Kohei Gomi began experimenting with home recording in the 1980s and got so lost in extreme sonics under the Pain Jerk moniker that his output inevitably spilled out into the wider world. By the mid-90s, he was one of the most prolific and influential noise units operating out of Japan, hurling maelstroms of chaotic chunder and deranged grime at anyone who could handle the extremes. Pain Jerk became one of the leading figures in the "dynamic" style of Japanese noise or Japanoise and is also the owner of the noise tape label AMP that during the 90s releases about fifty cassettes of his amazing noise project.
Among his works released in his most prolific period, Neurotten stands out without a doubt, reaching cult status and instantly becoming a classic of the genre. Recorded in 1996 and published the same year on the legendary Slaughter Productions by Marco Corbelli aka Atrax Morgue, in only 80 hand numbered copies in a special A5 tin-foil sleeve with translucent insert and instead some using a red cardboard insert accompanied by a small curved iron rod, similar to a dentist's tool and now it has become a worship object for the most avid collectors.
The assault here is very high-end heavy: relentlessly aggressive. The sound severs and bleeds more than it beats and bludgeons. Side A is divided into two tracks, Gushcore and Teen-Wreckage, of incredible beauty. Nothing compares to the sounds emitted by vinyl grooves composed with a mysterious configuration of constantly flowing noise - always recorded live without overdubs. Devastating, unfriendly harsh noise: the hardest rock that is pierced by the sharpest diamond! With only one track on side B, which takes 23 minutes,  we encounter one of most iconic compositions from his wide discography: Disembowel. Hearing impaired volumes that duel, bouncing sound structures displacing the ego and generating many difficulties in brain processing. There’re a lot of rips and chaos, pulsating pulses of recycled transient sounds and some loops, muffled high tones that twist into spastic shapes capable of breaking the faint speaker cones.
This rare gem is restored and remastered from the original DAT master by Nobuki Nishiyama and reissued for the first time on vinyl in just 299 copies with new artwork by Koichi Nagura and an original drawing by Yukou Suzuki.
Absolutely incredible and a complete revelation from start to finish, before us lays yet another crucial piece in the puzzle to emerge from this astounding world of noises. It would be impossible to recommend it enough!

Painjerk - Teen-Wreckage Excerpt (from Neurotten)

Cascades of electronic noise, a psychedelic touch and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in “Japanoise” scene. Masonna’s abundant productions on his own legendary and astonishing label Coquette were presented in very limited edition, sometime totally confidential (one sole copy), and reflect his predilection for 60’s psychedelic music revisited in its own very peculiar way. He transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts become clipped bursts of overloaded sound, doubled and extended by a delay that displace the sounds into stuttered blasts of static.
Filled with unquestionable feelings along with Freak is an ultra-rare cassette originally released in 1995 by Coquette in an edition of only 36 copies and now return for the first time in a stunning vinyl format fully remastered!
The two sides of the cassette / vinyl are completely different from each other. Side A can be considered a classic Masonna piece, where it reaches its full artistic maturity here. This side is very brash, earsplitting and mad. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Remind also to his first period as Open your cunt and Like a vagina tapes. Everything is scraped, fast and beautiful and focuses an electrically overcharged universe, punctuating the thrilling and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to work. Side B is completely different. The voice disappears (or is no longer heard because it is covered or transformed by feedback). The structure is more compact and organized but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence; these bear many uncanny resemblances to the simple melodic improvs and incessant ostinatos of Terry Riley.
At once beautiful and remarkably challenging, Filled with unquestionable feelings, is an absolutely revelation in the wide discography of Masonna and easily one of the early contenders for the best artist release.  It is reissued on black vinyl in a limited edition of 299 copies. Original tape copies are virtually unobtainable, skirting well into the three figure realm, so this one Lp is not to be missed!

Masonna - Part 1 Excerpt (from Filled with unquestionable feelings)

MSBR (Molten Salt Breeder Reactor), aka Koji Tano, was one of the most respected noise artists to arise from Japan's exciting noise/experimental music scene of the 1990s. Much of his material was self-released on his own label, the astounding MSBR Records, which was dedicated to the production of limited-edition releases with incredible artwork. MSBR present a music elaborated with previously chosen source of sounds, whose origins are either naturel or artificial, with use of Korg guitar synthesizer and some effects, working in analog sounds. Oscillating between grappling electro noise (as he describes his musical style) and pure noise, the really surprising quality of the sound research leads to a tremendous kind of noise-texture. 
After his debut LP and a lathe cut seven-inch, Structured Suicide is third MSBR release and first on tape in amazing package as everything other release by artist. The long track that occupies the entire A side of the cassette and the first track of the B side of over a quarter of an hour, are filled with excellent harsh noise with strong influences of concrete and electroacoustic music, deep and calmer rumble and ambient effluence. Structured Suicide is a terrific undertaking into the wickedness of mechanized clatter as a foreboding, consuming pollution, the unrelenting and ever-building storm of machines slowly lulling the living into bleak states of masochistic artificiality. This is the classic sound of MSBR, which envelops you with its texture of noise scales, suffocating and enthralling, without an immediate impact, but which then, at its harshest, hits you with devastating force! The other two quite short tracks that close the album are less conventional and show how much the artist wants to experiment, without closing himself in a pre-packaged genre.
Vinyl comes in only 199 copies with cover that faithfully reproduces the style of original art work, with vinyl labels that replicates inlay tape card. An awesome artefact of early 1990s Japan noise music, resting at the borders of electroacoustic, Urashima’s long awaited, first ever vinyl reissue of Koji Tano’s epoch-making album, 'Structured Suicide', emerges 28 years later as a stunning testament to the importance of the creative expansion to which it belongs. Absolutely essential on every count! Link in bio.

