She’s always trusted her gut in 1977, she flew to London to see the Sex Pistols live, because she wasn’t content with experiencing them through recordings. As she has said in the album’s press materials, “Personally speaking, I’ve stopped being able to see a future that extends from the present.”
The album is simultaneously dystopian and oddly human-a transmission rooted firmly in the present with little concern for what will happen tomorrow. She’s just released New Decade, a stunning solo album recorded in her home studio in the Tokyo suburb of Kawasaki during the pandemic. She’s a genuine autodidact, mostly developing and honing her practice on her own, while occasionally collaborating with an international cast of heavies including members of the legendary German band CAN, American experimentalist John Duncan, Raincoats member Ana da Silva, one-time Boredoms guitarist Seiichi Yamamoto, and musical polymath Jim O’Rourke. I think this is a terrible thing.” The truth is that she has changed, while remaining true to herself, operating at the fringe of her homeland’s experimental music scene while also retreating for years at a time. In a recent interview, she self-effacingly claims that, “It’s been over 40 years, and I’m still making music the same way.
For nearly four-and-a-half decades the Japanese singer known as Phew (neé Hiromi Moritani) has blazed her own path, trusting instincts that she’s stubbornly refused to temper.
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