Kawaguchi Masami | Toshimitsu Akiko 

Kawaguchi Masami | Toshimitsu Akiko 

情趣演歌  [Enka Mood Collection ] 

Split 10 inch LP ltd to 250, comes in a silkscreened gatefold  jacket with obi (blue, pink, brick red) insert + postcards… 

Liner notes by Alan Cummings

Silk-screening by Alan Sherry

 Release date :  September 20

4th volume in the enka series, we’re happy to announce the release of this new one :

a split with 2 longtime friends and music associates since the late 1990’s. 

Masami Kawaguchi has been an influential figure in the Japanese underground scene for 2 decades, playing with bands such MiminokotoBroomdustersLos Doroncos and more recently with his New Rock Syndicate. He’s also known as a major & regular Keiji Haino’s collaborator in  Aihiyo and more recently in Hardy Soul. He’s one of the greats of modern Japanese psychedelic rock and more recently he recorded the beautiful “The mad guitar sings” album on Black Petal  which is a dark solo take on Masami’s signature sound, balancing between late night-early morning comedown blues and black luminescent storm-song. On this release Masami covers 2 different songs, delivering a personal & bleak version of a great enka standard (if not the prototype of  the enka song)  and a fiery cover of a weird and rather unknown song.

Toshimitsu Akiko is  better known under her maiden name of Terashima Akiko and she led a band called Doodles for more than 15 years. She and Kawaguchi Masami teamed up together for a short time as Homemade and after releasing a cassette, the first Doodles CDR was released on Masami’s Purifiva imprint and later a CD on Alchemy records.  Doodles played plodding, haunted psych-rock, with storms of guitar distortion hovering on the horizon, and sweet, sad vocals quivering deeply soul-ward. More recently she mostly plays music as a duo named Aminome that could be heard as a Doodles follow up with slightly rounded corners 

On this release Akiko plays guitar, drums & accordion, covers these enka songs with her timeless & forlorn voice, picking up any human with a heart.

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Price : 17 euros or $20 

Including airmail : 

France : 20€ en lettre (colissimo suivi + 2€)

Europe : 24€ with airmail or $29

Rest of the world : 26€ or $31

Hideo Ikeezumi homage

Poscard in homage of Hideo Ikeezumi

Ikeezumi postcard copie

Tomoyuki Aoki & Harutaka Mochizuki + Hasegawa-Shizuo

Tomoyuki Aoki & Harutaka Mochizuki



情趣演歌   [Enka Mood Collection ]


Split 10 inch LP ltd to 250, comes in a silkscreened gatefold  jacket with obi (grey, blue, white) insert + postcards…

Liner notes by Alan Cummings

Aoki Tomoyuki is mostly known with as the guitarist & vocalist of  Up-Tight (Alchemy records, 8mm)  and  for more than 2 decades he has been behind some albums which mix plaintive echo-drenched imprecations, love of bitter-sweet folk and blissfully nihilistic guitar noise reminiscent of Les Rallizes Denudes and Mizutani’s velvetian ballads.

Harutaka Mochizuki is a multi-instrumentalist, mostly known his saxophone improvisations recalling like the same other lonely satellites and solo thinkers like Masayoshi Urabe, Arthur Doyle, Anthony Braxton and Kaoru Abe.

Aoki and Harutaka  have been recording together for a couple of years and this is their first new collaboration after a  remarkable self-released CD that saw the light in 2014.  Terribly human, passionate and intense,  their association is  just one of the most inspiring and burning free unit since the apex of the P.S.F era.

Hasegawa-Shizuo is Hirotomo Hasegawa and Shizuo Uchida.  Hasegawa is the lead singer of seminal early eighties Japanese punk/hardcore group Aburadako (Greasy Octopus), while Uchida was a long-term member of Haino’s Nijiumu medieval dream-drone unit. F and for  more than 2 decades, the latter was he’s involved in many projects such Le Son de L’os,  Kito Mizukumi Rouber, L’extase Métallique and many more. This duo has now been active for a decade, their work being documented on a few releases  that sadly became scarse over the last years.