MSBR - Dead Lock (from Structured Suicide)

The 1990s were a fascinating moment for music and new idioms of experimental music began to bubble in the underground. While often belonging to highly localized scenes and thus overlooked by a broad listenership in the moment, many of these gestures have proven to be profoundly important and influential and have left an indelible mark on the musical landscapes that have followed in their wake. Particularly notable among others C.C.C.C.'s first album ,Cosmic Coincidence Control Center, that sprang from Japanese noise scene, during what can be considered the "golden age of noise".
The Japanese noise act C.C.C.C. was formed in 1989 by Hiroshi Hasegawa and Japanese bondage film star Mayuko Hino and was active until 1998. On their first work , recorded at Telecom Studio in Higashi-Nakano, Tokyo on 1991 and released by Hasegawa’s own label Endorphine Factory  in CD format on 1992, there are four members; each playing a different instrument, to create their own unique sound.  Hiroshi Hasegawa  and Fumio Kosakai on electronics and synths, Ryuichi Nagakubo on bass and Mayuko Hino on vocals and metal percussion working together make for a diverse project that goes a way beyond the standard "electronic roar" that most noise artists rely on. The result is a startlingly visionary body of sound that stretches across this vinyl reissue, gathering intricate, noise ambiances and captured sonic fragments, deftly manipulated and infiltrated by electronic pulses and various other interventions, toward an immersive and cohesive sonic environment, that drowns the ear in sheets of detail. Bordering on an ecstatic sonic assault of the highest order, the work’s movements range from incredible arrangements of electronic noise and tonality to a stunning effort of synth, all constructed with an incredible sense of immediacy and physicality, making the album easily one of the most noteworthy and incredible recordings from C.C.C.C.
With Hidenobu Kaneda’s pictures from the photo session used for the original CD artwork  and Akifumi Nakajima's original notes on layout, Urashima created the perfect replica of the original artwork for the vinyl version; while the audio for vinyl master was taken from the original DAT audio and shared on a 12 inch and a 7 inch in a limited edition in just 299 copies. Some exclusive inserts and posters complete the reissue of this absolute gem from the vaults of '90s noise music and certainly  one of the most beautiful noise records any of us is likely to encounter all year: bristles with energy, physicality, and immediacy, representing a highwater mark from one of the most important noise collectives of the last 30 years. It isn't to be missed, and is bound to fly off the shelves.
Link in bio.

C.C.C.C. - Reticular Formation (from Cosmic Coincidence Control Center)

Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna , of course, is one of most prolific, adventurous, and respected noise artists, making dozens of releases on his own legendary and astonishing label Coquette, presenting them in very limited editions, sometime totally confidential (one sole copy), and reflecting his predilection for 60’s psychedelic music revisited in its own very peculiar way. He transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts become clipped bursts of overloaded sound, doubled and extended by a delay that displace the sounds into stuttered blasts of static. From noise lines, to minimal, warbling  expanses, to the ambiences and schizoid thinking effects, it’s a journey into a versatile mind who we clearly never heard enough from.
Released by Coquette on cassette in 1995 in just 15 copies with handmade covers, composed of different materials and inserted in transparent envelopes, the album Hate features one of Masonna’s most exciting and extraordinary work.  By deploying stripped down microphone-and-scream foundations, Masonna’s ingenious sonic palette and his unerring sense of rage are cast in thrilling, clear-eyed relief. The use of pedals and effects overwhelms the vocalizations that are practically not heard and creates an irresistible tension, layering a dazzling array of rich sonic colors, hard fragments, and unsettling timbres over the sort of taut psychedelic feedback used in Kosmische Musik and the echo of Tangerine Dream 's masterpiece Zeit ring out in the grooves of the double vinyl reissue. The polarities are pronounced and brilliantly assembled, injecting even the most rough brushwork with an inescapable air of suspense; it’s a real gem, deftly balancing harsh noise and otherworldly effects.
A towering holy grail of Japan noise music, Urashima is proud to present the first ever vinyl reissue of Masonna’s astoundingly ambitious and very ultra limited cassette, Hate, in one stunning gatefold cover double LP, in a limited edition in just 299 copies. Among the most ferocious and rare cassette from the artist discography, finally entering the light of day on vinyl analogue support. Grab a copy while you can. There aren’t many, and they’re not going to sit around for long.
Link in bio.

Masonna - Hate Part 2 Excerpt (from Hate)

Collection 001-010 is easily one of the most important Merzbow reissues to have emerged in recent years. Not only does the collection’s contents rest incredibly close to ground zero of the Japanese noise movement, but it is a striking illumination of Merzbow’s early, rarely accessible activities, often entirely defying the perception of the project as a full throttle sonic attack.
Released in an absolutely stunning painted and engraved wooden box, with ten individually sealed CD wallets, complete with an A4 folded insert, a 20x17 cm insert with notes in Japanese by Masami Akita, and a numbered postcard, in a limited edition of 300 hand numbered copies. I can’t think of a better place to launch into the new year. See link in bio.

Merzbow - 001 A Excerpt (from Collection 001)

Death Synth Box is perfectly intertwining into this stinking raw black noise that has been established into the discography of the project, this work is committed to the uprising of total devastation as we have seen with previous Controlled Death releases. Here is presented the embodiment of impure Lo-Fi black noise at its best combined with compositions of utter magnificence. The sounds come from hell, the realm of noise and stench, where men and women wander around crying. The place of the murmuring bedlam, where the giant Nimrod stands out, punished for having recklessly thought of erecting the tower of Babel, with a gigantic horn around his neck that has such a frightening sound that only the "infernal machines" of Maso Yamazaki reproduce it faithfully.
The atmospheres and hums that comes from the bits of CDs "now the painful notes begin" are those of the crackling fire, of the bubbling pitch, of the screaming wind and those that come out of the bodies of devils. Then only moans, sighs, tears, phrases in different languages, horrible speeches, words of pain, accents of anger, high and low voices created by the intertwining of cables and analog processors, without the use of the artist's voice, which it is never present in this monumental and truly admirable work for its dramatic quality, where the ability to recreate the evoked sounds only with cold machines is expressed in an amazing way. Just as the pathos is comparable to the fatal and death-bearing sound of Orlando, when in the battle of Roncesvalles, alongside Charlemagne he falls pierced by his enemies.
Released in an amazing painted and engraved wooden box in 199 hand numbered copies, Death Synth Box contains five CD in cardboard wallets for a duration of more than 5 hours totals, which tear the mind with self-destructive and agonizing screams of synthesizers and then contrasts with the sounds from blossoming machines with other synths and effects. Complete a black cardboard with a picture from Death Control Studios and amazing poster. As essential as they come. Link in bio.

