Yuko Araki is one of a number of female artists emerging from Japan that are redefining the outer boundaries of noise, post-industrial techno and experimental electronics.

Raised as a pianist, Araki’s teenage obsession with metal opened a gateway towards various types of intense sonics. Exploring a range of diverse music projects over the past decade (KUUNATIC, Concierto de la Familia), her solo work resolved in 2019 after she developed an approach to freeform analog noise, releasing her first EP “I” via Indonesian label Gerpfast Kolektif and her debut album “II” via Italian label Commando Vanessa. Working with a reductive set of tools, her methodology was to create work that created a sense of timbral density and complexity through a weaving together of competing elements.
In 2021 Australian Label Room40 released “End of Trilogy”, a record of unpredictable momentum and tempered ferocity. Even at its most intense, Yuko Araki’s work maintains a sense of playfulness, and a determination not to succumb to mere sonic nihilism.

In 2023 Araki surveils an expanded terrain with IV, released via Australian Label Room40.
Moving outward from the orbit of her End Of Trilogy edition, Araki creates a wholly more bludgeoning sound world. Working at the nexus of ritual, noise, sub sonics and crushing rhythms, her latest recording is resolutely embodied, smothering the listener in undulating pressure waves. She also summons an altogether otherworldly approach to voice, which operates as fugitive spirits within their caustic, post-industrial sound spaces she composes. This interest in voice is accentuated with special contributions from guests including Endon’s Taichi Nagura.

On August 30th 2025 Room40 released a new album, ”Zenjitsutan -前日譚” (prequel in Japanese); this is the 0 (Zero) of the artist's numbered album series. And it's a declaration of love toward long-form noise drone sets.

Yuko Araki’s performances have taken her across Europe, the UK, Asia, and Canada. She has appeared at respected festivals and venues including MUTEK JP and MODE (Japan), Skaņu Mežs (Latvia), Unsafe+Sounds (Austria), Freespace Noise Fest (Hong Kong), Cafe OTO and IKLECTIK (UK), Cave12 (Switzerland), and Soup (Tokyo).
She has collaborated with visual artists including Jackson Kaki and Daisy Dickinson on A/V performances.

Boring Machines is an indipendent music label.

Father Murphy is the sound of the Catholic sense of Guilt.
A downward spiral aiming at the bottom of the hollow, and then digging even deeper.
Father Murphy, with five albums and a plethora of EPs and limited releases, over the years became one of the most mysterious and enigmatic musical entities coming out of Italy, part of that community that Simon Reynolds started to call the new “Italian Occult Psychedelia” and well known for their really intense live shows, something in between a rite and an artistic performance.
After having furiously performed all over Europe, toured North America with Deerhoof, Dirty Beaches, Iceage and Xiu Xiu, been praised by the Archdruid Julian Cope, Michael Gira, Geoff Barrow, among lots of others, the Italian outfit just finished their last effort, a trilogy on the Cross, consisting of Calvary (out January 2015 on the British label Blue Tapes), Croce (March 2015 on the American The Flenser) and Lamentations (to be released November 2015 by the Italian Backwards).

Father Murphy is following