"架空のゲーム Fictional Game" (Central Game OSTF 2)
20240812 release
26 songs💾🍉🤯With Original Booklet (P16)
16ページオリジナルブックレット付き
Words by Yokna Hasegawa (長谷川億名)

"架空のゲーム Fictional Game" (Central Game OSTF 2), 2024, 26 songs

Tokyo's @sapphire-slows has her own distinctive aesthetic. The music she makes is ghostly and delicate, eerie yet beautiful. The multi-talented artist plays her own synths and keys and layers her own beautiful vocal drones into her tracks to lend them extra intimacy. This of course means she has toured extensively and released on labels such as Japan's Big Love, Greece's Nous and LA's Not Not Fun/100% Silk. Despite often making and playing music with the brain cleansing purity demonstrated on 2017 album Time, Sapphire Slows can also do more caustic and mechanical sounds, as on 2014's Allegoria LP.

This week's mix explores a melancholic and introspective mood, but it is never dark. A range of mid-tempo rhythms set the tempo. Sometimes they're dubby and linear, at others more bubbling and off-grid, while the synths above glow like fireflies or glisten like knives in the sun. Organic bird calls float above hyper-real synthetic textures and the overall effect is to cocoon you in suspensory and meditative sound that feels out of this world.

Dekmantel Podcast

Dekmantel Podcast 330 - Sapphire Slows

2021年に発表された志人セルフプロデュース長編アルバム
"心眼銀河-SHINGANGINGA-"収録曲『 玄＋時無種殻 -GEN＋TIMECAPSULE-』を公開。

Sibitt's self-produced full-length album"SHINGANGINGA" released in 2021

"-GEN＋TIMECAPSULE-", a song from "SHINGANGINGA "


The entire album "Shingan Ginga" was produced by sibitt himself. It is the first completely self-produced experimental work of his.


8∞も同時進行中です。

8∞
88project.info/

TempleATS STORE: templeats.net/store/

＜心眼銀河-SHINGANGINGA-＞ 玄＋時無種殻 -GEN＋TIMECAPSULE- 作詩・作曲 志人/sibitt

7S or Seventh Seal is a music label and store that is characterized by releasing only one compilation release published on vinyl per year, which is accompanied by a collection of clothing and objects. The platform curated by Chilean producer Sebastián Román (Persona RS) focuses on addressing different nuances of electronic music around the world from an inspiration based on the work of Igmar Bergman, on a creational vision, on the contemplation of the universe and vertigo that this beauty also entails.

This tribal-futuristic philosophy that wishes to take the canons beyond the dancefloor, is expressed through musical genres such as Techno, Electro, IDM and electronica. For this launch edition the art is in charge of the Chilean DMNC master of 3D design.

Participants: Sapphire Slows, Der Nautilus, Sheefit, Lesboys, Persona RS, Domingæ, LPZ.

PREMIERE : Sapphire Slows - Myrrh

The Tokyo-based producer presents a special hybrid live/DJ performance in a guest show for NTS, going deep into an ambient soundscape...

https://www.nts.live/shows/guests/episodes/sapphire-slows-10th-october-2022

Sapphire Slows 101022

A contemporary star of video game composition, award-winning US/Canadian musician Lena Raine has lent her talents to small-budget productions and blockbuster releases alike, from cult classic platformer Celeste, to sweeping huge scale projects like Guild Wars 2 and Minecraft.

https://www.nts.live/shows/women-of-video-game-music/episodes/women-of-video-game-music-lena-raine-8th-march-2023

Women of Video Game Music: Lena Raine - 8th March 2023

Central Game OSTF 1 
Study or inspiration for writing novel, "Central Game". Feedback noise shoegazer,

ずっと構想している小説のスタディ

words : Yokna Hasegawa
released June 27, 2024
https://yoknahasegawa.bandcamp.com/album/central-game-ostf-1

Feedback Question Before Our Ends ⑵

歌詞 Words 
神聖な場所に？ 彼女の本のように、ルクスはそう思う。なぜなら、ルクスの感覚は言葉に基づいているからだ。だから、ルクスは言葉の中に神聖さを感じる... そして、ルクスはまた、言葉の中を歩き回れる場所のように感じている...

哺乳類嫌いの哺乳類が愛するもの。
そして、ネオンの光がキラキラして、頭蓋骨がギュッと締め付けられてるみたい。
生きた時代の周りをきつく締めるものは、柔らかいシューという音を立てた。月の顎 の AEM が「時代が来る」と告げると、それは震えているように見えた。
生きた時代はゆっくりと皮膚の中に滑り込み、乳白色のものを掴んだ。

生きた時代は彼らの動きを邪魔することなく、緩んだレンズを外し、片腕で手術用チューブを彼の腕に結びつけた。
「ああ、こっちの方が楽しい」

A sacred place? Like her books, Lux thinks so. Because Lux's senses are based on words. So Lux feels a sacredness in words... And Lux also feels like they can walk around inside words...