Controlled Death - Untitled Excerpt(from Death Synth Box 4)

Solmania is a Japanese noise music project founded in 1984 by Masahiko Ohno. The hallmark of this amazing artist, who builds his experimental electric guitars from spare parts, is his freakish ability to use the stringed instrument by generating absolutely unique sounds, both in his live performances and recordings. The guitars used by Masahiko Ohno are multi-neck guitars and harp guitars and take on extremely bizarre shapes, using unconventional body shapes, extra-necks, strings and pickups in unusual places, and various extraneous gadgets such as mics or tweets. Pushing far beyond expectations of free improvisation, Solmania weaves blistering passages that incorporate touchstones from progressive , punk, metal, noise, and drone, into more intricate movements of dystopian avant-gardism, culminating as a strikingly forward-thinking expanse of sonic creativity that pushing toward uncharted ground. Still, in all this, his advanced technical and interpretive skills are always evident, and his sense of lyricism in all music, quite profound. 
Traveling through the winding and jagged grooves of modified noise guitar, we come across Highdrophobia. Recorded and mixed in September 1986 and released the following month on cassette on Fatagaga Tapes FTC-08 in an extremely limited edition, this rare gem finally rear its ugly head in a new analog version on 12" vinyl on Urashima. With his stunning modified guitar, Solmania uses tape, radio, metal, turntable and vocals creating three incredible sound tracks of wild noise madness, offering the listener an excellent overview of his music’s development. From side A single session, with its gumtree-shaking shimmer and mottled  chords, through to the wildly sophisticated free noise sculpting of side B, divided into two tracks, where a horse-galloping guitar figure transform and uplift it from standard to something deeply original.
A sublime, noisy effort of left field DIY minimalism constructed from recurring guitar pieces, vocal and a peppering of diverse object as turntables, radio and invisible effects, Highdrophobia illuminates a hidden but remarkable legacy of a great performer at the begin of his creativity and consciousness in the mid of the 80s.

Solmania - Corpuster Excerpt (from Highdrophobia)

Along with Merzbow, Incapacitants and Hijokaidan, Masonna is one of the best (known) Japanese noise projects. A psychedelic touch, cascades of electronic noise and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barrelled named for Masonna. Yamazaki “Maso” Takushi created Masonna in 1987 and simultaneously he started recordings on cassette tapes and seven inches for his own label named Coquette. His plentiful productions were presented in an ultra limited edition, sometime totally confidential (one sole copy), and contributed to create a mythology based above all on the astonishing intensity with which “Maso” devastates and reprocesses the vocal cords, in a true total electronic song. In his impressive live performances he created and electrically overcharged universe, punctuating the electric and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to his pieces.
Inner Mind Mystique, released for the first time in 1996, includes seven studio recordings are making full use skillfully editing how to edit cut-up, in which elaborate lump-sum making has been performed with the effects, burbling electro noises, high-pitched twees, and other sci-fi sounds, erupting out to drown out the screams, as if to make full use of the ancestral vocal sound. With the ''harshtronics'' , the extensive set of pedals that is used by Masonna to filter vocal and feedbacks, are surpassed all extremes with a full frequency violence that is as fast as it was psychedelic. Everything is scraped, cosmic and beautiful and focuses an electrically overcharged universe, punctuating the thrilling and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to work. Each pieces display a vast array of electronic sound events meticulously sequenced to a complex vocal fusion symbolizing the entire spectrum of earthly and heavenly sounds. Dynamic extremes evoke a restless flight through space, or through the depths of human subconsciousness, between dream and reality. Ultimately the noise disappears, like a dot in the sky gradually fading into nothingness - an "ascension" that closes the loop in a ritual of life that can begin anew again at any time.

Inner Mind Mystique

Masonna - Part 4 (from Inner Mind Mystique)

Merzbow came roaring onto the Tokyo scene in 1979. To this day, the project remains one of the most prolific and aggressively forward-thinking acts in experimental music. Initially a duo of Masami Akita and Kiyoshi Mizutani, before settling as the moniker of Akita alone, the project took its name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at an unadulterated manifestation of sonic expression that has continued across the last 44 years, setting the pace for the entire genre of noise along the way. 
When it comes to Japanese noise, few projects have pushed boundaries or risen to a more iconic status than Merzbow. The mutant child of punk and experimental music, the project’s blistering sounds - as singular and wild as they are unique - are among the movement’s most important, definitive statements, continuously laying the groundwork for countless artists who have followed in its wake. Cloud Cock OO Grand marks a new era for Merzbow, the first of many CDs that will go in the direction we’d see in the ’90s. It is also the first time that this seminal document from Merzbow’s '90s period has ever appeared on vinyl. Composed and performed on synthesizers, metal devices, noise electronics and string instruments, all recorded at extreme volumes, Cloud Cock OO Grand’s five tracks present an enthralling sonic assault, deeply driven by the presence of electronic sounds, played against the sparse interjections of Akita’s heavily processed strings, that push toward new territories of the extreme, while subtly nodding toward historical gestures from the early years of the avant-garde. On the double vinyl, release for the first time by Urashima, the tracks are not only remastered by Merzbow, but are recontextualized and open up a new sense of his studio experimentation at the time.

