I know nothing of my final product. I only can do what I can at the time of my performance...

Kan Mikami '92 "If you’re going to make music, stake your life on it" The G-Modern Interview Part 2

Kan Mikami '92 "Music can talk about everything there is in the world" The G-Modern Interview Part 1

Kan Mikami's PSF debut returns on LP "A massive, gaping black hole exuding a dazzling, black light"

Musica Transonic "I can see why we may have been misunderstood."

Kazuo Imai: "I enjoy music with tension."

"How do you feel about this music?"

White Heaven: "It was always completely silent in between songs, like a wake"

Go Hirano: "The most important thing for me was that initial, unadorned expression"

Yūji Itsumi

Masayuki Takayanagi's archives to be released in definitive vinyl editions by Black Editions.

Early encounters with Makoto Kawabata and the start of Acid Mothers Temple

"I See Spirits All the Time"

Ché-SHIZU’s A Journey “Off Kilter and in the Pocket at the Same Time”

“A world that achieves a balance or harmony…”

“Anything was fine, as long as it was different from what others were doing”

Hideo Ikeezumi: “It would be good to be somewhere where there would be hardly any passersby.”

Asahito Nanjo: “I was a strange kid with no ambitions” The Opprobrium Interview, November 1996

“Could You Write ‘Tokyo Flashback’ Here?” You Ishihara reflects on Hideo Ikeezumi and Modern Music

Keiji Haino: Creating Music from a Place of Absolute Nothingness