Kyozin Yueni Dekai for Big In Japan 2011 [read more]
Osaka’s breakcore wonder boy in Sydney and Melbourne this month [read more]
Avant-garde khoomei singer Fuyuki Yamakawa for Big In Japan 2011 [read more]
Onnacodomo bring make believe worlds to Australia [read more]
One half of Afrirampo forms monmontonight [read more]
Hitoshi Nomura shooting sounds [read more]
Looking and hearing material from ‘post-music’ band Asa Chang & Junray [read more]
Travel through 3D dubbed up psychedelic mangas with DJ SHABUSHABU and Usamu Okamoto [read more]
On the eve of the first Big In Japan 2010 event, guest artist DJ SHABUSHABU talks to a local DJ SHABUSHABU supporter about music, skin, medicine and endings [read more]
Trippple Nippples release their first EP(PPP) [read more]
Enigmatic pop star Jun Togawa has more than just banana eyes [read more]
A gift of instrumental Japanese krautrock magic from the year 2000 [read more]
Improbable instrumental inventions from Maywa Denki [read more]
Big news concerning the real live Boredoms [read more]
“There are many copy bands, but I am the best,” says Aikawa Masaru [read more]
The Biennale of Sydney has just opened and the amazing Superdeluxe program at Artspace kicks off this week with OORUTAICHI, bringing his ‘progressive drifting folklore music’, own invented language and penchant for primary colours all the way from Osaka to Woolloomooloo [read more]
Japan’s semi-faithful Devo devotees [read more]
Listen to the voice [read more]
Improv forest post-rock from OOIOO who prefer to play their music to trees than people [read more]
Kiiiiiii according to Kiiiiiii [read more]
It seemed like a pretty standard uptight fashion week party at TRUMP ROOM last night, until the Trippple Nippples exploded onto the dance floor with screams, water pistols, glitter bombs, fake blood and feathers, whipping everyone up into a messy mania before disappearing as quickly as they appeared. You better brace yourselves for these guys before they perform at our event in December! [read more]
On the rooftop of an abandoned school near the flashing lights and madness of Tokyo’s Akihabara Electric Town, there is a nightly happening comprising kinetic sculpture, balloons, instrumental inventions, light, sound and performance art [read more]
Unlike a lot of experimentation in noise aesthetic, Monthly Hair Stylistics possess an irresistible brand of hilarity and silliness [read more]
Meet the Trippple Nippples, your new best friends / favourite Tokyo fem performance outfit. They will bring to the relationship their unhinged DIY aesthetic, an inimitably intense live energy and a song about teaching your nipples to speak. ‘Express’ yourself! [read more]
Tenniscoats is: Saya and Takashi Ueno, and a plethora of floating members >>> Stripped back, left-field pop and delicately psychedelic folk >>> Sweetly naieve melodies, detuned pianos, woodwind instruments and distorted synthesizers >>> About to bring their emotive live performances to Australia, thanks to Room40! [read more]
When Makoto Azuma moved to Tokyo with his band, he didn’t expect to find himself in a flower shop. 12 years later, the artist and musician has cultivated a new approach to creative practice through his florist Jardins des Fleurs. Former curator of AMPG Gallery (where he installed one exhibition per month for two years) and previously featured at Milan Design Week and colette in Paris, Makoto’s green projects are sprouting a healthy reputation far outside of Tokyo. We present a sampling of his work here [read more]
Pikachu (drums, vocals) and Oni (guitar, vocals). Two Osakan girls with penchants for red, Africa, catchy melodies, free noise, volume, improvisation, call-and-response vocals and jumping. Since forming in ’02 they’ve toured and collaborated with the likes of Acid Mothers Temple, Sonic Youth, Lightning Bolt, Yoko Ono and Keiji Haino as well as recorded nine albums and temporarily disappeared into the Cameroonian jungle to live with Pygmy tribespeople [read more]
Formed in 1978, Yellow Magic Orchestra exerted a huge influence on the electronic musical landscape of the late 70’s and early 80’s, and they continue to be a reference point for many contemporary artists [read more]



