Merzbow -  Spinnozaamen (Another Mix) Excerpt (from Cloud Cock OO Grand)

Audio from upcoming Violent Onsen Geisha - Wagamama Na Ofukuro LP out on 24 March, 2023 - link in bio

In 1987, Nakahara Masaya founded the project Violent Onsen Geisha, which quickly became one of the most well-known and influential names in the Japanese noise music scene, distinctive among others for frequently displaying a bizarre, sarcastic, and mischievous sense of humor. The band's name, which translates to "violent hot springs geisha," is a reference to the traditional Japanese practice of hot spring bathing, as well as a nod to Nakahara's confrontational and irreverent approach to music. As Violent Onsen Geisha, he creates experimental music that blends elements of noise, industrial, and avant-garde styles. He is known for his use of unconventional instruments and sounds, including feedback loops, field recordings, appropriated or "found" music, in addition to (or even instead of) straight-ahead noise. As well as his work as a musician, Nakahara is also a prolific visual artist and writer. His artwork has been exhibited in galleries and museums around the world, and he has published several books on the subjects of art and music. He is known for his irreverent and humorous approach to art, which often subverts traditional Japanese imagery and cultural norms. Despite his underground status, Nakahara has been a highly influential figure in the Japanese art and music scenes for over three decades. His work has inspired countless musicians and artists both in Japan and around the world.
"Wagamama Na Ofukuro" is a super rare 1993 cassette release by Nakahara’s label “My Fiance's Lifework” . The title translates to "Selfish Mother" in English, and the tape is known for its confrontational and irreverent approach to music. It consists of handful of tracks that features a barrage of harsh noise, feedback, and distorted vocals. Despite its abrasive nature, there is a sense of humor and playfulness to the music, with artist incorporating samples of children's songs and nursery rhymes into the mix. Nakahara's use of unconventional instruments and sounds, as well as his willingness to push boundaries and challenge established norms, make this cassette a standout in the noise genre.
Violent Onsen Geisha's "Wagamama Na Ofukuro" has been reissued on vinyl for the first time in high-quality remaster of the original recording and comes in an inside-out sleeve featuring the original artwork by Nakahara Masaya with scattered collages added and includes a printed insert on felt-textured on both sides paper. Limited to just 299 copies, the reissue is a prime example of Violent Onsen Geisha's confrontational and irreverent approach to music, and the vinyl format allows for a deeper and more immersive listening experience. Whether you're a longtime fan or a newcomer to the world of noise or experimental music, this vinyl release is not to be missed.

VOG - Kyūshū Aishū Ryokō(from Wagamama Na Ofukuro )

Audio from on coming Monde Bruits - Purgatory LP out on 24 March, 2023 - link in bio

Monde Bruits is a Japanese experimental noise project formed in the early 1990s, from the brainchild of Iwasaki Shōhei. The sound has been compared to other experimental noise acts of the time, such as Merzbow, Hijokaidan or Incapacitants. However, Monde Bruits' approach to noise is distinct, incorporating elements of musique concrète, industrial, and free improvisation which raw and bristly aesthetic. "Purgatory" cassette, released on the G.R.O.S.S. Japanese tape label, founded and run by Akifumi Nakajima, in 1992, is a significant document of Japanese experimental noise music from the early '90s.  The cassette's limited release on a legendary Japanese tape label adds to its underground and obscure appeal, making it a sought-after collector's item for fans of experimental noise music.
The opening track, occupying the entire a-side of the vinyl reissue, "In to Purgatory," sets the stage with its distorted and unsettling sounds that build to a crescendo before giving way to the pounding noise. The track is a melancholic ode to the fleeting beauty of life, is a long and intense composition that seems to guide you through the levels of hell with its mix of distorted sounds and synthetic melodies, which creates a sense of unease with its eerie atmosphere and unsettling sounds. 
On the flip side, the second track "Out to Purgatory" is another highlight, with its throbbing beat and distorted feedback, its harsh and abrasive sound, unconventional approach and a lo-fi production that seem to be calling out from the depths of the underworld.
Overall, "Purgatory" is an incredibly immersive and powerful release that showcases the unique talents of Monde Bruits. The use of distorted sounds, industrial textures, and electronic melodies creates a haunting and foreboding atmosphere that transports the listener to another world. If you're a fan of experimental music that pushes boundaries and explores new sonic territories, then this release is definitely worth checking out.
Skillfully remastered at Audio Dissection from the original audio master by Emanuele Bonini, exclusively for this vinyl version, and released in a limited edition of 199 copies with original artwork and double insert with original credits and complete interview by Satoru Higashiteto translate in English by David Hopkins (RIP) originally published on Bananafish magazine. This is a must-listen for fans of noise, industrial, and avant-garde music.

Monde Bruits - In To Purgatory Excerpt (from Purgatory)

Audio from upcoming C.C.C.C. - Reflexive Universe LP out on 24 March, 2023 - link in bio

C.C.C.C. (Cosmic Coincidence Control Center) is a legendary Japanese noise music collective that was founded in Tokyo in 1989. The group originally had four members - Mayuko Hino, Hiroshi Hasegawa, Fumio Kosakai, and Ryuichi Nagakubo - who are known for their unique approach to noise music, and quickly gained a reputation for their intense and chaotic live performances. The group's sound is characterized by its use of high-volume, distorted noise, feedback, and electronics, as well as their incorporation of unconventional instruments and objects. Beyond their music, members of C.C.C.C. has also been involved in a variety of artistic endeavors, including film, performance and installation art.
C.C.C.C.'s "Reflexive Universe" cassette, released on the Japanese label Vanilla Records in 1991, is a must-have for fans of Japanese noise music. The cassette features one track intense and immersive noise, showcasing the group's unique approach to sound and experimentation. The album is a 23-minute epic that builds from a fast, almost hypersonic opening to a wall of noise that seems to encompass the entire universe. Recorded live at Maya in Kobe on September 15th, 1991 only with two members performing - Mayuko Hino at electronics and voice  plus Hiroshi Hasegawa at synthesizer and electronics. The performance is a testament to the group's innovative and boundary-pushing approach to sound, and a reminder of the enduring power of noise music as an art form and Vanilla Records label has done an excellent job of capturing the raw and visceral sound of the group's live performance.
Reissue for the first time in vinyl in a limited edition of 199 copies with added an amazing live performance on other side, recorded one month before Reflexive Universe at Donzoko House in Kyoto with all four member. The vinyl is housed in a deluxe sleeve with a glossy finish using original pictures  by Hidenobu Kaneda and an insert with a photo of the band performing live. Whether you're a longtime fan of C.C.C.C. or a newcomer to their unique brand of noise music, this vinyl reissue of Reflexive Universe is an essential addition to any record collection.