What a mammal-hating mammal loves.
And the neon lights glittered, and it felt like their skull was being squeezed.
What bound the living age tightly around it made a soft hissing sound. When the AEM of the moon's jaw announced, "The age is coming," it seemed to tremble.
The living era slipped slowly into their skin, grasping something milky.

Without disturbing their movements, the living era removed the loose lens and tied a surgical tube to his arm with one hand.
"Ah, this is more fun.

"架空のゲーム Fictional Game" (Central Game OSTF 2)
20240812 release
28 songs💾🍉🤯
Words by Yokna Hasegawa (長谷川億名)
https://yoknahasegawa.bandcamp.com/album/fictional-game-central-game-ostf-2

"不思議に牧歌的な、ポスト・サイバーパンクの世界。
電波の混線で増殖するメッセージを結ぶと、廃墟に、美しい結界が浮かび上がった。非人間的な言語感覚と激しい感情の逆光。"
「架空のゲーム / Fictional Game」は、長谷川億名の妄想小説「Central Game ( aka Ascension River 昇天川)」を音楽で表現した「Central Game OSTF」の続編である。
前回中心的な存在だったシューゲイザーに加え、本作ではラップ、機械音声、独特の節回しを含む内省的でポップなサウンドスケープが展開された。
多くのものが奪われ、失われていく予感の中にも、反エントロピーを信じるパラノイアのような、明るさと笑いが散らばっている。
信仰、犠牲、純粋性、疑似科学とスピリチュアリティ、フェティシズムと軽蔑、空虚な暴力を通り抜けた、アセンション後の敗者への讃歌。


"A strangely pastoral, post-cyberpunk world.
When connecting the messages proliferating due to radio interference, a beautiful barrier emerges floating above the ruins. The backlight of inhuman linguistic sense and intense emotions."

"Fictional Game" is a sequel to "Central Game OSTF," which musically expressed Yokna Hasegawa's fictional novel "Central Game (aka Ascension River)."

In addition to the shoegaze that was central to the previous work, this piece develops an introspective and pop soundscape including rap, mechanical voices, and unique phrasing.

Amidst the premonition of many things being taken away and lost, there is a scattering of brightness and laughter, like paranoia believing in anti-entropy.

It's a hymn to the losers after ascension, passing through faith, sacrifice, purity, pseudo-science and spirituality, fetishism and contempt, and empty violence.



The study for writing new novel (Text book), "Central Game".
The lyrics are mainly from it I am influenced by William Gibson and japanese translator, Hisashi Kuromaru's words.
書いている小説、「Central Game」が出来ないので、小説を曲にした。
部分的に直接的に、ウィリアム・ギブスン（あるいは黒丸尚？）からの影響。

生きた時代 Living Era - Yokna Hasegawa from "架空のゲーム Fictional Game" (Central Game OSTF 2)

from "架空のゲーム　Fictional Game"(Central Game OSTF 2) by Yokna Hasegawa (長谷川億名)
2024.0812 release
https://yoknahasegawa.bandcamp.com/album/fictional-game-central-game-ostf-2

"不思議に牧歌的な、ポスト・サイバーパンクの世界。
電波の混線で増殖するメッセージを結ぶと、廃墟に、美しい結界が浮かび上がった。非人間的な言語感覚と激しい感情の逆光。"
「架空のゲーム / Fictional Game」は、長谷川億名の妄想小説「Central Game ( aka Ascension River 昇天川)」を音楽で表現した「Central Game OSTF」の続編である。
前回中心的な存在だったシューゲイザーに加え、本作ではラップ、機械音声、独特の節回しを含む内省的でポップなサウンドスケープが展開された。
多くのものが奪われ、失われていく予感の中にも、反エントロピーを信じるパラノイアのような、明るさと笑いが散らばっている。
信仰、犠牲、純粋性、疑似科学とスピリチュアリティ、フェティシズムと軽蔑、空虚な暴力を通り抜けた、アセンション後の敗者への讃歌。


"A strangely pastoral, post-cyberpunk world.
When connecting the messages proliferating due to radio interference, a beautiful barrier emerges floating above the ruins. The backlight of inhuman linguistic sense and intense emotions."

"Fictional Game" is a sequel to "Central Game OSTF," which musically expressed Yokna Hasegawa's fictional novel "Central Game (aka Ascension River)."

