The Clone Factory in Japan can “clone” your likeness onto a doll, which brings a whole new meaning to playing with yourself.
Check the full story here.
A picture tale of doll cloning, after the jump…
With thanks to Steve Duffy
Mr. Roku, Japanese kid wrestler, makes mincemeat of opponents 10 times his size using the high flying lucha libre style.
The little dude is an aerodynamic fighting machine. But, the girl in the second video is the Goddess Kali incarnate. Pretty in pink and deadly.
The Rug Cop is a spoof of 1970s Japanese TV cop shows. Directed by Minoru Kawasaki, The Rug Cop takes you on a wild ride of crime-fighting madness on the steets of Tokyo with a wig-tossing cop as the main hero.
(via Neatorama )
One Redditor guesses the flavor as “Honey Nut Crunch.” That looks pretty accurate to me.
(via reddit)
Tamori wearing his signature shades
This wonderfully surreal clip from a 1986 episode of Japanese TV variety show It’s Okay To Laugh hosted by popular comedian Tamori (who is never seen in public without sunglasses) takes a classic Japanese fairytale called “The Peach Boy” and melds it with American jazz to create something truly unique. And it gets progressively more unique as it goes along.
Featuring “Milestones” - Miles Davis, “Misterioso” - Thelonious Monk, “Sister Sadie” - Horace Silver, “Waltz For Debby” - Bill Evans, “Doxy” - Sonny Rollins, “Maiden Voyage” - Herbie Hancock, “Donna Lee” - Charlie Parker, “Moment’s Notice” - John Coltrane…and more.
Latest Japanese fetish wear craze. I really don’t know what else to say here.
Check out… if you dare: Sexy Sheep, Pink Cow and F*cking Poodles. Arghhhhh!
(via Coilhouse)
Today I lay before you two LPs by possibly the same artist (nobody knows for sure who these people are !) from mid-70’s Japan that I’ve long felt represented some of the strongest home-made psychedelic music ever made. I give you my ever-effusive compatriot, Eric Lumbleau of the mighty Mutant Sounds blog to illuminate further:
These mid-‘70s releases - by interconnected musicians about whom nothing is known - represent two of the highest peaks of Japanese psych-prog weirdness. Brast Burn’s Debon is an intricate con catenation of cascading sleigh bells and hand drums, windswept Himalayan acid atmospherics, bottleneck acoustic-guitar twiddle and Damo Suzuki-like mantric babble. All of the above is held aloft by a synthesist with a terminal case of pitch wheel woozies and is strategically embellished with outbursts of tumbling bass drums, spiraling flutes and recorders, and some exquisitly hallucinogenic electric guitar. Coming on like an eternal cosmic caravan, the whole damn thing is soaked in a higher-key music of the spheres vibe. Yes, Brast Burn are indeed the real goods, and they will suck you into a hypnogogic reverie. Karuna Khyal are, by contrast, an altogether more psychotic proposition, quite capable of inducing frontal lobe fatigue in those lacking a hardy constitution. Great monolithic slabs of damaged, half speed Beefheartian swamp dirge, replete with squawking, overblown mouth harp, collide with undulating waves of Throbbing Gristle-esque electronic distortion, as the group stridently trudge across your neuroreceptors and eroding your sanity. Attempting to reconcile the contents of those disparate dispatches is a losing game. If there ia any thread connecting these excursions, it’s in the mantrically intoned vocals that wend their way through both of these outings; though the volatility of the vocal delivery on Alomoni 1985 renders even these ties tenuous. Suffice to say, both of these forays into the outer reaches of sound are perched near the zenith of radical innovation.
It’s true, rock ‘em loud !
Brast Burn - Debon SIde One
Brast Burn - Debon Side Two
Karuna Khyal - Alomoni 1985 Side One
Karuna Khyal - Alomoni 1985 Side Two
I echo the sentiment of my friend and label-mate, Shannon Fields when he asks, “Will one of my Japanese friends please tell me what this is all about and what Jim is doing? Thanks!”
O’Rourke is one of the most consistently interesting and talented composers of the last few decades and it’s inspiring to see the way he’s constantly learning and branching into potentially uncomfortable new creative situations. Check out the fluent Japanese on this guy !
With thanks to Shannon Fields
Sekitano Norihiro’s surreal collage work is a mindbending explosion of day-glo entrails, lysergic flowers, primitive Japanese medical illustrations, torture devices, pop art advertisements, Tibetan hungry ghosts, and mutant babies, rendered in such a way as to maximize the nightmare factor. Into the Bardo. See more here.
“I use pictures of bowels because they have such beautiful colors! My artwork doesn’t mean anything more than how it looks. There is nothing more that I want to explain using words.”
Brutal video delirium from artist Norihiro for Japanese breakcore musicians Maruoso and ZFE (zombie face eater).
ZFE after the jump…
Back in 1990 Pianist Aki Takahashi commissioned many of the world’s leading experimental music composers to re-interpret songs by The Beatles for her to perform on an album amusingly titled Hyper Beatles
Bonus: A performance of Alvin Lucier’s Nothing Is Real which was originally composed for Hyper Beatles.