C.C.C.C. - Reflexive Universe Excerpt (from Reflexive Universe)

Atrax Morgue - Monochrome Man (from Collection In Formaldeide reissue Lp)

The Rita - Untitled extract (from Queen Sheets double LP)

Maurizio Bianchi - Opea Part 1 Extract (from Cmrs Opea Double LP)

Atrax Morgue - When I Close My Eyes I See Blood (from L&D! 6 LP box set)

Atrax Morgue - There's Not An Exit (from Closed Exit LP)

Pygmalion carved a beautiful woman from ivory and when he kissed his statue’s cool white lips he found that Aphrodite had turned them pink and warm with life. From ephemera, from tulle and satin, THE RITA has assembled a fantasy woman; a ballerina, a fairy, a sex worker – violently she is animated into existence as a sonic monolith dense and menacing as Richard Serra’s looming steel. With the double LP set THE LILAC FAIRY, THE RITA reaches an apex of fixation on the dancer’s body. This obsession has grown simultaneously more focused and greater in scale; here the sonic object is not a dancer nor any of her parts, neither thigh nor ankle; THE LILAC FAIRY records the ritualized construction of a garment, THE LILAC FAIRY is a costume, a tutu empty of body altogether.  
Tutu meaning “ass” in some archaic French lexicon, tutu encircling the hips and extending up into a bodice from which the woman rises like a blossom, tutu projecting from the body as a frothy, diaphanous frame for the genitals, tutu echoing the frilly labial folds. The sanctity of ballet as elite aristocratic high art has always been a thinly-veiled facade for blatant eroticism, where women are interchangeable pieces of scenery arranged in colonnades for the pleasure of the male gaze. The Lilac Fairy herself was originally choreographed by Imperial Master Marius Petipa for his unskilled but beautiful daughter Marie as a mime part, but has been modified over the past century to become one of the most taxing characters in the female dancer’s repertoire, with a punishingly slow variation of repetitive steps that must all be executed without betraying any signs of effort or fatigue; in every iteration the dancer wears a wide and vacant smile. In the words of Prima Ballerina Assoluta Margot Fonteyn: “If audiences knew what pain the dancers were enduring, only people who like bullfights could bear to watch it.” 
THE LILAC FAIRY is a ricochet between fabrication and obliteration, degradation and ritualized exaltation. As the fantasy woman is assembled through the Total Fetish Object of the tutu, so she is reduced from personhood to the garment that encases and adorns her. The tutu is her Reliquary, to build it is both an act of worship and a proclamation of ownership. Only within the noise does she ascend, within the inimitable walls of THE RITA that choke every frequency, devour all and drown all, shatter every object. Everything is reduced to geometry, a cello attempts to accompany and is pulverized. Within the abstraction of harsh noise, THE RITA simultaneously brings to life and annihilates the Total Fetish Object, and in this performance of gestures she is elevated to the realm of non-objectivity, the Black Square of Malevich, Vessel and Void -- pure. 
Listeners would be wise to note that Sam McKinlay has transcended the trope of the romanticized cult of genius surrounding solitary harsh noise, and THE RITA is now half-woman, with the integral presence of Arlie Doyle as both the embodiment of the objectified form/performative feminine and collaborator in the sonic deconstruction of her own body. Additionally, THE LILAC FAIRY utilizes the contributions of several skilled craftspeople and musicians, with the tutu constructed by Katherine Hotmer and fittings to Doyle’s body performed by Rachel Hayward, Luke Tandy’s assiduous recording of the process of construction, and cello accompaniment by Leila Bordeuil. The sound that has made McKinlay a modern master of harsh noise remains intact, but the expansive critical and collaborative scope of THE LILAC FAIRY makes it a hallmark in the oeuvre of THE RITA. 
- Kristin Hayter

The Rita - The Lilac Fairy 1 Extract (from The Lilac Fairy Double LP)

It feels like I’ve been writing about DEAD BODY LOVE for as long as I have been recording harsh noise.   What else can be said?  I can’t express enough how much of an influence Italian harsh noise has had on my own personal works, but It also lets me and several peers investigate the techniques and styles of the 1990s harsh noise and the atmosphere that was created expressed from different regions of the world.  The more I listen and revisit the material of 90s Japanese harsh noise, the 80s UK power electronics and the celebrated rougher tendencies of 90s Americanoise, the Italian material and different projects flare up that dictate a powerful ‘Coles Notes’ of harsh noise and how it can be deconstructed and eventually materialized into vivisected lines and layers of crumbling, throbbing, cracking and creaking sound.  
I always trail back to MAUTHAUSEN ORCHESTRA and its insurmountable importance to abrasive sound and its developments, especially in sub sect harsh noise genres of the 2010s; the project’s more minimalist and focused influence on later Italian projects such as the 1990s DEAD BODY LOVE as DBL’s material exemplified aspects of crushing avalanches of crumbling sound, layered and sometimes delayed, a major player against and with the Americanoise sound of the 1990s expressed by MACRONYMPHA and SKIN CRIME to name a couple.  Then you take the obsessions and the lines of moving sound and have them expressed by something like the fanatical ATRAX MORGUE. 
Fearsome concentration and jarring meditation on lines of warbling and predatory analog synth work portray something invariably real about the obsession acted out from the Italian project ATRAX MORGUE.  A different display of penetrative and studied sound seethes from ATRAX MORGUE as now the listener and ‘fan’ of Italian Industrial and harsh noise is confronted with another genre defining sound that pits throbbing and rough synth against haunting and manic vocalizations, disturbing the listener with its undeniable dedicated concentration.   The resulting split tape with material from DEAD BODY LOVE and ATRAX MORGUE isn’t as black and white as one might think.  DEAD BODY LOVE makes use of dark and rough early industrial-like lines and meld into the eventual crushing forces that he is known for.  In the vein of ATRAX MORGUE, samples are also manipulated and drawn out for the listener reminding us of his more delay heavy work.  ATRAX MORGUE’s material works with DBL’s material almost seamlessly via further haunting and throbbing dark material, slowly churning and deconstructing into his own distinct sound of heavily concentrated focus and mania for singular sounds and how they can repeat, move and create total atmosphere.  
A celebrated once in a lifetime example of a split release re-issued on vinyl by Urashima. 
- Sam McKinlay

