#Phew 1981 free

All in all, I think this was a great recommendation and I am glad I learned about this music. The backgrounds are super cool and the weird Japanese vocals on top of it have a cool disconnected ambiance that throws the listener off but intrigues and pleases as well. And sorry if my comments are a bit non sequitur, but on to the texture of this music. But time can be tricky when looking back 30 years. As my Japan, comparison suggests, it feels more new age than no wave. This music might actually be a little too tonal for me to consider really avant garde, if that matters. And just by virtue of the fact that the guys from Can are involved demands serious respect, obviously. This alone probably puts it into a higher leaque than the other stuff I've mentioned. My favorite track on the album is Dream with the spare piano and spacey sound effects. Now about this record specifically, I'm sure this is music that could continue growing on you for years but that's not to say that I don't have a favorable initial impression. Label: Pass Genre: Post-Punk/Electronic/Avant Garde/Experimental Format: LP Year: 1981 Japanese press.

#Phew 1981 free

I would guess Ange In's vocals were influenced by Phew.ĪNGEL IN HEAVY SYRUP on Myspace Music - Free Streaming MP3s, Pictures & Music Downloads If you like this, you may go in for another Japanese band, the more guitar driven female psychedelic Angel In Heacy Syrup. * The author of the great novel, The Tin Drum, Gunter Grass, lived in Germany.

*S/T is sung in Japanese (I speak Japanese, very poorly considering how long I lived there, and could pick some words here and there, my listening comprehension is worse than my speaking) and the other band is named Japan. In the past couple of years he has collaborated and produced with Joachim Roedelius (Cluster), Arto Lindsay, Bill Wells, Sofia Jerberg and artist Katharina Grosse.This album reminds of Tin Drum by Japan. It’s also an apt name for a vocalist who has escaped every close call with mainstream recognition while still being a legendary contributor to avant-garde J-Pop, releasing an album as recently as 2010. SCHNEIDER is a founding member of Düsseldorfs electronic outfit Kreidler and has been a third of the trio to rococo rot. Phew is an expression of relief for narrowly avoiding something. In Kobe and Osaka he continued recordings for a solo album which is expected for an early 2018 release on his new label TAL. Ryuichi Sakamoto produced Phew's first solo release in 1980 and in 1981 Pass Records issued her debut LP, a classic featuring H.

Stefan Schneider has just returned from a solo tour in Japan. Phew's career began in the 70s fronting trailblazing Osaka punk group Aunt Sally (who released one album on Vanity Records in 1979). But scan back thru her oeuvre and you’ll hear that Phew’s already done all of that, mostly in her early years, and now it’s clearly her time to cut loose. Which makes it all the more remarkable that it arrives well over 30 years into Phew’s far flung catalogue, at a time when you might expect them to be exploring lounge jazz or new age electronics. LIGHT SLEEP packs the kind of febrile energy and thrust that you might expect from a young, new artist enthralled with the possibilities of vintage hardware. In march 2017 PHEW did release her new album LIGHT SLEEP on Mesh key Records. These recording sessions were accompanied by Holger Czukay, Jaki Liebezeit (Can) and other musicians of the illustrious Cologne/Düsseldorf music scene of the early 80's. By 1981 PHEW went to Germany to work with Conny Plank at his legendary studio. Her early solo recordings were produced by YMO soundman Riuchi Sakamoto. Since more than thirty years PHEW an avant-garde vocalist who stated out in art-punk unit Aunt Sally, is one of the most prominent voices of Japans vibrant electronic music scene.