Rei Harakami - Unrest

video here: http://www.youtube.com/watch?v=coOfVhgVM1U

Rei Harakami - Bioscape (jazz Drum Edit)

■タイトル ： A False Dawn And Posthumous Notoriety
■アーティスト ：Family Basik
■発売日 ： 2014年11月12日（水）

購入
http://whitepaddy.thebase.in/items/822278

buy
https://chiheihatakeyama.bandcamp.com/album/a-false-dawn-and-posthumous-notoriety

White Paddy Mountain
http://whitepaddymountain.tumblr.com/shop

誰にも知られることなく存在してきた、90年代と10年代を繋ぐ最後のミッシングリンク。
あまりにも美しく胸をうつ、果てしなく続くベッドルームポップ！！

Family Basik（ファミリーベイシック）は加藤遊、加藤りまによる兄妹デュオ。2007年の結成以前から既に膨大な数の作曲を続けており、ヴァン・ダイク・パークスやロバート・ワイアットなどの巨匠達の流れを汲みながらも、ハイラマズ、ステレオラブ、ジム・オルーク、シー・アンド・ケイク、ヨ・ラ・テンゴ、スフィアン・スティーヴンス、ネイサン・ミッシェルなどを彷彿とさせる珠玉のポップス集となった渾身のデビュー・フル・アルバムが遂に完成。

ジャケット画に象徴されるように、誰も知らない孤島の灯台でひっそりと育まれて来たような切なく優しい楽曲群と、強い意志を感じさせる実験的なアレンジと絶妙なコーラス・ワーク。
作曲・作詞・録音・ミックスは加藤遊が担当、マスタリングはChihei Hatakeyama！
ジャケット絵は画家の天本健一、デザインはASUNAが担当！

まさに受難の時代に彗星のように表れた救世主のように飛び抜けた才能のデビューです。


Song List

01 The Last Fine Day Of My Life
02 Honeyguide Symphony
03 Prospectors In Wonderland
04 A Fake Hierarchy Of Chaos
05 Business Affairs
06 Subliminal Jackson
07 Cognitive Dissonance
08 Boys In Native Dress
09 Song You Sang In My Dream
10 When My Kids Stop Singing


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加藤遊、加藤りま、による兄妹デュオ。2007年結成。
ASUNAによるaotoaoレーベルの『UMU Remix』、『Casiotone Compilation Vol.5』に1曲ずつ参加。
加藤遊は10代の頃より音楽活動をはじめ、90年代には単身渡英。現地でマイ・ブラッディ・ヴァレンタインをはじめ、当時のオルタナ～シューゲイザーの中心バンドやクラブシーンなど肌で経験してきた。帰国後、様々な活動を経て2007年にFamily Basikを結成。加藤りまは90年代後半にネオアコ・ユニットのストロオズを結成し音楽活動を始め、ミディ・クリエイティブからCDデビュー。ストロオズ解散後、現在はソロ活動を行い、aotoaoからミニ・アルバム『Harmless』やカセット作品を、そして韓国ソウルのHelicopter Recrodsから『Four Songs / Cover Songs』をリリースしている。

White Paddy Mountain
http://whitepaddymountain.tumblr.com/


Family Basik / The Last Fine Day Of My Life

Rei Harakami - Lust

My tribute to the late, great Rei Harakami. RIP..

Rei Harakami - Pone(Cabeson Remix)

Gutevolk -  Little girl, little star

hikaru yamada+kyooo - fire alarm

hikaru yamada / sampling and pasting, programming
kyooo / vocal
https://soundcloud.com/kyoooooyk

ramunechoco / cover
https://www.instagram.com/ramunechoco/

hikaru yamada+kyooo - fire alarm

Maboroshi "幻々"

Rei Harakami - Yanokami - Owari no Kisetsu (終わりの季節).m4a

Yanokami (Akiko Yano & Rei Harakami) - Ruby Tuesday

It began with ‘Kwaidan’, a simmering study on the lost art of Japanese ghost story-telling. Then there was‘Komachi’, baptized in the earthly winds and static that define its comforting sonics.

On ‘Kofū’, Meitei masterfully closes his trilogy of lost Japanese moods with an engaging interrogation of artforms and aesthetics as a provocation — or, as fashioned in the album’s subtitle, a “satire of old Japanese aesthetics”. Each entry’s distinct flavour hasearned Meitei acclaim for conjuring a bygone culture through his transportive form of ambient music. ‘Kofū’ arrives as a deconstruction of this approach. His first release with KITCHEN. LABEL, Meitei has quietly defied expectations set by his previous two albums, while continuing to challenge modern notions of Japanese sounds.

Once again, Meitei resumes his focus on a Japan that has long ceased to be. This time, ‘Kofū’ is deliberately playful in bridging a sensibility that connects this imagined past to the present. Fractured piano chords are the first to greet you on ‘Kintsugi’ before they make way for a spectral elegance that parades the haunted mask of Kwaidan on ‘Man'yō’. 

But like an ambient soothsayer schooled in the art of the 808s, Meitei quickly drives ‘Kofū’ with propulsion on ‘Oiran I’, which shares a sibling in Side B track ‘Oiran II’. On both songs, he builds tension served up by flickering hip-hop rhythms — achieved by carefully processing old drum and metal sounds — with a subversive spirit unforeseen in any of his work thus far.

Dissecting vocal recordings to the point of incomprehensibility, Meitei aims for something stirring beyond- words — not unlike J Dilla and his mountain of cut-up soul samples, or The Caretaker with decaying 78s. He abides by a principle attributed to the master Hayao Miyazaki: “Beyond logic speaks of human nature”.

‘Kofū’ allows full immersion into fragments of the past without the trappings of nostalgia. The tracklist is denoted by prominent (and unseen) figures of this history. Tracks ‘Sadayakko’ and ‘Otojirō’ are named after renowned entertainers from the Meiji era, while ‘Nyōbō’ is dedicated to a long-suffering line of working class women within a patriarchal Japanese society. The sounds of ‘Oiran’, sharing the name of the title bestowed upon courtesans, were sparked after learning about the treatment of red light district workers within this era. It paints a grim picture of baidoku (also known as syphilis) and its ravage spread.

These stories cloud the overall mood of ‘Kofū’, but Meitei takes a Mizoguchi-like approach to mould that unimaginable pain with tenderness. ‘Oiran 1’’s hidden subtitle is Hana, and ‘Oiran II’ is Shiokaze. As Meitei explains, “Hana means gorgeous and glorious. Shiokaze is the sea breeze — for her life.” Tracks like ‘Urameshi-ya’ and ‘Gen'ei’ provide a meditative space amidst the turbulence, while ‘Shōnen’ takes a turn for the cinematic. The eight-minute odyssey is engulfed by shadowy voice loops, mixed best for a headphone experience in a solitary setting.

Meitei bids farewell to an expedition first sparked by a passion for a long-forgotten cultural past. ‘Kofū’ is a definitive conclusion with an open invitation to listeners from Japan and beyond — encouraging continued appreciation of this sacred part of history, wholly untethered from the world at large.

‘Kofū’ will be released on LP, CD and across all digital formats via KITCHEN. LABEL. Chihei Hatakeyama mastered this recording in Tokyo, Japan.

Release Date:
CD, Digital - 25 Sep 2020
LP - 30 Oct 2020

Ⓟ & © 2020 KITCHEN. LABEL

Rei Harakami - Yanokami - Owari no Kisetsu (終わりの季節).m4a

Brandon Adonai

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