Dead Body Love - Cancer Baby Extract (from Dead Body Love - Atrax Morgue Split LP)

Marco Corbelli's artistic journey began in the early 90's. Under the pseudonym of Marco Rotula, he started to release a series of fanzines in A5 format. The first was "The pleasure agony", followed by "Sick" and "Murders". The aesthetics of these first fanzines were very sophisticated and the content deals with topics that will follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly death. In 1993, heavily influenced by his obsessions, Marco Corbelli began his musical activities creating the Slaughter Productions label  and the Atrax Morgue project. Greatly inspired by Italian Power Electronics act The Sodality, with their 1987 LP ‘’Beyond Unknown Pleasures’’ and from projects as Whitehouse and Brighter Death Now, pioneers of a minimal, evil and visceral electronic, Atrax Morgue released his first tape ‘’In search of death’’ which will be followed by a series of amazing cassettes in the following years. 
In 1995 the activity of the Slaughter Productions became more and more frantic, releasing countless tapes. At the end of the same year produced two important works of Atrax Morgue on cassette in a very limited editions. The first titled ‘’An Expression Of Psychic Masochism’’ with one only track that was based on unique white, painful and horrific synth drones; generating a mental alteration that initiates brutal operation of psychic surgery, neuroses and split personality. The tape was released in thirty hand numbered  copies wrapped in two black foam pads. The second titled ‘’Catch my agony’’  with two tracks  that was founded on abrasive synth drones; the harsh and glacial sound atmosphere melts with murder, necrophilia and dead bodies forming a macabre collage. Work was inspired by novel written by Hugh Fleetwood "The Order of Death", which has also been put on the screen by the Italian director Roberto Faenza. Released in one hundred hand-numbered copies and packed in an outstanding bundle, literally stuck in a real mousetrap. The smell of death is saturated in every sound produced by the brilliant and twisted mind of Marco Corbelli in these two works. Anxiety, alienation and hypochondria turn into a deep paranoia in pain. Without hesitation, the bodies are emptied, leaving the field to an electronics purulence of rare power disconcerting. Finally reprinted in a single LP, tracks were remastered from the original tapes and the record has been pressed on 140 gr black vinyl with black label and black inner sleeve  and comes in a deluxe silver silkscreen on black cardboard sleeve w/sheet that include credits and art from first original Slaughter Productions logo (from first fanzines), in an edition of 199 copies.
Please write to info@urashima.it for purchase vinyl.

Atrax Morgue - Confession Extract (from The Pain Is Severe Lp)

Atrax Morgue is anxious and psychotic side of the power electronics and industrial music. With the help of an analog synth, Marco Corbelli blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviations. “Cut my throat” is recorded straight off on in a day. We are in 1996. The first CD of the artist contains two paths based on typical analog drones that characterize all the first production of Atraxt Morgue.  The tracks on here are monolithic machines of industrial death that are portrayed in lovingly grating and rasping detail, with engines of soul rapine and pulsating contraptions eager to slice their way through soft flesh. The putrescence is tangible, and one could almost smell and taste the miasma of decay that pervades the entire vinyl.
Reprinted for the first time in LP, the record has been pressed on 140 gr black vinyl with black label and black inner sleeve  and comes in a deluxe silver silkscreen on black cardboard with cd bonus (that include all tracks from LP plus all tracks from Atrax Morgue ‘’Homicidal Texture’’ tape - total killer synth!), an insert and a poster, in an edition of 199 copies.
This is a  seminal power electronics masterpiece for this unforgotten cult artist!

Atrax Morgue - Before Extract (from Cut My Throat Lp)

The Horror of Fang Rock is a continuation of Skin Crime's fascination with the theme of gothic horror as it relates to 18th and 19th century lighthouses. An audible soundtrack to a tale of terror for an unreleased light house keepers memoir. Dark drones, scarecrow electroniks and nightmare ambience ebb and flow over the entire opus. There are no track titles just a wall of sound to let the listener's own experience fill in the voids of the nightmare of, The Horror of Fang Rock. The recording process involved Skin Crime sending Wilt sound sources through the mail. Wilt would then add sounds and send back for review. This process extended over several months. Once completed Wilt did the final mix and mastering and final art.
The record has been pressed on 180 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard in an edition of 199 hand numbered copies with CD in cardboard wallet for a total of almost two hours of horror sounds. Include black and withe poster.

Skin Crime X Wilt - The Horror Of Fang Rock

Incapacitants are the best noise band to ever come out of Japan. The group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Mikawa, a bank employee, later moved to Tokyo, where he joined with government office worker  Fumio Kosakai (also an occasional member of Hijokaidan, as well as a former member of C.C.C.C.) to make Incapacitants a duo. Toshiji Mikawa and Fumio Kosakai are no ordinary salarymen, though. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. 
The holy grail comes with “I, Residuum” , a devastating release from 1997, whose sound is particularly impressive, painfully dense and full of detail – there's very little air to breathe here. It's basically an Incapacitants all-in-one featuring the trademark frenzy, exciting psychedelics and sonic bulldoze, all sounding crystal clear.  Just pure, unadulterated electronic distortion of the highest quality done by two of the masters who have ever turned the knob on a distortion pedal that is fun, terrifying, hypnotic and fascinating all at the same time; their noise takes root not in violence or gimmickry, but in pure energy. Incapacitants create inexhaustible chaos verging on the sublime, and take you on a truly excruciating journey toward catharsis. This is truly the spirit of noise:  no macho posturing, no pseudo-intellectualism, no "rocking out," no pretense!
Reissued for the first time in vinyl, the record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve in 199 copies. 
Perfect to make your head explode, which is what you were looking for in the first place after all.

