An'archives

Jean Noël Rebilly & Andrew Chalk CD Tsilla – An’archives

Edition of 300, comes in a mini handmade gatefold jacket

Catalogue number : [An’41]

Mastered by Denis Blackham

“On Tsilla, Jean-Noël Rebilly and Andrew Chalk pay homage to the late French writer and engraver Cécile Reims. While she may be best known as interpretative engraver for surrealist artist Hans Bellmer, and she also worked with Leonor Fini and briefly for Salvador Dali, Reims’ most powerful and enduring works were made either in collaboration with her husband, the writer and artist Fred Deux (who signed their collaborative work “cf deux”), or by herself. Later works by Reims, like the L’Elan Vitale suite, or the Histoires Naturelles series, manifest denuded, obliterated landscapes; spiralling abstractions; engravings that shiver with an unearthly radiance, where etchings of great intricacy hint at intimacy and the velocity of rapture, before opening out to aching empty spaces. The music on Tsilla is similarly evocative, a tender weaving of emotional complexity carved with the hand-held and simple tools of artisans. Much like Reims, Rebilly and Chalk enact a similar transfiguration of base materials. For Reims, natural order is made “more sinuous and curious through the rounded flow of her graver,” Kate McCrickard once noted. For Rebilly and Chalk, these seven pieces, cast under the shadow of a great artist, inhabit that sinuousness, and tease out the eternal flow of tone.”

Jon Dale

Contact – wholesale : anarchives@sfr.fr / clerouley@free.fr 

Distribution / wholesale : France : Soufle Continu shop & label : contact@soufflecontinu.com

and available from ;

UK : This Ain’t Distribution / Japan Blues / ICR Distribution

15€

In a same time we have these 2 for distribution and you can save with postage….

Francis Plagne & Andrew Chalk

CD The Painter’s Family

 Label : Mould Museum

Catalogue number : MM 03

Edition of 300, comes in a mini handmade gatefold jacket with obi

Recorded 2008-2016, released on cassette in 2018.

Recorded 2008-2016 and originally released on cassette in 2018.

The Painter’s Family is the first duo release from Andrew Chalk and Francis Plagne, recorded intermittently, both together and apart, over eight years, in Hull, Melbourne and various places in Japan. Eight pages from the sketchbook, sequenced into two languorous side-long suites.

Mastered by Joe Talia.

“He tried by every means to come close to nature, lying in the fields before daybreak and until nightfall in order to learn to represent very exactly the red morning sky of sunrise, sunset and the evening hours”

Available from ;

andrewchalk.bandcamp.com

distantimpression.com

icrdistribution.com                (UK)

anarchives@sfr.fr / clerouley@free.fr 

Soufle Continu shop & label : contact@soufflecontinu.com   (FRANCE)

Distribution/wholesale please contact ;

anarchives@sfr.fr / clerouley@free.fr

or

ordersfarawaypress@yahoo.co.uk

andrewchalk.bandcamp.com

15€

Youri Kun LP Renoir of the Toys

[An’37] Feb 10th

12″LP black vinyl, comes in a silkscreened jacket with obi (black or ivory), inserts and a postcard. Edition of 400

Printed by Alan Sherry & liner notes by Jon Dale

Renoir Of The Toys is a deep dive into the world of Youri Kun, the nom de plume of Japanese guitarist, singer and songwriter Hiroshi Nar. It follows a similar compilation, Unheld Ball, released in 2022 on Japanese label Inundow; like that album, Renoir Of The Toys draws from the rich catalogue of outsider psych-garage and rock recorded by Youri Kun over the past two decades. Deeply wired into the history of Japanese underground music, Nar was a founding member of legendary ‘70s outfit Datetenryu, and a member of both Brain Police (Zuno Keisatsu) and Les Ralllizes Dénudés (Hadaka No Rallizes), appearing on the latter’s ’77 Live.

