Volcanic Tongue Catalogue

Sachiko & Rinji Fukuoka

Musik Atlach MACDR-001


Stunning new self-released album from the Japanese underground duo of Sachiko (Kousokuya/Overhang Party et al) and Rinji Fukuoka (Overhang Party/Majutsu Ni Niwa et al): recorded in startling hi-fi at Showboat in Tokyo in June of 2011, Void is the perfect name for this mind-blowing wall of relentlessly peaking black hole sound, with Sachiko’s angel vox and heavenly electronics bisected by Fukuoka’s vocals, electronics, bass, percussion and shortwave radio work. Sachiko has a way of generating hugely organic walls of feedback that still scream like sheet metal and here she is on particularly devastating form, building ghostly shapes and witch cries from ectoplasmic electricity that Fukuoka threads with haunted shortwave voices and ghost tones. Soon the whole piece is vibrating like a gridlocked Parson Sound, with Fukuoka’s electric bass pushing the whole thing into full-on nod-out/brain-dunt mode. Another peerless release from two of the leading lights of the contemporary Tokyo psych sound. Highly recommended. 


Eine Kleine Nachtmusik 003


Numbered edition of 500 copies in hand-stitched embossed art paper sleeves from Ikuro Takahashi’s (Fushitsusha/Kousokuya et al) own private press. This is another major archival release from the vaults of the Japanese underground, documenting a group led by Tori Kudo (Maher Shalal Hash Baz/Noise/Guys ‘n’ Dolls et al) on piano and featuring Kanji Nakao (Compostera) on saxophone, Yoshi Kuge (Compostera) on drums and Takuya Nishimura (Che-SHIZU) on bass. This is the closest that Tori has ever come to cutting a free jazz album, though it’s inevitably a couple of sails more skewed than a simple investigation of the elasticity of genre. Nakao is a fantastic player, now a model of control, now barking through the low register like a headier Sonny Rollins and Tori pushes him the whole way, pursuing ideas with big barracking chords and dancing around the themes with ploy-rhythmic re-statements. There’s a nice, dusty feel to the recording, a time machine aspect that seems to lend it an extra layer of poignancy while the tough/tender interaction perfectly captures that sublime happy/sad feel of all of the best Maher/Tori sides. Two concerts are included, one from 1995 and another from 1996. Many fantastic hitherto-unknown releases appearing from the mists of the Tokyo underground of late and this is another highly recommended installment.