This is Japan-based Takashi Wada's second full-length release on Onitor. His debut Meguro, was dedicated to pure pop ambient, deep and satisfying. This time around on Araki, Wada eschews the laptop performance in favor of playing guitar, piano and trumpet, but the conceptual basis remains the same: architecture, metropolis, landscapes, animals, humans and daily sounds. In opposition to his previous release, where he explored the pure transport of feelings, this time he aims a step higher, targeting self-realization. The album feels like unworked wood -- raw and rough, completely separate from its reformation into a usable human material. As a result he did not leave so much free space in this album -- every second is filled with sounds. Wada's process is full of references: jazz, art-rock, avant-garde as well as simple electronic tones. With this album, Wada manages to combine the past and future of electronic music into one concept without losing the status quo of our times. Araki is, all at once, a small bar club in New York in the late '60s, with Miles Davis performing, the Can studio in Cologne in the mid '70s, the disillusioned Sheffield of the '80s with the soundtrack of Warp, the hip-but-fucked-up post-Wall Berlin of the early '90s, as well as the pop academy of 2006 and the congress of future 2030.