Here, the group’s instrumentation is here highly unorthodox once again, placing Uchida’s mysterious bass textures against the wet skirl of Hasegawa’s hichiriki, an ancient double-reed wind instrument, the whose haunting upper register tones of which are an unmistakable feature of gagaku court music.  Deliriously strange and enigmatic, their enka cover sounds like a  dark composition of their own, associating humour to their unique strangeness. 






À Qui Avec Gabriel | Tori Kudo 10 inch LP

À Qui Avec Gabriel | Tori Kudo 10 inch LP  情趣演歌 [Enka Mood Collection]

Split 10′ LP ltd to 210, comes in a silkscreened gatefold cover with  colored obi (white brick red, yellow-orange), insert + postcards…

Liner notes by Alan Cummings

Second in the enka collection series on An’archives after Jojo Hiroshige & Shiraishi Tamio,  this split LP features

À Qui Avec Gabriel  and Tori Kudo

À  Qui Avec Gabriel is an accordion player based in Tokyo who opened her discography with  “Utsuho” on John Zorn’s label Tzadik in 2001 ( featuring Haino Keiji as a guest musician) . Since she has collaborated with Makoto Kawabata, Majutsu No Niwa, Mico  to name a few. Her stylistic palette is eclectic, drawing on shades of jaunty european folk music, the elegant minimalism of Erik Satie, and uniquely lighthearted melancholia.

Here for the first time on record she left her accordion Gabriel  for a piano and a seat and proves she’s found  her own voice as an expressive singer.

The other side features Tori Kudo (Maher Shalal Hash Baz and Noise with his wife Reiko Kudo)   who has  a revered status in the Japanese underground  since the late 70’s (Taco, Guys N’ Dolls,  Fushitsusha…) but this time he brings  listeners into the heart of an amazing and feverish karaoke house with his friends . For those who didn’t know it before,  maybe for  the very first time they are going to discover  Tori Kudo as an inimitable & unforgettable crooner, as a true lover of popular songs.

A Qui avec Gabriel - Tori Kudo
A Qui avec Gabriel - Tori Kudo

Enka Mood

Release date : 20 january 2015


Andrew Chalk
Painted Screens 
 ltd to 100

Andrew Chalk Painted screens

with the participation of Federico Durand, Naoko Suzuki,  Daisuke Suzuki , Francis Plagne & Timo Van Luijk


Enka mood collection

Jojo Hiroshige | Shiraishi Tamio

10 inch LP, comes in a silkscreened gatefold jacket with obi, inserts, postcard.

Liner notes by Alan Cummings

Text by Michel Henritzi

ltd to 200 copies

Side A of this split LP features  self-proclained “King of Noise”, Jojo Hiroshige, founder member of the legendary  Hijokaidan and stalwart of the Japanese noise scene.

The B-side is engraved with the naked and guttural voice of sax-player Tamio Shiraishi, accompanied here by guitarist Malenkov

Both sides appropriate the Enka repetoire in remarkablky different ways. Jojo Hiroshige’s howled declamations and metallic scoria guitars chisel these old Enka ballads into something more monstrous while Malenkov’s flamenco arpeggios bandage torn lace around Shiriashi’s voice. Shiraishi recorded these songs in Uramado, a small kabuki-cho bar haunted by the ghosts of the Tokyo underground. Wandering through the streets of this floating world, one gets re-acquainted with those long lost voices of Enka.

This document is only a superficial incision into the exquisite corpse of the Japanese underground, a body of work where traditional and modern musical lines converge and take their rest, having now been cast into oblivion by the relentless changing trends. Enka music is deeply anchored in Japanese society and still remains influential today among those who frequent Karaoke bars where singing is the preferred language.

Enka mood collection

Enka mood collection

Enka mood collection


Junko | Michel Henritzi | Fukuoka Rinji

Billion Years of Sighs

Split LP ltd to 150, comes in a silkscreened cover with obi and insert

A – Junko & Michel Henritzi

B – Michel Henritzi & Fukuoka Rinji

Side A is another love song between La Grande Dame Junko (one of Japan’s foremost improvising vocalists and a member of long-running free-noise unit Hijokaidan) & Michel Henritzi (french guitarist and member of Dustbreeders and Howlin’Ghost Proletarians ). This is blues for the day, from noise to abstract blues,  the volcanic meeting between voice and lapsteel.

