|
|
|
|
viewing 1 To 25 of 36 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
PSF 193CD
|
"Formed in 2007. An improvising trio consisting of guitar, contrabass and percussion. The group aims at the sublime, whispered in a uniquely Japanese sensibility." Previously featured on Tokyo Flashback Vol. 7.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 189CD
|
"An essential document of the psychedelic improvisation scene that exists in the deepest catacombs of the Tokyo underground! Includes unparalleled live performances by six of the scene's freshest groups. Recorded live at the legendary Koenji Show Boat venue in Tokyo on May 31, 2009!
1. Le Son De L'os - 'Still Water' : An improvising unit formed by Yuko Hasegawa from Onna-Kodomo, Masahiro Deguchi from Gendai Sokkyo, and Shizuo Uchida from Hasegawa-Shizuo. The group began playing together several years ago, concentrating on outdoor performances. Deguchi's flute and guitar swim freely creating circles of ma, while Uchida's bass and subtly profound voice and acoustic guitar knit together sounds that exist solely at their instant of creation.
2. Bon no Kubo - 'Untitled' : Formed in 2007. An improvising trio consisting of guitar, contrabass and percussion. The group aims at the sublime, whispered in a uniquely Japanese sensibility. Drums, Percussion: Naoto Yamagishi; Contrabass: Shintarou Takasugi; Guitar: Masahiko Ota
3. Derakushi - 'Red Shoes 303' : Formed in 2008 at Suzuki's instigation. The project aims to express everything that bubbles up during performance or is generated as its by-product, without hesitation or exception. The group had one track on Real Japanese Underground 2008 compilation on the Lost Rivers Project label.
4. Sabu Orimo Unit - 'Inochi' : Natural-Bore Shakuhachi: Sabu Orimo; Harmonica, Drums: Tomohiko Namiki
5. Touyounomajyo - 'White Light Spear' : Formed in January 2008 and active in live houses around Koenji. They have released several live recordings.Guitar, Vocals: Keisuke Kajiwara; Bass: Mitsu; Drums: A.
6. Hasegawa-Shizuo - 'Gray Ray' : Improvising duo of Hirotomo Hasegawa and Shizuo Uchida. Their genre-less music blends ma (space) and drone, while internalizing noise, ethnic music and contemporary composition. Their performances are made up entirely of sounds produced in the live moment and space. To date they have released three albums, on PSF, Tiliqua Records and haang niap Records. Hichiriki, Voice, etc.; Hirotomo Hasegawa Bass, Voice, etc.; Shizuo Uchida."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 191CD
|
"I came up with the title 'He would come home through the window, job in hand' for a dance performance by Mari Fujii. We hung a large frame made out of cardboard on the stage, and Mari would dance -- sometimes within the frame like a dancing girl at one of the old Nichigeki reviews, sometimes stepping outside it -- while I watched and played piano." -- Tori Kudo
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 188CD
|
"Another first release on PSF for Miminokoto, a Tokyo-based garage psychedelic rock trio who have previously released a string of acclaimed albums on the Alchemy, Gyuune, Siwa and Last Visible Dog labels. This is the group's first album since Junzo Suzuki (20 Guilders, Astral Travelling Unity, ex Overhang Party) took over on vocals and guitar. The key to this group has always been their deep sense of song -- a densely emotive core around which the songs surge, billow and break. That core is retained here with an even harder psychedelic edge to the guitar. Includes two covers of songs by the late Jutok Kaneko of Kousokuya. Forty minutes, seven tracks." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 185CD
|
"Document of a live show by the most gorgeously acid folk-esque of Japan's female singer-songwriters. A piece of dazed, limpid dream-beauty, with a tremulous, wavering intensity all its own. Since recording her first demo cassette in 1997, Ai Aso has released two full studio albums. She has connections with the cream of the Tokyo psychedelic underground -- You Ishihara (of White Heaven and The Stars) produced her albums; Michio Kurihara, Wata (of Boris), and Chiyo Kamekawa (of The Stars and Yura Yura Teikoku) have played on them. Includes a guest appearance by Go Hirano on piano. Six tracks, thirty-six minutes. Booklet includes lyrics and liner-notes in English and Japanese." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 184CD
|
"Document of a recent (November 2008), intimate live show by Reiko Kudo and her husband Tori (of Maher Shalal Hash Baz fame). Long two of the most original figures in the Japanese underground, Reiko sings of the subtlest of everyday epiphanies, of those instants of momentary joy, pain and delight that flash by like ghosts glimpsed from the corner of the eye. Their simplicity and mystery is entirely disarming and deeply personal. She sings from a position of unforced naturalness, where both melody and vocalization are reduced to the thinnest of transparent, gossamer layers of art draped over reality. Simply astonishing. Tori and Reiko have been pivotal figures in the Tokyo underground since the late 1970s, when they were in a organ-drone and trumpet-blat group called Noise. Over the last dozen years Reiko has released a series of five solo albums under her own name. Seven tracks, forty-seven minutes. Booklet includes lyrics in English and Japanese." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 186CD