In addition to the shoegaze that was central to the previous work, this piece develops an introspective and pop soundscape including rap, mechanical voices, and unique phrasing.

Amidst the premonition of many things being taken away and lost, there is a scattering of brightness and laughter, like paranoia believing in anti-entropy.

It's a hymn to the losers after ascension, passing through faith, sacrifice, purity, pseudo-science and spirituality, fetishism and contempt, and empty violence.



The study for writing new novel (Text book), "Central Game".
The lyrics are mainly from it I am influenced by William Gibson and japanese translator, Hisashi Kuromaru's words.
書いている小説、「Central Game」が出来ないので、小説を曲にした。
部分的に直接的に、ウィリアム・ギブスン（あるいは黒丸尚？）からの影響。

個人的な冗談4 A Personal Joke

歌詞 Words :	
イエスは公開的に死ぬ必要があった。君もそうだ。みんなのことを思うなら、公開すべきなんだ。

一つの言語を学ぶことで、言語を学ぶことがつかめるという、百合子さんが言ってた言葉
宗教も、ひとつの宗教を知ることで、ドグマに閉じるのではなく、
むしろすべての宗教というものに開かれることがあるのではないか。
信仰を持たなければ見えないものがあるのではないか。

Baptizeをあなたにしてもらうのは、罪Sinか、Illegalかと聞いた。


まず仏教のことを知るべきだ、
いま気づいたけど、仏教は好きじゃない、
オーケー、もうそのステージは超えてるのね、じゃあ、次はカソリックのことをよく知ることね
いろんな宗教行事に出てきたけど、みんなあなたのことを誘うだろう、「でも私の信仰は変わらない
毎日祈ってるけど神を感じることはまだできない
じゃあ、それを感じたときが信じるタイミングよ。

神との関係も、くっついたり離れたり

Jesus had to die publicly. So do you. If you care about everyone, you should make it public.

Yuriko once said that by learning one language, you can understand the process of language learning. Similarly, by learning one religion, you might not be confined to its dogma, but rather open yourself up to all religions. Perhaps there are things we can't see without faith.

I asked if it would be a sin or illegal if you baptized me.

First, you should learn about Buddhism.
I just realized, but I don't like Buddhism.
Okay, so you've moved on from that stage. Next, You should learn more about Catholicism.
You'll be invited to various religious ceremonies.
Everyone will invite you.
"But my faith is unchanging."
I pray every day, but I still can't feel God.
Well, then the time to believe is when you feel it.

The relationship with God is like coming together and falling apart, too.


"架空のゲーム Fictional Game" (Central Game OSTF 2)
20240812 release
28 songs💾🍉🤯
Words by Yokna Hasegawa (長谷川億名)
https://yoknahasegawa.bandcamp.com/album/fictional-game-central-game-ostf-2

"不思議に牧歌的な、ポスト・サイバーパンクの世界。
電波の混線で増殖するメッセージを結ぶと、廃墟に、美しい結界が浮かび上がった。非人間的な言語感覚と激しい感情の逆光。"
「架空のゲーム / Fictional Game」は、長谷川億名の妄想小説「Central Game ( aka Ascension River 昇天川)」を音楽で表現した「Central Game OSTF」の続編である。
前回中心的な存在だったシューゲイザーに加え、本作ではラップ、機械音声、独特の節回しを含む内省的でポップなサウンドスケープが展開された。
多くのものが奪われ、失われていく予感の中にも、反エントロピーを信じるパラノイアのような、明るさと笑いが散らばっている。
信仰、犠牲、純粋性、疑似科学とスピリチュアリティ、フェティシズムと軽蔑、空虚な暴力を通り抜けた、アセンション後の敗者への讃歌。


"A strangely pastoral, post-cyberpunk world.
When connecting the messages proliferating due to radio interference, a beautiful barrier emerges floating above the ruins. The backlight of inhuman linguistic sense and intense emotions."

"Fictional Game" is a sequel to "Central Game OSTF," which musically expressed Yokna Hasegawa's fictional novel "Central Game (aka Ascension River)."

In addition to the shoegaze that was central to the previous work, this piece develops an introspective and pop soundscape including rap, mechanical voices, and unique phrasing.

Amidst the premonition of many things being taken away and lost, there is a scattering of brightness and laughter, like paranoia believing in anti-entropy.

It's a hymn to the losers after ascension, passing through faith, sacrifice, purity, pseudo-science and spirituality, fetishism and contempt, and empty violence.