Incapacitants - Part 1 Extract (from I,Residuum LP)

MSBR (Molten Salt Breeder Reactor), a.k.a. Koji Tano, was one of the most respected noise artists to arise from Japan's exciting noise/experimental music scene of the 1990's. Much of his material was self-released on his own label, the astounding MSBR Records, which was dedicated to the production of limited edition releases with incredible artwork. MSBR present a music elaborated with previously chosen source of sounds, whose origins are either naturel or artificial, with use of Korg guitar synthesizer and some effects, working in analog sounds. Oscillating between Grappling Electro Noise (as he describes his musical style) and pure noise, the really surprising quality of the sound research leads to a tremendous kind of  noise-texture.
“Ultimate Ambience” is his debut album , recorded in February 1991 and released the following year on its label in 400 copies (the first one hundred copies in special edition with in unique fold out handmade covers using foil, paint, and collage elements). Tano’s Molten Salt Breeder Reactor divided record into two long track filled with excellent harsh noise with strong influences of musique concrete and electro-acoustic. The great production on this Lp makes it so powerful that it is frightening at times!

MSBR - Ultimate Ambience #2 Extract (from Ultimate Ambience LP)

Incapacitants are the best noise band to ever come out of Japan. The group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Mikawa, a bank employee who then became a deputy general manager of one of the largest securities brokers in Japan, later moved to Tokyo, where he joined with government office worker  Fumio Kosakai (also an occasional member of Hijokaidan, as well as a former member of C.C.C.C.) to make Incapacitants a duo. Toshiji Mikawa and Fumio Kosakai are no ordinary salarymen, though. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. 
Extreme Gospel Nights is a shocking cassette from 1993, released by one of the Japanoise-defining labels, Vanilla Records, whose sound is particularly exciting, agonizingly dense and full of detail – there's very little air to breathe here. Gospel refers to the place (in Tokyo) where the recordings were made, so don't expect traditional spirituals. Instead you get some truly alien performances, complete with sporadic screaming of vivisected baboons drowning in the sonic sludge. There are two tracks on Vanilla tape; Bitter Insect on side A and the super lo-fi Accelerated No(i)sebleed on side B, in all probability recorded directly from the soundboard. Just pure, unadulterated electronic distortion of the highest quality done by two of the masters who have ever turned the knob on a distortion pedal that is fun, terrifying, hypnotic and fascinating all at the same time; their noise takes root not in violence or gimmickry, but in pure energy.  It also serves as great example of just what makes well done noise so great:  the layers of complexity that build upon each other reveal new and different textures and patterns on subsequent listenings.
Mastered by Toshiji Mikawa and reissued for the first time in vinyl, the record has been pressed on 140gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve in 300 copies with Tomyodai-lighthouse photo  (in the late Meiji) cover art plus an insert in classic paper ultra-bright with finish glossy plastic coating as perfect replica of original art from Vanilla Records tape cover. Each copy enveloped in tissue golden paper (plus sticker) as original tape release.

Incapacitants - Bitter Insect Extract (from Extreme Gospel Nights)

Cascades of electronic noise, a psychedelic touch and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in “ Japanoise ” scene. Predating the era of digital domination, there was a time where artist-run labels putting out primarily, if not exclusively, tapes were legion: Toshiji Mikawa’s own Pariah Tapes, Masami Akita’s ZSF Produkt, Koji Tano’s MSBR Records, Masaya Nakahara’s My Fiance's Lifework Productions, Akifumi Nakajima’s G.R.O.S.S., Kimihide Kusafuka’s Kinky Musik Institute, Hiroshi Hasegawa’s Endorphine Factory, Hiroshi Hashimoto’s SSSM and Maso Yamazaki’s Coquette are just a few examples from Japan alone. 
Masonna’s abundant productions on his own legendary and astonishing label were presented in very limited edition, sometime totally confidential (one sole copy), and reflect his predilection for 60’s psychedelic music revisited in its own very peculiar way. Maso Yamazaki transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts became clipped bursts of overloaded sound, doubled and extended by a delay that displaced the sounds into stuttered blasts of static. These vocal sounds fuse into a rattling background of harsh metallic fuzz, which was created by frantically shaking a highly amplified box filled with coins. Bursting Absolute Moods should have been the 1989 debut Lp album on Vis a Vis Audio Arts, the legendary label run by Juntaro Yamanouchi, but never released until now! All tracks were recorded live, at home ,with no mixing and no overdubs. Album is full of very rough harsh noise that’s mostly made up of lots of distorted screaming. This early work is very loud, noisy, and has lots of angry energy. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Divided into two parts of twenty minutes each that focuses an electrically overcharged universe, punctuating the electric and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to these tracks.
Released for the first time, the record has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve in 300 copies with Maso Yamazaki’s photo cover art plus full color postcard in 300gr, foldable in A4 size and business card with art cover replica of Coquette tape All Live Recording At My Room where debut Lp on Vis A Vis was announced.

Masonna - Part 2 Extract (from Bursting Absolute Moods)

to release a series of fanzines in A5 format. The first was The pleasure agony, followed by Sick and Murders. The aesthetics of these first fanzines were very sophisticated and the content deals with topics that will follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly death. In 1993, heavily influenced by his obsessions, he began his musical activities creating the Slaughter Productions label  and the Atrax Morgue project. Greatly inspired by Italian Power Electronics act The Sodality, with their 1987 LP Beyond Unknown Pleasures and from projects as Whitehouse and Brighter Death Now, pioneers of a minimal, evil and visceral electronic, Atrax Morgue released his first tape In search of death which will be followed by a series of amazing cassettes in the following years.
In 1996, with the only help of his analog synthesizer Sequential Circuits Six-Trak, Marco Corbelli recorded four tracks of pure improvisation for the legendary noise label BloodLust! run by Mark Solotroff. The tracks are released in cassette with the title of Autoerotic Death and limited to 50 copies. The putrescence is palpable, and one could almost smell and taste the miasma of decay that pervades the entire work. The psychopathological sound is white, painful and horrific. Crosses terrifying rooms lit by neon lights, corridors filled with gruesome tools, machines of blood and bits of human tissue floating in jars of formalin. The hum of the synth is often repeated loops, where each track has a compact structure, following the main theme (of autoerotic death).
The record has been pressed on 140gr black vinyl with black label and black inner sleeve and comes in a deluxe black cardboard sleeve with logo in silver silk screen plus double side pictures (from original tape cover art) fixed on front cover LP and a small insert. Limited edition of 199 copies.