|
..Memories Of Yasushi Ozawa. "Conceived of as a tribute to the late Fushitsusha bassist Yasushi Ozawa, who passed away in February 2008, this CD presents a fascinating and rare glimpse of the nascent Tokyo underground scene, circa 1977/1978. Another piece of the puzzle! Compiled by Satoshi Sonoda, who led a student club at Meiji University dedicated to the performance and appreciation of free and out musics of many stripes, the CD documents the fascination with musical collisions of free jazz, rigorous twentieth century composition, art-inspired free improv moves, as well as the fried gargle of acid punk. Capturing small scale shows in after-hours university classrooms and tiny clubs, this is a music that is just intensely evocative of its specific time and place. Includes appearances by Yasushi Ozawa, Satoshi Sonoda, Chie Mukai, Masami Tada, and members of Gaseneta. Seven tracks, 75 minutes. Includes extensive, detailed liner-notes about the people, places and happenings of late seventies Tokyo by Satoshi Sonoda in both Japanese and English." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 183CD
|
"Volume 3 in the ongoing Japanese Avant-Garde Cassette Reissue Series. The '80s and early '90s saw a great deal of fascinating and exciting material released on cassette in the Tokyo underground. While some of the more noise-oriented stuff enjoyed a modicum of international distribution, the avant-garde material generally did not. This series, whose first release was Iro / Tamafuri (PSFD-180), aims to rescue the best of this material from historical oblivion. Schitosoma Japonica (AKA Nihon Juketsu Kyuchu) were a cracked avant-garde, recording-only offshoot of the freeform rock band Amanita. Formed around 1990, the group lived a communal existence in Saitama, on the northern borders of Tokyo, experimenting with music, magic and psychological experiments. 'Our basic performance style was completely freeform, utilizing prepared instruments and rejecting regular rhythms and melodic development. Our abiding themes were communication with the afterlife/cosmos and the manifestation of paranormal accidents. We would jam endlessly until our performance space was filled with the 'signs of blood and feverish becomings'. For us, performance was a kind of ritual.' The group released a clutch of barely distributed cassettes in tiny editions. This CD compiles the best of them, sifting through the detritus of a technological society to float between noise, drone and ritualized avant-garde gestures. Eight tracks, fifty-four minutes. Liner notes in English and Japanese." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 182CD
|
"Volume 2 in the ongoing Japanese Avant-Garde Cassette Reissue Series. The 80s and early 90s saw a great deal of fascinating material released on cassette in the Tokyo underground. While some of the more noise-orientated stuff enjoyed a modicum of international distribution, the avant-garde material generally did not. This series, whose first release was Iro / Tamafuri (PSFD-180), aims to rescue the best of this music from historical oblivion. Toukaseibunshi (Permeable Molecule) was an ultra-mysterious solo unit created by Hironari Iwata. Iwata was a footnote figure in the world of Japanese avant-garde/noise from the mid to late eighties. As well as Toukaseibunshi, he also recorded under the name Haiginsha, ran the Angakok cassette label and wrote for various magazines. There's an unshowy stoicism to Iwata's investigation of drone, clank and crackling sustain, a deep seriousness of purpose that beguiles as much as it confounds. Six tracks, fifty-eight minutes. Gatefold papersleeve." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
DVD
|
|
PSFDV 004
|
"Enticing archival document of an early (1987) show by wide-eyed mystics Maher Shalal Hash Baz at Kid Ailack Art Hall, Tokyo. The visuals provide a rare and valuable opportunity to pick apart the working methods of one of the Japanese underground's most truly original and agile thinkers, Tori Kudo. In Maher Shalal Hash Baz, he took the heterophonic voicings, the deliberately fluctuating rhythmic mis-steps and the non-unison unison so characteristic of Japanese traditional music and re-applied them to idiot savant mini-hymns arranged for electric guitar, euphonium, ocarina and organ. It's a music that exists in a unique world of its own, alternately donning and shedding the armor of rock and jazz. Another major draw is the presence of the late Masami Shinoda on alto sax. Shinoda was an important, though largely unsung, figure in the history of the Tokyo underground during the '80s and '90s, showing up in all manner of groups from punk iconoclasts Jagatara and Pungo, to his own experiments with chindon marching advertising bands. He spent a few years in Maher in the '80s and this DVD captures the innocent joy and rapturous invention he brought to their music. 24 tracks, 75 minutes." Color, NTSC Region Free (says Region 2 on the package, but that is a typo, it plays Region Free), Stereo, 08.09.21.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 181CD