The study for writing new novel (Text book), "Central Game".
The lyrics are mainly from it I am influenced by William Gibson and japanese translator, Hisashi Kuromaru's words.
書いている小説、「Central Game」が出来ないので、小説を曲にした。
部分的に直接的に、ウィリアム・ギブスン（あるいは黒丸尚？）からの影響。

神との関係について About the relationship with God

歌詞 Words
一種宗教的とか、歴史的とでもいえるような止まった時間によって。ここでは、一番熱い色である白い光の線が、夏にはコンクリートを射し抜いていた。まるでサインを念には念を入れて確信させようと目を貫く、巨大な天使の指のように。

「変な所で会ったね、魔界で。」

「同じ学校だと思う。」

二人を守るべき個人Xはそれぞれ跡形もなく消え去った。そしてドブ水が溢れ出る土地に流された二叉路の不安定なコンクリートの中で、マスキュリンなY法則が二人を常に管理したのであった。温もりはあった。映画で聞いたセリフの様に、「生物は触ればいつでも、良くも悪くも温かかったので」。




| + 匿名は最大の自己犠牲であり、それが--の霊的基盤である
|
+ まるでエデンの園のような公園

+ 世界の感受
| + あの場所においてはこれは快楽だけではなくメッセージ


A kind of time had stopped there, as if it were religious or historical. In summer, the hottest white light pierced the concrete, like a giant angel's finger drilling into your eyes, determined to impress a sign upon you.

"Strange place to meet, isn't it? Like in the underworld." "I think we went to the same school." The individuals, X, who were supposed to protect them, had vanished without a trace. And in the unstable concrete of a fork in the road, flooded with sewage, a masculine Y law constantly governed them. There was warmth. As a line from a movie went, "All living things, when touched, are always warm, for better or worse."

| + Anonymity is the ultimate self-sacrifice, and it is the spiritual foundation of --
|
| + A park like the Garden of Eden
|
| + The world's sensibility
| + In that place, this was not only pleasure but also a message


"架空のゲーム Fictional Game" (Central Game OSTF 2)
20240812 release
28 songs💾🍉🤯
Words by Yokna Hasegawa (長谷川億名)
https://yoknahasegawa.bandcamp.com/album/fictional-game-central-game-ostf-2

"不思議に牧歌的な、ポスト・サイバーパンクの世界。
電波の混線で増殖するメッセージを結ぶと、廃墟に、美しい結界が浮かび上がった。非人間的な言語感覚と激しい感情の逆光。"
「架空のゲーム / Fictional Game」は、長谷川億名の妄想小説「Central Game ( aka Ascension River 昇天川)」を音楽で表現した「Central Game OSTF」の続編である。
前回中心的な存在だったシューゲイザーに加え、本作ではラップ、機械音声、独特の節回しを含む内省的でポップなサウンドスケープが展開された。
多くのものが奪われ、失われていく予感の中にも、反エントロピーを信じるパラノイアのような、明るさと笑いが散らばっている。
信仰、犠牲、純粋性、疑似科学とスピリチュアリティ、フェティシズムと軽蔑、空虚な暴力を通り抜けた、アセンション後の敗者への讃歌。


"A strangely pastoral, post-cyberpunk world.
When connecting the messages proliferating due to radio interference, a beautiful barrier emerges floating above the ruins. The backlight of inhuman linguistic sense and intense emotions."

"Fictional Game" is a sequel to "Central Game OSTF," which musically expressed Yokna Hasegawa's fictional novel "Central Game (aka Ascension River)."

In addition to the shoegaze that was central to the previous work, this piece develops an introspective and pop soundscape including rap, mechanical voices, and unique phrasing.

Amidst the premonition of many things being taken away and lost, there is a scattering of brightness and laughter, like paranoia believing in anti-entropy.

It's a hymn to the losers after ascension, passing through faith, sacrifice, purity, pseudo-science and spirituality, fetishism and contempt, and empty violence.



The study for writing new novel (Text book), "Central Game".
The lyrics are mainly from it I am influenced by William Gibson and japanese translator, Hisashi Kuromaru's words.
書いている小説、「Central Game」が出来ないので、小説を曲にした。
部分的に直接的に、ウィリアム・ギブスン（あるいは黒丸尚？）からの影響。

生物は触れればいつでも Whenever a creature is touched

歌詞 Words : 
一種宗教的とか、歴史的とでもいえるような止まった時間によって。ここでは、一番熱い色である白い光の線が、夏にはコンクリートを射し抜いていた。まるでサインを念には念を入れて確信させようと目を貫く、巨大な天使の指のように。