After going to ground during the 1980s, Nar started making music with Niplets in the mid-90s, and releasing music at a prolific pace in 2000 – an excellent run of (sometimes archival) CD-Rs on the Hello Goodbye Studio label, both solo, and with his groups Molls, Niplets and Port Cuss; an album on P.S.F. by Jokers, where he was joined by fellow Rallizes member Yokai Takahashi, and drummer Toshiaki Ishizuka (Brain Police, Vajra, Cinorama, etc.); and sixteen albums (and counting) as Youri Kun, for labels Gyunne Cassette, Inundow, and Hören. He’s also fallen in with the Acid Mothers Temple crowd, guesting on a few of their albums, and recording a live set with Kawabata Makoto’s Nishinihon trio.

All Nar’s music shares a deceptive primitivism; it moves with the simplicity of the best 1960s garage punk, but its edges are blurred and stretched, allowing for all kinds of weird, elliptical, and psychedelic moves to happen in its margins. His guitar playing on songs like “Kakunin” (from 2011’s Yamaimo Boogie) shimmies and slurs magnificently; “Kurokami”, from 2012’s Su, has clanking six strings scrawling over loose, spaced-out synth; there are clunky psychobilly moves (“Oshiro no Ninjya”), spirited rave-ups for rattling organ and sputtering guitar (“Totsugeki”), and some lovely, drowsy, melancholy moments (“Sora”). The constant throughout is Nar’s blues-blurred, drawling voice, as unique a tool as the non-idiomatic speak-sing styles of solo Syd Barrett, Jad Fair, or Dave E. McManus. There are also three Les Rallizes Dénudés covers here, where Nar locates the pop genius at the heart of songs like “Shiroi Yoru” and amplifies this with his simple garage-reverential take on things. Renoir Of The Toys is yet more evidence that Hiroshi Nar was, and is, one of Japan’s musical visionaries, a lonesome voice dedicated to a singular, streamlined vision, one that’s in eternal pursuit of the joy and kicks at the heart of rock’n’roll, and a reminder of what a great, unpretentious rock’n’roller truly

OUT OF PRINT

Shizuka CD 妄想の楽園 | Paradise of Delusion

Offset 7 ” jacket with screened obi (dark blue or dark red)

Edition of 500

Release & shipping date : Nov 25th

Paradise Of Delusion, the first vinyl release of the music of Japan’s legendary psych-pop group Shizuka, originally appeared in June 2021. Long-awaited, the LP sold out almost immediately, and already changes hands for three-figure amounts. An’archives is pleased to announce a CD edition of Paradise Of Delusion, making this music accessible again to a wider audience. Drawn from a 2001 performance at Binspark, Nishi Ogikubo, Paradise Of Delusion is gorgeous and otherworldly.

Shizuka first came to wider attention at roughly the same time as their peers in the Japanese underground – during the early nineties, when people started to get wise to the surprisingly wide-ranging post-psychedelic sounds from the PSF label. But even by the standards of their closest peers, aesthetically speaking –Fushitsusha (with whom they shared two members, Maki Miura and Jun Kosugi), Kousokuya, Chè-SHIZU – Shizuka were mysterious.

Led by the late Shizuka herself, a guitarist, vocalist, song writer, and doll maker, with her husband Miura, a devastatingly powerful guitar slinger, their songs were potent and seductive. Shizuka’s slow iterations of simple chord changes, with her psalmic vocal melodies over the top, suggest an existential exhaustion, often torn asunder by a soaring surge of guitar from Miura. Think the happy-sad mood of the Velvets’ third album, or a more languid Les Rallizes Denudes. Whatever is happening here is relentlessly private, psychologically introverted in many ways, but opened out to the possibilities of both beauty and despair – two states that the music of Shizuka best captures.

14€

Release date : July 1st

Gu-N LP

ltd to 385 copies -Silkscreened jacket with obi (tan, orange or black) & inserts, liner notes by Michel Henritzi

Formed in 1994 by  Hidenobu Kaneda (Yuragi), alongside Fumio Kosakai (Incapacitants, Hijokaidan, C.C.C.C.) ,  Ikuro Takahashi (Fushitsusha, Kousokuya, LSD March), Ryuichi Nagakubo (C.C.C.C., Yuragi), and Morihide Sawada (Yura Yura Teikoku, Marble Sheep), Gu-N played regularly at Plan-B in Tokyo, but released little during their relatively short time together. Hazy and hypnotic, their laminar improvisations, four of which appear on this untitled album, are compelling, oneiric visions for the ear.