|
"A sparse and stripped-back yet fully-impassioned meditation on time, history and freedom. Surreal folk meets free jazz. Two tracks, including a 24-minute, one-take masterpiece. Ryojiro Furusawa is one of Japan's most respected jazz drummers, having played from the late '60s with everyone from Yosuke Yamashita and Sadao Watanabe to Yuji Imamura, Maki Asakawa and Shang Shang Typhoon. He's also been a long-time collaborator with Kan Mikami, appearing on Kan's Bang! album in 1974. Kan Mikami is Japan's wisest and wildest folk-poet, a surreal master of the non-sequitur blues, a worldclass howler of truth and passion. This is the duo's third album, following Shokugyo (1987) and Dereki (2007). Gatefold high-gloss papersleeve, including lyrics in Japanese and English." -- Alan Cummings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 180CD
|
"An ultra mysterious blast from the deepest underground! Iro were (and still are) a little-known shamanic improvisation unit, consisting of Kawasaki-based husband and wife Shizuko and Toshio Orimo. Formed in 1981, they released a number of cassette-only albums during the '80s. Deeply suspicious of the merest whiff of commercialism, they never took the opportunities for greater fame -- in spite of some substantial media coverage in Japan at the time. The duo still perform today, in a more ethnic, esoteric ritual mode. Tamafuri was originally released on cassette on their own Shaman Label in 1985. It's a fantastically charged blend of ultra-propulsive ethnic drone, free jazz drumming with harsh noise textures and intense, almost possessed vocal incantations from Shizuko. As Takeo Udagawa puts it, 'their high-energy improvisations feel intensely dangerous, like a nuclear reactor-core going into meltdown, throwing out waves of radiation and intense heat.' A must for any true believer in the power of wailing blurt -- from Keiji Haino, to LAFMS, to Takayanagi. Comes with great contextual liner notes (in Japanese and English) by fringe music researcher Takeo Udagawa. And, yes, Shizuko and Toshio are indeed the parents of young shakuhachi sensation, Sabu Orimo." -- Alan Cummings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 177CD
|
Alto saxophone -- Tamio Shiraishi; Alto saxophone, piano molanica, etc. -- MICO. "A rare live album from one of the major names in the Japanese free noise underground, Tamio Shiraishi. Shiraishi was one of the major movers in the free noise/underground rock/DIY improv Minor scene of the late '70s and early '80s that gave birth to so many of the major names in the Japanese underground. He was a pivotal member of a large number of groups associated with the scene, including Keiji Haino's Fushitsusha. But Shiraishi has rarely recorded and thus enjoys far less name recognition outside of Japan. He has lived in New York City for the past decade or so, collaborating with the likes of Sean Meehan and the No-Neck Blues Band. This compilation of live recordings captures Shiraishi live in Europe, the U.S. and Japan between 2001 and 2007, together with NNCK member, MICO. Forceful, intense, chaotic improvisations for saxophone, vocals, percussion, piano etc. Shiraishi's trademark ultra high-pitched dog-whistle sax and guttural vocals are showcased to full and outstanding effect." -- Alan Cummings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 171CD
|
Tokyo free jazz/improvisation project. Featuring: Masahiro Deguchi, Hiroyuki Usai (ex. Fushitsusha), Hirokumi Uemo, Masaaki Motoyama. "Another piece of ineffable mystery from the deepest bowels of the Tokyo underground. Led by flautist and guitarist Masahiro Deguchi, Gendai Sokkyo (the name means 'Contemporary Improvisation') are a group with no discernable history, who seem to have sprung from nothing to fully-formed life. As the name suggests, the group showcase an improvisatory fusion of methodology and sound palette, drawing upon free jazz/free improvisation, avant rock moves and the textures of contemporary classical. An explosion of weird dynamics, suggestive in its inclusiveness and entirely psychedelic in its approach." --Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 169CD
|
"The long awaited return of PSF's legendary, scene-defining compilation. For two years since the release of Tokyo Flashback 5 in 1995, we have been scouring the deepest dives in the darkest alleyways of the Tokyo underground in search of the newest mutated manifestations of the lysergic paradigm. The quest has not been an easy one, but now after dozens of gigs and hundreds of hours listening to demo CDRs, we have finally reached its conclusion. Tokyo Flashback 6 presents the fruits of that search, a treasure trove of the unheard. Twelve new groups poised on the cusp of greatness, driven by a fervent belief in the transformational potential of sound and the dimension-altering power of cranked amps, delay pedals and a third-eye opened to the cosmos. The groups included span a wide definition of the psychedelic, from the no-wave intensity of Onna (led by underground manga artist, Keizo Miyanishi), to the acid-punk splatter of Ainotamenishis, the art-school insanity of Kinky Pigeon, and the loner canyon-magic of Genshi. -- Alan Cummings. Featured groups: Ahobune, Hananoyoni, Onna, Yamashirube, Sarod, Retort Mandala, Ainotamenishis, Kinky Pigeon, Yakochu, Ogikubo Connection, Masami Kawaguchi, Genshi.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 168CD
