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An Archives

URABE, MASAYOSHI - Mobilis In Mobili

Edition of 285, silk-screened wooden slipcase with 3 silkscreened panels (black & gold) + inserts and a 6 postcards set

Handmade slipcases and printing job by Alan Sherry

Liner notes by Michel Henritzi

"An’archives présente trois documents, trois vinyles scarifiés par les illuminations de Masayoshi Urabe, six performances gravées là comme des épitaphes sur la pierre qui recouvre le vivant. Enregistrements faits dans de petites salles banlieusardes au Japon où il a pour habitude de jouer devant un maigre public, le Bitches Brew à Yokohama, le Groove à Okinawa et Gari Gari à Tokyo.

Urabe a croisé dans les couloirs du label culte PSF : Kan Mikami, Chie Mukaï, Rinji Fukuoka, Hiroshi Hasegawa, avec qui il a joué, parfois enregistré des albums d’une insondable beauté. Mais c’est en solo qu’il est le plus troublant, lumineux et sombre, violent et poignant.

Pas d’autres frères que Kaoru Abe et Albert Ayler, un même tragique, une même corde jalouse pour se balancer dans le son, renverser le ciel sous nos pieds. Urabe s’accouple à son alto, le violente, snuff jazz appelant les anges déchus à venir nous hanter. La mort, comme son éros, hante l’œuvre de Masayoshi Urabe, se dévoile à travers ses sons cuivrés. Il suit le son, l’aspire et le crache, sac d’air retourné jusqu’à l’épuisement, violent, jouant ou dansant, voulant que les premiers rangs cèdent à son érotisme trouble. Urabe  est un magnifique mélodiste, même s’il finit par tout saccager, ne rien laisser d’autre qu’un corps musical mutilé. Notes étranglées, aucune mélodie, juste du souffle, de l’air craché, un chant d’amour.

Michel Henritzi

These are recordings made in small suburban venues in Japan where Urabe would play in front of a meagre audience: the Bitches Brew in Yokohama, the Groove in Okinawa and the Gari Gari in Tokyo.

In the corridors of cult label P.S.F. Records, Urabe came across the likes of Kan Mikami, Chie Mukai, Rinji Fukuoka, Hiroshi Hasegawa, with whom he played, and sometimes recorded albums of unfathomable beauty. But he is most disturbing, luminous and dark, violent and poignant, during his solo sets. Hideo Ikeezumi (the cultural ambassador behind P.S.F.) supported him more than others and tried to offer him all the space he could hope for.

His only kindred spirits are Kaoru Abe and Albert Ayler, with whom he shares a sense of tragedy, the same jealous string to swing into the sound, to turn the heavens over to our feet. Urabe mates with his alto sax, assaults it, snuff jazz calling fallen angels to come and haunt us.

Death, like Eros, haunts Masayoshi Urabe’s body of work, and unravels through copper sounds. He follows the sound, inhales it, spits it like an air bag turned inside out until exhaustion, violent, playing and dancing, willing the front rows to give in to his murky eroticism.

Urabe is a magnificent musician, even though he ends up trashing everything, leaving only a mutilated musical body behind. Strangled notes, no melody, just breath, spat air, un chant d’amour." - An Archives.

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After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.

This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).

Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.

Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.

Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).

So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.
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