a total of nine sets of modes. The accessible charm of this work lies in the way Oriental, Western, and African elements elegantly intersect on the keyboard; the sounds woven from the piano move as if traveling back and forth between the East and West, forming a single delicate thread.

=CD Edition=
＋Standard jewel case, 8-page booklet, obi strip
＋English and Japanese liner notes

This magical album, *Pantilde*, by The Worm—an avant-folk performance artist from Cornwall—is an imaginary tale of oral tradition and music that depicts the daily life of a Celtic village in a strange, otherworldly land: a place that feels otherworldly yet is somehow rooted in reality. The music on this concept album is strange yet familiar, fantas ...Read moretical and enchanting, yet simultaneously grounded in the earth. Amy Lawrence, the musician known as The Worm, sings while playing acoustic instruments such as the cello, harp, recorder, and percussion with a ritualistic atmosphere; her rich voice is sometimes overdubbed, elevating it into a beautiful, simple vocal ensemble. Lawrence uses her voice to weave song-stories depicting mythical and mysterious village life and landscapes, as well as the relationship between humans and the natural world.
The Worm is a talent that appears as a sort of mutation within a musical lineage that includes Dorothy Carter, The Incredible String Band, Vashti Bunyan, the Shovel Dance Collective, Bridget St. John, Jessica Pratt, Kathryn Howe, Mary Latimore, Tristoph I. Fenewood, among others. *Pantilde* is an astonishing avant-garde folk fantasy that feels like a time trip to a dreamlike pastoral world, yet possesses a distinct sense of reality. The cover artwork, reminiscent of the Celtic legend of the little people who dwell underground, is by Lawrence, and “Pantilde” is the name of the donkey in the photograph. The CD includes liner notes and lyrics—written in a style reminiscent of ancient manuscripts—in both English and Japanese by The Worm himself. The CD edition exclusively includes a bonus remix by Yama Warashi.

＝Product Specifications＝
+ CD (standard jewel case / includes 12-page booklet)
+ Bonus track available only on the CD
+ Commentary and lyrics: Amy Lawrence
+ Japanese and English translations included

Following 'Stealth' (2018) and its self-remake 'Stealth (Gold Edition)' (2021), 'The End of the Brim' is his third album overall and his second consisting entirely of new material. Work on it began right after the release of 'Stealth.' Envisioning a landscape different from 'Stealth,' which was a total piece assembled from miniatures, Takao aimed f ...Read moreor a world in which each individual song stands on its own with real strength. Because this was an unprecedented undertaking for him, he needed collaborators and brought in DJ eminemsaiko as supervisor. Through repeated trial and error with this team, vocalists Yumea Horiike ("Music Room"), Christelle Bellet ("Fall"), and Atsuo Fujimoto of Colored Music ("Main Theme") joined the project, along with Motoi Kawabe of mitsume and engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono and Moonriders, as the album was meticulously sculpted into shape. Formally, 'The End of the Brim' is a "solo" album, the kind of record that is supposed to express something personal about a musician, yet its mode of expression is not direct: embedded within it is Takao's singular intent to pay homage to the commercial working composer who takes on commissioned assignments. The result is a layered work that proceeds through a doubled and tripled procedure—program music in which the artist is his own client and expresses himself as that client, attempting to describe his musical ideals through the concept of the working composer as objective executor. We sincerely hope it becomes a quiet favorite in your listening life for years to come. Cover artwork by Toru Otani, design by Kei Sakawaki.

This legendary debut album was produced in a run of 250 copies by Anthony Meagher—a member of the Australian experimental music ensemble Loop Orchestra—under the name Sheriff Lind, with the help of the Sevado Heads and others. His post-punk experimental spirit—fueled by an almost obsessive love of reggae—transcended King Tubby, encroaching on the r ...Read moreealms of British experimental avant-garde artists like David Cunningham and David Toop, and even venturing into the territory of industrial music. Recorded at home between 1981 and 1988, Ten Dubs...—a compilation of experiments with equipment and tape—is a landmark of non-Jamaican roots dub and a historically significant work that serves as the prototype for dub works produced after the Jamaican technique “dub” became an autonomous musical genre. Ten Dubs... The cross-referenced commentary by John Blaze (d. 2011), head of the Loop Orchestra and a key figure in the Australian indie scene who oversaw the production of Ten Dubs...; Richard Fieldings, a founding member of the Sevado Heads and a member of the Loop Orchestra; and Sheriff Lind is also invaluable as a reference!

＝Product Specifications＝
+ Newly remastered
+ CD bonus track
+ 16-page booklet, with obi strip
+ Includes English and Japanese liner notes (same content as the 2005 and 2013 editions)
+ Shrink-wrapped + sticker

The opening track, “No Compromise,” is a bizarre masterpiece that put Inryo Fuan on the map; it was also the first release from the prestigious ’80s indie label, Kurageil Records, known only to those in the know. According to the band, it was “a cover of Tony Conrad & Faust,” but during the performance, a student activist stormed the stage and bega ...Read moren a rousing speech. The band continued playing in silence, the activist egged them on half-jokingly, and the sound engineer playfully applied electronic modulation (!) to the mic in an attempt to cut off the speech—just what was the outcome of this three-way showdown?!?! This edition is the complete version, capturing every moment of this “legendary” event.

“Hammer Clock” and “Aiming Cat” (included only on the CD version), which unleash frenzied electronic percussion pulses, are tracks from the 7-inch EP that’s been forcibly nicknamed “Shinajina” based on the symbol of three connected squares on the cover.

The 23-minute epic “Grand Rock,” showcasing the band’s signature stream-of-consciousness style, and the masterpiece “That Which Descended from the Sky,” where heavy, massive percussion shakes and tears through the space—both are eerie and unsettling “Record of the Forest” (CD edition only)—a track from their first album—features a completely white jacket with no band name, song titles, or catalog number listed, and was declared “not for distribution” by the distribution company.

CD Edition:
+ CD with 2 bonus tracks
+ Standard jewel case / liner notes included
+ Commentary by Jun Harada (Inryo Fuen)
+ Text in both Japanese and English / Features rare photographs