Atrax Morgue - A.D. Pt.1 Extract (from Autoerotic Death)

Out now - It’s a great moment for reissues of ambitious, historical gestures of the noise from Japan. One after the other, these artifacts have emerged from the shadows, entirely rewriting what so many of us thought we knew. Now, at long last, before us rest another piece in the puzzle - the first ever vinyl reissue of one of the most sought after artifacts from the 80s noise scene - Incapacitants' Project Pallo ‘85, originally issued in 1985 by Pariah Tapes, and now reemerging in a new fully remastered edition by Andrea Marutti.
Few projects can claim the seminal importance of the Incapacitants on worldwide noise scene. The group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Mikawa, a bank employee who then became a deputy general manager of one of the largest securities brokers in Japan, later moved to Tokyo, where he joined with government office worker  Fumio Kosakai (also an occasional member of Hijokaidan, as well as a former member of C.C.C.C.) to make Incapacitants a duo. Toshiji Mikawa and Fumio Kosakai are no ordinary salarymen, though. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. 
In the early eighties when based in Osaka, Mikawa occasionally performed as Incapacitants as part of various duets, most notably with Yamatsuka Eye of Hanatarash and Boredoms, and set up the Pariah Tapes label in order to release the first Incapacitants material. Starting from 1981 with Eternal Paralysis and Peony Crackers until 1985 with Project Pallo ‘85 that was produced on the label in triple cassette and handmade box. About two hours and half divided in 7 long tracks of just pure, unadulterated electronic distortion of the highest quality done by one of the masters who has ever turned the knob on a distortion pedal that is fun, terrifying, hypnotic and fascinating all at the same time; his noise takes root not in violence or gimmickry, but in uncontaminated energy.
Triple LP has been pressed on 140gr black vinyl and comes in a deluxe grey wooden box with front/back laser engraving plus three cardboard colored in 30x30 cm from the original box cover art, original dragon drawing by Takuya Sakaguchi used for artwork box and original insert. In a limited edition of 299 numbered copies, it’s absolutely essential and not to be missed.

Incapacitants - Living Zombie Is About To Die Extract (From Project Pallo '85)

It’s a great moment for reissues of ambitious, historical gestures of the noise from Japan. One after the other, these artifacts have emerged from the shadows, entirely rewriting what so many of us thought we knew. Now, at long last, before us rest another piece in the puzzle - the first ever release of one of the most sought-after artifacts from the 80s noise scene - Incapacitants' first cassette, recorded in 1981 by Toshiji Mikawa and never been released until now, reemerging in a new fully remastered edition by Andrea Marutti on vinyl format.
Few projects can claim the seminal importance of the Incapacitants on worldwide noise scene. The group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Later Mikawa moved to Tokyo, where he joined with Fumio Kosakai, also an occasional member of Hijokaidan, as well as a former member of C.C.C.C., to make Incapacitants a duo. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. 
The cassette consists of a long track on side A titled Fulfilled Promise that starts slowly and gradually transforms into a crackling volcano and then comes the bursts and the outflow of lava, always controlled. While side B is a collection of small noise gem, furrows that precede the intensity and the noisy purity that will characterize all the production of the Incapacitants, titled Plague. The two sides of the tape are very different from each other, but they contain the same exciting, terrifying, hypnotic and fascinating soul – there's very little air to breathe here!
‘’Listening to such artless performances and recordings is a bit embarrassing but, at the risk of flattering myself, I think it has some degree of interest. It’s from almost forty years ago, but I hope you’ll enjoy the very first recordings under the name Incapacitants.’’ translated from Japanese liner notes by Toshiji Mikawa.
The vinyl edition faithfully reproduces the order and duration of the tracks recorded on tape and is released in just 299 copies with 12” size insert. Includes extensive notes by Toshiji Mikawa in Japanese with translation by Kato David Hopkins in English. It’s a must-have not only for Incapacitants fans!
Out late November 2020. Please link on webstore via linktr.ee/urashima and join to our newsletter for more information and updates.

Incapacitants - Plague Excerpt (from Incapacitants)

Cascades of electronic noise, a psychedelic touch and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in “Japanoise” scene. Masonna’s abundant productions on his own legendary and astonishing label Coquette were presented in very limited edition, sometime totally confidential (one sole copy), and reflect his predilection for 60’s psychedelic music revisited in its own very peculiar way. He transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts become clipped bursts of overloaded sound, doubled and extended by a delay that displace the sounds into stuttered blasts of static.
Freak is an ultra-rare cassette originally released in 1995 by Coquette in an edition of 36 copies in a special gold paper and now return for the first time in a flabbergasting vinyl format fully remastered!
This mature work is very brash, earsplitting and mad. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Sometimes pleading sobs are heard. And they are all, regularly, philologically broken, retouched, stiffened. And they mingle in the vortex. Or at most they come back to be slaughtered a little more only to be thrown back again, finally in the centrifuge. Everything is scraped, fast and beautiful and focuses an electrically overcharged universe, punctuating the thrilling and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to this work.
Originally released as single side tape C30, this vinyl edition divided into two parts of about fifteen minutes each is limited to 299 copies and comes with A3 size poster with Masonna in “action pose”. Freak is an absolutely astounding piece of work by one of the great pioneers of extreme noise from Japan! This is bound to be a revelation for anyone and it can’t be missed!
Out late November 2020. Please link on webstore via linktr.ee/urashima and join to our newsletter for more information and updates.

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