「変な所で会ったね、魔界で。」

「同じ学校だと思う。」

二人を守るべき個人Xはそれぞれ跡形もなく消え去った。そしてドブ水が溢れ出る土地に流された二叉路の不安定なコンクリートの中で、マスキュリンなY法則が二人を常に管理したのであった。温もりはあった。映画で聞いたセリフの様に、「生物は触ればいつでも、良くも悪くも温かかったので」。




| + 匿名は最大の自己犠牲であり、それが--の霊的基盤である
|
+ まるでエデンの園のような公園

+ 世界の感受
| + あの場所においてはこれは快楽だけではなくメッセージ


A kind of time had stopped there, as if it were religious or historical. In summer, the hottest white light pierced the concrete, like a giant angel's finger drilling into your eyes, determined to impress a sign upon you.

"Strange place to meet, isn't it? Like in the underworld." "I think we went to the same school." The individuals, X, who were supposed to protect them, had vanished without a trace. And in the unstable concrete of a fork in the road, flooded with sewage, a masculine Y law constantly governed them. There was warmth. As a line from a movie went, "All living things, when touched, are always warm, for better or worse."

| + Anonymity is the ultimate self-sacrifice, and it is the spiritual foundation of --
|
| + A park like the Garden of Eden
|
| + The world's sensibility
| + In that place, this was not only pleasure but also a message


"架空のゲーム Fictional Game" (Central Game OSTF 2)
20240812release
28 songs💾🍉🤯
Words by Yokna Hasegawa (長谷川億名)
https://yoknahasegawa.bandcamp.com/album/fictional-game-central-game-ostf-2

"不思議に牧歌的な、ポスト・サイバーパンクの世界。
電波の混線で増殖するメッセージを結ぶと、廃墟に、美しい結界が浮かび上がった。非人間的な言語感覚と激しい感情の逆光。"
「架空のゲーム / Fictional Game」は、長谷川億名の妄想小説「Central Game ( aka Ascension River 昇天川)」を音楽で表現した「Central Game OSTF」の続編である。
前回中心的な存在だったシューゲイザーに加え、本作ではラップ、機械音声、独特の節回しを含む内省的でポップなサウンドスケープが展開された。
多くのものが奪われ、失われていく予感の中にも、反エントロピーを信じるパラノイアのような、明るさと笑いが散らばっている。
信仰、犠牲、純粋性、疑似科学とスピリチュアリティ、フェティシズムと軽蔑、空虚な暴力を通り抜けた、アセンション後の敗者への讃歌。


"A strangely pastoral, post-cyberpunk world.
When connecting the messages proliferating due to radio interference, a beautiful barrier emerges floating above the ruins. The backlight of inhuman linguistic sense and intense emotions."

"Fictional Game" is a sequel to "Central Game OSTF," which musically expressed Yokna Hasegawa's fictional novel "Central Game (aka Ascension River)."

In addition to the shoegaze that was central to the previous work, this piece develops an introspective and pop soundscape including rap, mechanical voices, and unique phrasing.

Amidst the premonition of many things being taken away and lost, there is a scattering of brightness and laughter, like paranoia believing in anti-entropy.

It's a hymn to the losers after ascension, passing through faith, sacrifice, purity, pseudo-science and spirituality, fetishism and contempt, and empty violence.



The study for writing new novel (Text book), "Central Game".
The lyrics are mainly from it I am influenced by William Gibson and japanese translator, Hisashi Kuromaru's words.
書いている小説、「Central Game」が出来ないので、小説を曲にした。
部分的に直接的に、ウィリアム・ギブスン（あるいは黒丸尚？）からの影響。

変​な​と​こ​ろ​で​会​っ​た​ね​、​魔​界​で We met in a strange place, the demon world

Motion Light - Kahn & Neek (live on Mary Anne-Hobbs' show on Radio 6, 27/7/25)

Out now on Tectonic Recordings (https://tectonicrecordings.bandcamp.com/track/kahn-neek-motion-light)

Buy here

Motion Light - Kahn & Neek (live on Mary Anne-Hobbs' show on BBC Radio 6, 27/7/25)

You can get "君の明晰夢 Kimi no Meisekimu - A Lucid dream of you - Yokna Hasegawa（長谷川億名), 2025"  19 songsin Bandcamp.🥁 
https://yoknahasegawa.bandcamp.com/album/kimi-no-meiseki-mu-a-lucid-dream-of-you
Lyric videos :  "https://youtube.com/playlist?list=PLyRp0vYfEi7X-JqSd9JP3ocUd2TOIOCae&si=R_OcWp5cb4nAgFm
https://yoknahasegawa.com/

生物は触れればいつでも Whenever a creature is touched

Yokna Patofa

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