|
"Hideaki Kondo (10-string gut guitar, gut guitar); Michio Karimata (flute); Jun Kondo (contrabass); Osamu Nomura (percussion). First solo album by Hideaki Kondo, leader of Japanese leading improvisation collective, Exias-J. Kondo is known for the theoretical rigor that lies behind his technical mastery of the guitar, and for the multiplicity of his methodologies, encompassing free jazz, avant-garde, rock and folk forms. As in the playing of the late Masayuki Takayanagi, there is an originality and clarity of thought, a combination of historical understanding and contemporary intentionality in Kondo¹s approach to guitar improvisation that is simply stunning. This first solo album presents Kondo largely on ten-string gut guitar, moving with an uncanny grace and concentration from stone melodic beauty to densely structured improv violence. Fabulous support work from Exias-J regular Kondo, and sometime Keiji Haino collaborator, Michio Karimata."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
DVD
|
|
PSFDV 003
|
"'Free improvisation may have provided the original touch-paper for Exias-J's inception as a group, but by the time of the performances documented on this DVD we had gradually begun to move beyond it as a category. For instance, we began to incorporate deliberate internal structures in the form of compositional techniques such as minimalism, twelve-tone or atonalism, and we started to interrogate musical forms such as the sonata or ostinato. Or else in performance, we adopted approaches such as reliance upon a restricted number of modes, variations on a particular theme, extended instrumental technique, and forms of expression based on (non-harmonically structured) sound images themselves. In order to construct these phenomenological relationships, multiple techniques have been employed here, however, they appear to be completely subordinated to receptive function of the viewer and the creative function of the musicians. I believe that this is something of which we can be justifiably proud. Since music relies upon these phenomenological relationships as its medium, I never like to make light of the methods by which modes and phenomena can be generalized, however, I have no desire to turn a method into a goal.' --Kondo Hideaki. Third release on PSF by Exias-J (Experimental Improvisor's Association of Japan), Japan's most conceptually-determined improvising collective and their first DVD. Containing three performances from Tokyo and New York, this is a challenging clash of methodologies and sonorities, hugely exciting in its electric power and formal heft. 142 minutes, region free, NTSC format, 4:3."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 167CD
|
"Fantastic album of pure guitar and drums brutality (and the first non-Japanese release for PSF in several years) from the greatest noise musician in China, Li Jianhong. Long resident in Hangzhou, Li has released several records on his own 2pi label, including solo noise work for TV monitors and an album by his avant-rock unit, Second Skin. He also curates the annual 2pi noise festival in Hangzhou. He played at the Nuit Blanche festival in Paris in 2004, and this will be his second non-Chinese release. It is kind of amazing to think that China has already managed to produce a musician as au fait as Li Jianhong obviously is with the whole free noise aesthetic. D!O!D!O!D! is a full-on duo with drummer Huang Jin that mines the rich seams previously explored by Munehiro Narita's Kyoaku no Intention and Rudolph Grey's Blue Humans. Endlessly thrilling free psych-noise guitar blurt that bundles up enough flailing electric energy to illuminate half of Shanghai." -- Alan Cummings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 8023CD
|
Kan Mikami: vocals, guitar; Masayoshi Urabe alto, harmonica, bass blockfloten, accordion, piccolo, chains; Toshi Ishizuka drums, percussion. "Ultra-heavy first album by new PSF super group, Sanja, consisting of gravel 'n' glass-voiced crooner Kan Mikami, the scene's heaviest tub thumper Toshi Ishizuka, and alto terrorist and veritable rock 'n' roll breather Masayoshi Urabe. The three first played together at a concert to mark the 25th anniversary of the founding of PSF Records last year, and the intensity of the heat they generated has already become the stuff of Tokyo underground legend. The trio were quickly hustled into a studio to record their first album and the results are now available for the listening pleasure of all of you who couldn't make the gig. There's a purity of improvised one-mind destruction on display here that is humbling to witness. All three are recently playing at unprecedented heights -- Mikami's vocals and Urabe's alto carve great mercury swathes through the moist air, while Ishizuka deep-shifts tectonic plates beneath their feet. Veteran Mikami watchers are in for a treat of their own, as the master revisits 'Karasu' from his debut album for the first time in 35 years." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TOMOKAW 005CD
