Well-known Tokyo troublemaker/scenesters Suzuki Junzo and Tabata Mitsuru have gotten together and created a dream-psych-folk duo called, for some reason, 20 Guilders. Based on simple guitar and folk, the songs are most often on the calm side, though with the occasional burst of fuzz breaking through.

Junzo will be known for his solo work — which this is very akin to — and his recent membership in the New Miminokoto. His adept guitar work and emotional vocals fit right into this format. Tabata, perhaps best-known for his roles in Zeni Geva and Acid Mothers Temple, may surprise listeners with his heartfelt singing and gentle playing here. His “Enban” is a simple strum with background lead guitar and soulful singing.

There are two 20 Guilders releases out now, with overlapping versions of some of the same songs. Their self-released CDR “Patricia” and the “Wrong Songs for Patricia” cassette (Sloow Tapes) contain the same songs for the most part, with a couple that aren’t shared. However, the versions of them all seem to be different enough that if you enjoy the songs, you may well want both. The cassette’s only available in an edition of 70 copies, by the way, and the song “Little Swallow-Hikari”, only on the tape, features synth added by AMT’s Hiroshi Higashi.

There’s more info and contact for 20 Guilders on their MySpace page.

Listen to “Shadows of Faded Wings” from the “Patricia” CDR.

I’ve started scanning piles of old photographs I have around, and I’ll post any that seem interesting, just to share. Here first are a few noise folks, photos taken in the early 90s. When I remember who took a photo I’ll include that info, but years have passed and usually there’s nothing on the photo to tell me that. You can click on each photo to get a larger version of it.

First, a photo of Masahiko Ohno, aka Solmania, with one of his early custom-built noise-guitars.

Next, a couple of CCCC’s Mayuko Hino.

And lastly, a crazy Polaroid of Masonna:

With references on the obi to Rallizes and LSD-March, and the mysterious cover picture, you’d figure on this being a psych-out album, and you’d be mostly right. It’s not a guitars-blazing Acid Mothers freakout by any means, though. Instead, it’s for the most part a laid-back, swirling affair — which isn’t to say that the trio don’t sometimes hit the accelerator and head off into the cosmos. They do at times, such as on the opening, title track (loosely translated as “Water of Hope”). Or “平和” (Peace), with an appropriately calm opening, abetted by violinist Chiako Okamoto, that explodes into some pretty out-there guitar-violin pyrotechnics.

Label boss Keizo Suhara plays bass with Noizuwarcame (yeah, I know that’s not quite the right pronunciation of the kana on the CD but that’s how they transliterate it on the cover), but it’s clearly songwriter Umemaru Chihiro on vocals and guitar who’s the centerpiece of the band. Single-named drummer Aiko fills out the trio.

Umemaru has clearly listened to his Gaseneta and Rallizes albums and learned their lessons, and this is good stuff, sloppy in the right places and aimed for the heart of the sun when it suits things. Garage rock, fuzzed-out bliss, and shadowy atmospherics all find their places here. There’s room for growth, to be sure, but fans of this sort of thing will know who they are, and you’ll want to search this out.

Listen to “Peace” by Noizuwarcame.

Thought I’d toss in a quick post with a link to a YouTube user’s listing who has a ton of great videos to check out, including Godman, Keiji Haino, LSD-March, and more: click here for YouTube.

Following a lineup change, Miminokoto released a superb live CDR last year, which had me looking forward to a new official album — and here it is, albeit under the name New Miminokoto, apparently to distinguish itself from the earlier incarnation.

The main change is guitarist and vocalist Junzo Suzuki, who has been mentioned on this blog before. His style isn’t radically different from previous guitarist Masami Kawaguchi, who’s busy now with his own New Rock Syndicate, but Suzuki’s feel seems even better suited for the dark, bluesy psychedelia of Miminokoto. His voice is passionate, and his guitar work moves fluidly from slow, delicate strumming into fierce fuzz-driven leads. Drummer Koji Shimura, the group leader, is joined by bassist-around-town Takuya Nishimura, whose bass alternates between steady, solid rhythm work and busier melodic playing.

Miminokoto has never made a secret of its inspiration from Kousokuya’s main man Kaneko Jutok, and here tribute is paid with two of Kaneko’s songs. The first, “Hour of Death,” might be my favorite piece on the album. A few years ago I was scheduled to play a show in Tokyo on a bill with Kaneko, but he shockingly passed away a month or so before the show. Instead, I was fortunate to see Shimura join a tribute to Kaneko with singer Mick and, if I recall correctly, Nishimura on bass.

Released by the stalwart PSF label, this is a must for anyone who’s enjoyed the previous Miminokoto outings as well as any of the other bands mentioned here. The band also have a great live album which they’re shopping around here in the U.S. (anyone with a label who’s interested, let me know and I’ll put you in touch with them!). Hopefully they’ll get that released and come tour soon.

Listen to “Hour of Death” by New Miminokoto.

Those who were disappointed to hear about the dissolution of the great Overhang Party will be happy to see that leader Rinji Fukuoka is back. His new trio, Majutsu no Niwa (Magical Garden), is almost like Overhang Party part 2, with perhaps a slightly calmer feel but much the same dark psych style. Together with bassist Hiroyuki Kageyama and drummer Shigeki Morohashi, Fukuoka lays down eight long tracks on At the End of Summer, passing through gently strummed songs as well as moments of heavy fuzz overload.