Side B is blues for the night with Michel Henritzi and Fukuoka Rinji (Majutsu no Niwa – Overhang Party) , another sad  story between guitar & violin recorded after Fukushima ‘s trauma. Ashes, asphyxiated air, cloudy and melancholic.

Billion Years of sighs

billion years of sighs 2

Billion Years of Sighs


Michel Henritzi | Fukuoka Rinji 

Le Jardin Bizarre

CD – silkscreened gatefold cover / ltd to 200 copies

Le Jardin Bizarre » (the odd garden) is the follow up to the album “Outside Darkness”, released in 2011 by PSF. It is a hollow album, stretching out long rests in which a sticky melancholy, an infinite sadness amplifies itself. 6 tracks dark as so many gardens – gardens seen through night, 6 shades of black, 6 colours of silence. While “Outside Darkness” appeared like a shadow cast over Fukushima, “Le Jardin Bizarre” is it’s elegy. Disquieting calligrams made of tight, feverish strings, like black ink lines on a blank white page. Melodies as manifold as so many little pieces of night music, perforated by devouring rests, tunes dying in the echo. “Le Jardin Bizarre” is an asphyxiated, modern blues album –  Mono No Aware or the melancholy of our times.

« Le Jardin Bizarre » fait suite a l’album « Outside Darkness » paru sur PSF, album en creux, étirant de longs silences où s’amplifie une mélancolie poisseuse, une tristesse infinie. 6 titres sombres comme autant de jardins, jardins vus du coté de la nuit, 6 nuances de noir, 6 couleurs de silence. Si « Outside Darkness » était comme l’ombre portée de Fukushima, celui-ci est son élégie. Le violon suffoquant de Rinji Fukuoka n’a jamais autant évoqué celui de John Cale, d’un baroque électrique identique, le lapsteel de Michel Henritzi un blues moribond. Aux champs magnétiques du précédent opus celui-ci préfère les lieder de Malher et les blues de Mississippi John Hurt. Calligrammes inquiétants fait de cordes tendues, fièvreuses, comme des traits d’encre noire sur la page blanche. Mélodies comme autant de petites musiques de nuit, trouées de silences dévorants, ritournelles mourantes dans l’écho. Une infinie mélancolie répond ici à la fureur de « Outside Darkness ». « Le Jardin Bizarre » est un disque de blues asphyxié, un blues moderne qui résonne dans la nuit de Fukushima. Bande-son de nos nuits blanches. Mono No Aware ou la mélancolie du temps présent.

8 EUR including postage to any destination

Paypal : clerouley[at]free.fr

Le jardin bizarre

Andrew Chalk

  六つの花  “Mutsu No Hana”


clear 10″  LP  – silkscreened gatefold & obi

250 copies


Andrew Chalk - Mutsu No Hana

Andrew Chalk - Mutsu No Hana

Mutsu No Hana 

wooden slipcase version

 50 copies


Andrew Chalk - Mutsu No Hana

Andrew Chalk - Mutsu No Hana - back


Masayoshi URABE

“Swing Low, Sweet Silence”

Label : An’archives

CD ltd to 300 copies

3 silkscreened panels (fold out) with obi and insert

printed by Alan Sherry



“ Swing Low, Sweet Silence”

Recorded live on september 29, 2004  at Super Deluxe, Tokyo, during the 20th anniversary celebration night of PSF and Alchemy labels.

Even the less skilled orator, even the worst speaker can give substance to the sounds coming out of their mouth, whether it be ramshackle, aphasic or even frigid” Jean-Jacques Lebel « Poésie en Action », Loques/Nèpe.

Here, on this record, the screamer and the whisperer sail away toward the worst, expelling from their bodies shredded songs whereon our senses shatter. Such a poetic extremity is not drawn from the cultural landscape, but from the breath of the living world. Raw poetry or a poetic racket made of copper whispers and screams of terror, erotic glossolalia and ramshackle choirs. They stand like two narrators, burnt in the hullabaloo of an infinitely melancholic melody, dislocating in great devouring rests, tuning back to an unheard of pitch, swirling in close combat. Tightrope walkers dancing above our inner abyss. lovers call and respond in the electric night.