|
Fifth volume in the PSF Picture Jacket Collection of Tomokawa reissues. Originally released as PSF 065CD. Tomokawa's seventh release for PSF consists of live performances recorded in 1993-95 at Shibuya Apia. He plays acoustic guitar and sings throughout, with only minor backing on piano or accordion. The power of musical performance demonstrated here is typically staggering; Tomokawa's guitar playing is purely invigorating and intense (as physical as acoustic playing can get), and his voice is a towering outlet; an emotional songform beyond all international limits.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 164CD
|
"Maher Shalal Hash Baz stand at the pinnacle of Tori Kudo's eccentric and beguiling musical weltanschauung, a stew of soaring melodic genius, naïve wisdom and the eternal amateur freshness of left-footing your own brain. Emperors of error, indeed. Their very special talent has been recognized by a slew of underground labels across the world and garnered them famous friends and fans aplenty including The Pastels. But until now, the very earliest roots of the band have remained shrouded in misty tendrils of mystery. Kunitachi Kibun delves deep into the band's beginnings, presenting two previously unreleased gigs, including their first show from December 1984 when they played in a legendary triple header with High Rise and Kosokuya at the Kid Airaku Hall in Tokyo. The second show from six months later includes an appearance by the late alto saxophonist Masami Shinoda. Both soar with idiot-savant genius, Tori's truly distinctive guitar and vocals creating their own idiot-savant networks of logic with the rest of the group. A stupendous glimpse into a simpler world of communal transcendence and music making." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 163CD
|
"Debut album by a new improvisation group consisting of Hirotomo Hasegawa and Shizuo Uchida. Both have a leather-bound folder full of underground back-story -- Hasegawa was the lead singer of seminal early eighties Japanese punk/hardcore group Aburadako (Greasy Octopus), while Uchida was a long-term member of Haino's Nijiumu medieval dream-drone unit. The group's instrumentation is highly unorthodox, placing Uchida's mysterious bass textures against the wet skirl of Hasegawa's hichiriki, an ancient double-reed wind instrument whose haunting upper register tones are an unmistakable feature of gagaku court music. Hasegawa brings a bucketful of phlegm to his approach to the instrument, out-honking Zorn's duckcall work by a marshy mile. Uchida also contributes some striking ichigen (single-string) koto. Deliriously psychedelic, fully immersive drone and oriental wind works in the grand tradition of Taj Mahal Travellers, Nijiumu, Marginal Consort and too few others." -- Alan Cummings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 160CD
|
"In 2004, Tokyo's PSF and Osaka's Alchemy labels, twin pillars of the Japanese noise, punk, psychedelic, whatever underground celebrated two decades of against-all-odds paradigm deformation, world domination, and unrepentant synapse mangling. To commemorate the occasion, two joint concerts were held at The Doors and Super Deluxe in Tokyo, bringing together luminaries from both labels in a celebration of freedom spirit and independent thinking. Some of the most exciting music from these concerts arose out of audacious and inspired one-off collaborations. Thus, thoughtful free guitarist Kazuo Imai joins pro-wrestling noisicians Incapacitants in the volume tag-team to end them all; Kan Mikami and Jojo Hiroshige get together to compare buzz-cuts and one-man against the universe philosophical approaches; and Junko (of Hijokaidan) researches upper register oxygen levels with alto terrorist Masayoshi Urabe; and trembling late night atmospherics are deep-mined to sensual and sensitive effect by Go Hirano and Maher & Majikick stalwart Takashi Ueno. A true testament to the multi-faceted beauty and creative power of the Japanese underground." -- Alan Cummings
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
PSF 8021CD
|
Keiji Haino (drums). "Rhythm, duration and silence lie at the foundation of all of Haino's music. After a clutch of documents of his hair-raising solo performances for both acoustic and electric percussion, this latest album presents Haino's first recorded outing behind a regular drumkit. Haino has long desired to release a solo drum album, and he has been playing a regular kit occasionally live for several decades now. Global Ancient Atmosphere (the alternative Japanese title means 'These signs, a sealed beginning') contains nine tracks that showcase an austere yet thrilling investigation of attack and decay on nothing less than the molecular level. As inimitable, and as life-affirming as ever." -- Alan Cummings.
|
viewing 1 To 25 of 36 items
Next >>
|
|