The opening “Majutsu no Niwa” is one of the hardest rockers here, and given the title might be the band’s theme song. The 13-minute “Beyond the Steel Rails” covers it all, with the first few minutes in calm ballad mode before they kick into churning rock gear and Fukuoka offers searing leads over a suddenly very heavy rhythm section. The tracks were all recorded live (at Mission’s, Earthdom, and Silver Elephant) in the fall of 2008, but the sound quality is very high. It’s got the airy live feel you might expect, but everything is clear and present.

Released by There. Also check out the band’s website for more info.

Listen to “Whither” by Majutsu no Niwa.

From Sapporo, Kakuni are a two-piece, guitarist Aoi Maeda and drummer Yumi Ozaki, with both women singing. With jangly guitar and sparse, simple drums, and girlish chanted vocals, these songs aren’t too far from late Sekiri, though with more emphasis on a low-fi art-pop aesthetic rather than Sekiri’s punk rock roots. The name Kakuni comes from a pork belly dish, of all things.

They don’t drag things out — most of the songs are just a couple of minutes long, and all ten fly by in just over half an hour on this self-released CDR. There’s some fun stuff, with bits like the silly reverbed vocal gymnastics on “Asonde” and tongue-in-cheek musical motifs tossed in here and there. It’s pretty charming stuff that mixes garage rock with some avant leanings and goofiness that keeps things on the entertaining side.

Find out more on the band’s website here.

Listen to “Asonde” by Kakuni.

Following the previous collaboration between these two, one might expect this to be a CD filled with pretty heavy noise. Not so, however. Instead, this is more like Cluster and Harmonia passed through a modern filter with, sure, a few dollops of noise here and there. But for most part the pairing here produce spaced-out sounds with twists of audio surrealism.

Tabata is likely familiar to most readers of this blog, from his earliest work with Noizunzuri and the Boredoms through Leningrad Blues Machine and Amazon Saliva to high-profile albums and touring with Zeni Geva and, more recently, Acid Mothers Temple. Guilty Connector is one of the newer breed of heavy noise artists, with a good collection of intense recordings on his discography.

On this collaboration, the album moves from opener “Shamrashamra” with its krautrock-ish guitar rhythm and zoomish synths through the dark ambience of “Trance Oscillation From Limbo” and the videogame synth bloops of “Bayti”. Then it’s on to blippy electronic percolations and buzzes over Tangerine Dreamish floating synth on “Soleca Nokto”, roiling synthesizers like burbling water on “Maquina de Fantasma”, the pretty textured ambience of “Patris”, and the concluding “Acta Est Fabula, Plaudite!” with slow rhythmic pulses and buzzing synth.

This pairing’s produced an unexpected angle, and a very welcome one for any folks looking for some great old-style electronic music, updated in fine style. Good work. Visit the label’s web site for more information here.

Listen to “Soleca Nokto” by The Guilty C. and Tabata Mitsuru.

This a very well put-together CDR, from the nice sleeve and artwork with included sticker and insert to the music: three pieces of primarily instrumental rock somewhat akin to Sonic Youth, Mono, and the like. Intricate twin guitars and strong rhythms are helped by very clear recordings. No titles are given, but when I put the CDR into my computer, CDDB did pull up information, calling this “Demo 07″ and providing song titles. So I’ll use those here.

The first piece (“Below Zero”) is a sweeping, romantic yet fast-moving song dominated by guitars while the second song (“Mid Night Romance”) integrates piano with quick drum rolls and chiming guitar lines. It develops into a pretty heavy thing with thick guitar chords pounding away in sync with the drums and piano — very nice. The final song (“Space Mate”) finds a middle ground between the other two, moving from fast, heavy drums to quieter passages of crisp, melodic guitar lines and back. The band’s quite tight, and they move together into each change, and overall this is well-done work. I wouldn’t mind a little more potent energy — they seem to be almost too in-control, as if they’re holding back a bit.

For this CDR, the band was five people, but on their web site it looks as though the core trio is guitarist Kousuke Iwasaki, bassist Yoshihiko Kato, and drummer Shinji Yamada. Second guitar and singer Megumi Kishikawa, and keyboard player/singer Sayaka Yagyu, were perhaps just involved in the recording of these three songs. The band appear to be from Okayama, south of the Kansai area.

Check out more on The Beautiful Poetic at their web site here and on MySpace here.

Listen to “Mid Night Romance” by The Beautiful Poetic.

Another cassette that I picked up years back. This one might well have been from scouring the teetering stacks of cassettes in the corner of Modern Music. Thanks to recommendations from Ikeezumi-san, I got a lot of interesting stuff from there, including some (like Kadura and Onna-Kodomo) that led to releases on Charnel Music. However, noting that the label’s from Osaka, it’s equally likely that I acquired this at Time Bomb or someplace out there.

In any case, Part Animal Machine is a bit of an unknown, like so many of the cassettes that I’m digging up and posting about here. It’s three long tracks, recorded on 1997.08.31. There are four members listed including two drummers, though it’s unclear whether both drummers play on all three tracks or if the duties are split. Guitarist Doi-A is the most present of the quartet, with bassist Masa Bando and drummers Shin Nakamura and Sakiyama Kazu along for the ride. The title of track three on side B, “Machine Gun,” gives some indication of the style here, actually — freeform jamming with a fast-paced heavy approach, with perhaps a bit of excessive high-speed technique from Doi-A. It’s pretty good stuff though, even with the rough recording quality.

It’s unclear whether the title of the cassette is “Under the Sun” because that’s actually the label name, if I’m parsing the cover correctly. Looks to me like this is release 001 from Under The Sun, and the label’s run by bassist Bando. Either Under the Sun is also the name of the tape or it’s self-titled, take your pick. I’ve excerpted a segment from track two, “Part Machine”: Listen here.