Masayoshi Urabe. Lips split in two by the alto sax. Bag full of burning air blowing into brass. Dancing hysterically in the sound. When he plays the heavens are forced to lie at his feet, our listening experience swinging, spitting sticky melodies until beauty lies exhausted. He walks on the wild side to reach asphyxia, ending breathless, as testified by the recording. A brother only to Kaoru Abe and Albert Ayler. The same tragedian, the same single jealous chord to go swinging in sound. His art is reminiscent of a sonic Seppuku, splitting his body in half as well as our understanding. Sublime and tragic, with a murky erotic charge. Nothing remains after the music fades but a burning fire.

Junko is like a white shade after Hiroshima. Her overexposed diaphanous body, her scream, miles away from the hysteria of other yellers in the noise music landscape. It is just terror, or call it beauty. She almost appears disconnected from herself, as if her voice were detached from her body, each evolving in a separate space. Her punctured tongue giving access to the unutterable and  unspeakable. Dyslexic, monstrous voice, rising to inhuman high pitches, held on the threshold of auditory pain, almost endlessly. Junko’s scream recalls the phrasing of free music saxophonists, a common musical naivety devoid of academicism and technique. Her voice is her own erotic body, her “music”, to quote Mishima.

Voice and alto sax magnetically unite under the white lights of the stage, abolishing space and time like lovers do. Bound to one another in a beautiful confusion of timbres, whispers, phrases and stories.

A story of noise and fury told by two idiots

Michel Henritzi 

Translated by Jean Noël Rebilly, Fergus Cullen and Graham

Enregistré à Super Deluxe, Tokyo, lors de la soirée anniversaire pour les 20 ans des labels PSF et Alchemy.

‘Même le plus mauvais orateur, même la pire diseuse donne du ‘corps’ fut-il déglingué, aphasique voire frigide – aux sons qui sortent de leurs bouches.

‘ Jean-Jacques Lebel ‘Poésie en Action’, Loques/Nèpe.

Là sur ce disque la crieuse et le souffleur ont mis le cap au pire, expulsant de leurs corps des chants déchiquetés où s’abîment nos sens. Un tel extrême poétique, n’appartient pas à la chose culturelle, mais au souffle du vivant. Poésie brute ou vacarme poétique, fait de souffles cuivrés et de cris de terreur, de glossolalies érotiques et de chorus déglingués. Ils sont comme deux récitants brûlés dans le charivari d’une ritournelle d’une infinie mélancolie, se disloquant dans de grands silences dévorants, s’accordant dans un aigu inouï, corps à corps. Funambules dansant au-dessus de nos gouffres intérieurs. Un homme et une femme se répondent dans la nuit électrique.

Masayoshi Urabe, lèvres fendues au sax alto, sac d’air brûlant embouché à l’instrument cuivré, lui dansant malade dans le son. Quand Urabe joue, il met le ciel sous ses pieds, notre écoute basculant, crachant ses mélodies poisseuses jusqu’à l’épuisement du beau. Il marche du coté de la ‘ wild side ‘ jusqu’à l’asphyxie, à bout de souffle, et ça s’entend. Pas d’autres frères que Kaoru Abe et Albert Ayler, un même tragique, une même corde jalouse pour se balancer dans le son. Son art est semblable à un seppuku sonique, ouvrant son corps et notre entendement en deux. Sublime et tragique, d’un éros trouble. Il ne reste rien après quand la musique se tait, un feu brûlant.

Junko est comme une ombre blanche après l’explosion de Hiroshima, corps diaphane surexposée, son cri n’a rien de l’hystérie d’autres hurleurs de la musique noise, juste la terreur ou appellez ça la beauté. Elle semble comme détachée du cri, comme si sa voix était décollée du corps, séparée. Langue trouée ouvrant sur l’indicible, l’innommable. Voix dyslexique, monstrueuse, montant dans des aigus inhumains, tenus au seuil de la souffrance auditive, presque sans fin. Le cri de Junko a le phrasé des saxophonistes de la free music, une même évidente musique, débarassée des académismes et de la technique. Sa voix est son corps érotique, sa ‘musique’ pour reprendre Mishima.

Voix et saxophone alto aimantés dans les lumières blanches de la scène, abolissant l’espace et le temps comme deux amants. Liés l’un à l’autre dans une belle confusion des timbres, des souffles, des phrases et des histoires. Une histoire de bruit et de fureur racontée par deux idiots.

Michel Henritzi