In his liner notes for the album, Michel Henritzi writes that these Gu-N recordings situate the group within a broader trajectory of free improvisation and collective sound within Japan – Taj Mahal Travellers, East Bionic Symphonia, Marginal Consort, each of whom sprung, in many ways, from the radical vision and creativity of Takehisa Kosugi. But there’s a unique spirit here that aligns Gu-N with these predecessors, while also marking out singular territory.

Kosakai’s background in noise, via his participation in Hijokaidan and Incapacitants, can be heard in the unrelenting oscillations and heavyweight drones that purr throughout each of these four tracks. Both Kosakai and Nagakubo were members of C.C.C.C., perhaps the clearest precursors to Gu-N in their psychedelic density, though Gu-N trade in C.C.C.C.’s volcanic energy for a more tempered, sensuous exploration of tone and time.

There’s also a brutish element to Gu-N’s improvisations – see the saturated spectrum, rumbling and phasing throughout the album, and the crushing, almost Amon Düül-esque drum tattoos that Takahashi pounds out on the second track (recorded in 1998), punctuating the music from deep inside its hallucinatory murk. Elsewhere, as on the third track (one of three recorded in 1994), Kosakai’s cello scrapes out armfuls of buzz-tone as Sawada’s bouzouki trills out, elastic and vibrant, across spindrift electronics and lung-spun winds.

What’s most impressive here, though, is the way each player, formidable musicians in their own right, defers to the might of the communal and the collective. The quintet broke up in 1998, leaving behind scant recorded evidence – just one, self-titled CD, on Pataphysique, released in 1995. This LP is a most welcome addition to the small but blissful body of recorded work made public by this mysterious quintet of spirit channelers.

OUT OF PRINT

Available on April 29th

Mura LP “2008-2021” An’archives

LP 12” ltd to 385, silkscreened white or chipboard jacket with obi (Black,vanilla or grapesicle), inserts and a postcard – Liner notes by Jon Dale

Please note : all vinyls have a click and pop on B side

Mura were a previously little-known group from Japan, formed by friends Kota Inukai (vocals, guitar), Masaki Endo (bass) and Sho Shibata (drums) in the late noughties. Performing mostly in small events in Sapporo, they were outsiders, and felt a kinship with few other groups, though Inukai mentions rock group Green Apple Quick Step, and hardcore band Ababazure as fellow travellers. This isolation surely feeds into the uniqueness of Mura’s music – they sound little like much that we know of the taggable Japanese underground of their times, and the music they recorded for this, their debut album, spanning a decade, is gloriously all over the shop, from delirious punk wig-outs to strange pop miniatures.

The group formed young – Inukai was only fourteen when they started, and Mura were his first ever band. When pressed on what they were listening to while making their music, Inukai recalls that he “used to listen to the works of Haruomi Hosono a lot”, and you can hear traces of this, perhaps, in the breadth of the sound Mura explores, from the lovely, country-esque shuffle of “In The Talk”, through the garage-y plunk of “Rest” and the reflective, melancholy “Younger Brother”. They were also big fans of video game music – “even orchestral covers of video games”, Inukai smiles – and that’s in there, too, in the split-second responsiveness of the playing, the way they flick through ideas and genres almost impatiently, taking minutes to cover terrain that other groups might spend albums and years exploring. But the songs were also grounded in Japan’s history, with many of the songs inspired by “old Hokkaidō,” Inukai recalls, “from the Meiji, Taishō, Shōwa periods.” With Inukai coming up with the melodies, and Shibata fleshing out arrangements, all three members then contributed lyrics. You can hear that collective effort in the way the music moves, every player listening carefully to each other, the songs moving gracefully, but not without verve and vim. It’s a delightful album, full of pop songs that take unexpected turns, with glinting melodies sung out, here sweetly, there with gruff candour, guitars tangling together like an unholy union of Tom Verlaine and Jad Fair, every song charged with a new, unpredictable spirit.

OUT OF PRINT