Reimaki 妖精の通る道
LP ltd to 300, black vinyl, 2 color (Silver and black) silkscreened tip-on / old style jacket with obi (black, insert and a postcard
Label : An’archives
Réf : [An’55]
Printed by
@siwaprints
Photography by Takehiko Nakafuji
Release date : May 1st, 2026
妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fushitsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self-releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.
There’s a beautiful sympathy in these performances, and a generous simplicity, too; you can sense that this music is informed by decades of finding just the right way to say the right thing in the clearest manner possible. Yokoyama and Miura never overstate things; make the statement, play the song, let it hang in the air for a while, and then move on to the next essential expression. The music is unburdened by self-consciousness. Their take on medieval music cuts to the core of melody and melancholy; their psych-improv side is blurred and drifting without ever lapsing into rote generic gestures.
There’s some shared space with other artists who suspend the timeless within the kaleidoscopic possibilities of the psychedelic – Kendra Smith & The Guild of Temporal Adventurers; Emmanuelle Parrenin; Rosina de Peira – and a tangled folksiness that might put listeners in mind of Jan Dukes De Grey, Comus, Current 93, and Tower Recordings. Accompanied by beautiful photography from street photographer Takehiko Nakafuji, who was also personally chosen by Mizutani to document Les Rallizes Dénudés, 妖精の通る道 is a most unique and necessary trip.
![Reimaki 妖精の通る道LP ltd to 300, black vinyl, 2 color (Silver and black) silkscreened tip-on / old style jacket with obi (black, insert and a postcardLabel : An’archivesRéf : [An’55]Printed by @siwaprintsPhotography by Takehiko NakafujiRelease date : May 1st, 2026妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fushitsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self-releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.There’s a beautiful sympathy in these performances, and a generous simplicity, too; you can sense that this music is informed by decades of finding just the right way to say the right thing in the clearest manner possible. Yokoyama and Miura never overstate things; make the statement, play the song, let it hang in the air for a while, and then move on to the next essential expression. The music is unburdened by self-consciousness. Their take on medieval music cuts to the core of melody and melancholy; their psych-improv side is blurred and drifting without ever lapsing into rote generic gestures.There’s some shared space with other artists who suspend the timeless within the kaleidoscopic possibilities of the psychedelic – Kendra Smith & The Guild of Temporal Adventurers; Emmanuelle Parrenin; Rosina de Peira – and a tangled folksiness that might put listeners in mind of Jan Dukes De Grey, Comus, Current 93, and Tower Recordings. Accompanied by beautiful photography from street photographer Takehiko Nakafuji, who was also personally chosen by Mizutani to document Les Rallizes Dénudés, 妖精の通る道 is a most unique and necessary trip.](https://sp1.picnob.com/p/pt_6739327120636367296762_0_8e7ca6549d060e0f0c8cba50286de47b.jpg?o=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&h=93e3c8b1a8ea93d33d19b5c32c781fe7)
![Onna : Onna last live 1983Double LP ltd to 300, black vinyls, 3 color (Silver, dark blue and black) silkscreened jacket with obi (dark blue, paver red or tan), inserts with Miyanishi Keizo notes in French, English and Japanese, lyrics in Japanese and English and a postcardLabel : An’archivesRéf : [An’56]May 1st, 2026Printed by @siwaprintsOnna Last Live 1983 includes the final performance by the original line-up of Onna, the psych-rock project of revered Japanese manga artist, Keizo Miyanishi. While Miyanishi was the core member and conceptualist of Onna, the other members of the group would also go on to make significant contributions to the Japanese underground. Guitarist Michio Kurihara would eventually be known for his membership of YBO2, Ghost and White Heaven, and collaborations with the likes of Boris and Damon & Naomi. Drummer Ken Matsutani formed Marble Sheep & The Run-Down Sun’s Children and The Mickey Guitar Band, while also running the Captain Trip label. Joined by the late bass player Yasui Yutaka, to whom the album is dedicated, this quartet only performed live in 1983; the live set here was recorded at Silver Elephant. The songs here are simple yet deeply effective in their repetitive power, generally revolving around two or three simply strummed chords for guitar. Bass and drums repeatedly lock into mantra-like grooves as Kurihara’s guitar scales the walls, with Miyanishi’s consumptive moans and sighs sent torquing through FX. The cumulative effect of the seven songs here is very heavy indeed; if the prologue “Always…” drifts beautifully through five minutes of placid, beseeching melancholy, the epilogue, “Never Seen A Light Like This”, spirals out into sixteen minutes of glazed-over psych-rock, completely monomaniacal and thrilling in its slow-motion tumult. Onna Last Live 1983 is proof plenty of the powers of the original Onna quartet, sending their Rallizes/Velvets dream-mantras off into darkened, stormy skies.](https://sp1.picnob.com/p/pt_6739321245124649272947_0_97c6c85056ac12796c439594380d8bac.jpg?o=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&h=bd767b996d0c7864550db87b51641695)
![Mitsuhisa Sakaguchi : sensitiveLP ltd to 300, black vinyl, 2 color silkscreened jacket with obi (Dark green, dark red & green)Printed by Alan Sherry @siwaprintsRelease date : Dec 12th, 2025@mitsuhisa_sakaguchiNotes by Jon Dale @thesadtropicsDigital on Sakaguchi Bandcamp : /You can stream one track there : /user-250085008/metatoxicNew album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, [sensitive] is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi.[sensitive] is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”Indeed, you can hear this see-sawing balance between the electronic and acoustic written across [sensitive] – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.](https://sp1.picnob.com/p/pt_6729615838325467475868_0_7adbcc6ba67e061da0fee5b9afa6d862.jpg?o=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&h=c8d7c0b36136a6a160cc145a2ab700f3)
