As We Bleed

The Deed Is Done

tequila mockingbird

slowdancing alone in my room - 15.06.23, 17.39.mp3

CTHULHU MYTHOS - COVERN

Soak

song samples are from segasonic, go follow him he makes peak shi

homocidal lunacy funk (slowed)

Track 6, 'Mizutani' released in 1991, recorded in 1970, Kyoto, Japan.
Guitar - Takashi Mizutani
Bass - Makoto Kubota
Percussions - Makino Shunichiro

Les Rallizes Denudes - The Last One (Mizutani)

The following are extracts from Julian Cope's book,  Japrocksampler :

'Their career has been down in the dumps ever since bass player Mariyasu Wakabayashi helped hijack a JAL Boeing 737 back in 1970 (see Book Two, Chapter Five). Their last official release was a double live LP recorded back in 1977. And nobody even knows quite what the official name of their band is, or even what its most popular French form means because there are no such things as 'rallizes' in the French language....

'in a world where the sacrilegious reunions of former punks like the Velvet Underground and the Stooges have destroyed utterly the myth of their legendary non-conformity, devotees of Les Rallizes's Takeshi Mizutani and his black-clad cohorts can relax safe in the knowledge that their erstwhile heroes would rather commit collective hara kiri than sell out their gruelling 37-year-long self-imposed isolation up in the wildernesses of northern Japan by doing anything remotely as gauche as releasing a new record....

'So how do we actually know of Les Rallizes Denudés if they don't even release records? Through bootlegs, bootlegs and more bootlegs. Indeed, Les Rallizes Denudés has operated in this manner for so long now that both musicians and fans know so far in advance what to expect from each other that there's even a caste system within that world of bootlegs. Yup, while certain Rallizes LPs are considered so much less bootleggy than others that they've almost become official in the minds of fans, others are just dismissed as cash-ins, re-runs and ... well, just plain bootlegs....

'When French movie maker Ethan Mousike trekked across the globe to make a documentary about the Rallizes (and at his own expense I hasten to add), Mizutani refused to allow him to film the band close-up, insisting instead that Mousike set up his tripod in the dressing room, thereby allowing the camera lens to focus on less than one-third of the stage. When, after twenty minutes of this suffocatingly boring footage had elapsed, Mizutani contemptuously jumped off stage and kicked the door shut. our heroic French director chose not to remonstrate with the churlish Mizutani, preferring instead to allow the film stock to conclude naturally, thereby allowing Les Rallizes Denudés's errant metaphor its full reign...

'When I showed the complete Mousike movie at my two-day festival Rome Wasn't Burned in a Day, at London's Lyric Theatre, the theatre's tiny cinema was rammed with Rallizes freaks for over an hour before the movie was due to be shown. Sociopaths to a man, these fundamentalists stared straight ahead, fidgeting occasionally, but barely communicating with one another. When the movie concluded, nearly every one of these Rallizes buffs headed straight for the theatre's exit, having no interest in any of the other many underground feasts that I had prepared to unleash. Taj Mahal Travellers? SunnO)))? Van der Graaf Generator? Vibracathedral Orchestra? I like to imagine that each one then returned to his (there are no female Rallizes fans) home, where each carefully surveyed then carefully counted his large collection of Rallizes bootlegs before scurrying bedwards.'

Ice Fire by Les Rallizes Denudés

All shall disappear in October's setting light. 

People In The Sun Music Video - youtu.be/k6kHSUfQO7M

Music by Theo Zhykharyev 
Jun'18 ~ Jan'19 

Snake Eyes written by Lojd Clipston 
Additional synth recordings on A1, A2 & B3 by Cajm 
Cover Sun - Lisa Zhykharieva

People In The Sun

Exit Castle

Les Rallizes Dénudés (裸のラリーズ, Hadaka no Rallizes) were a Japanese rock band formed in 1967 at Kyoto University. The band's style is typified by simple, repetitious instrumental passages, shrieking, cacophonous guitar feedback and folk arrangement.
They were mainly influenced by The Velvet Underground's work.

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