"This is the tree,but i am the bloods."

仄木大介

daisukehonoki@gmail.com

Japan seems to instill in its underground artists a sense of restlessness, consciously or unconsciously urging them to be as prolific and versatile as possible. Suzuki Junzo has certainly heeded the call over the course of his career. The guitarist is a member of at least four bands and has recorded with fellow eager spirits like Acid Mothers Temple leader Kawabata Makoto. Great as all that work is, I prefer it when Junzo's on his own, improvising cosmic psych-blues that feels akin to the wandering spirit of local hero Michael Hurley. Junzo arrives in town on the heels of a new album, simply titled 7, which finds him scraping and petting the strings of his guitar to coax out sounds both soothing and jarring. (ROBERT HAM of Portland Mercury,US) 

I hit drums and fiddle with various electronics.
I build and operate BUSS: Big & Ugly Soundsystem

Organizational activity under Multiversal
https://mmultiversal.tumblr.com/
Label/Radio Show
https://brainpussyfication.tumblr.com/
contact: utkutavil [at] gmail [dot] com

Currently active with:
POWERSTANZ
Birthday Band

Past activities:
Turbohaler, WOW, BNSU, VVRNGDNG, BEEATSZ v..., Haram, etc etc

Archaeology Magazine is a mirror of our collective heritage—our origins, ancient mysteries, and past civilizations. 
www.archaeology.org

Company Overview

Archaeology is published by the Archaeological Institute of America. A nonprofit group founded in 1879 and chartered by the United States Congress in 1906, the AIA’s worldwide membership includes professional archaeologists, students, and people from all walks of life, all united by a shared passion for archaeology and its role in furthering human knowledge.

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Each bi-monthly issue brings the latest archaeological news and discoveries to more than 730,000 readers. The Archaeology website features daily news from around the world, reports from current excavations, and exclusive online interviews, reviews, and features.

Few survivors from the golden age of British folk-rock have kept their reputations intact. Of the generation of troubadours who came of age in the folk clubs of London in the mid-1960s, some have passed away, others have surrendered to the regurgitation of the blandest form of acoustic folk music. But among the survivors, there is one figure whose body of work, comprising 23 studio LPs and almost as many live and compilation releases, has come to stand for a particularly single-minded form of integrity. That man is Roy Harper.

Now officially ‘retired’, and living in a secluded corner of Ireland, Harper has recently been hailed as a key influence by a much younger generation of devoted starsailors who instinctively recognise his innovations, his refusal to compromise and his visionary world view. It is rumoured that Joanna Newsom insisted she’d only play her recent UK shows if he would support her. The likes of Fleet Foxes and Jim O’Rourke are avowed fans; and in previous decades he has enjoyed public endorsements and tributes from the likes of Led Zeppelin, Kate Bush, Pink Floyd’s Dave Gilmour and many more.

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