![]() To learn more about how and for what purposes Amazon uses personal information (such as Amazon Store order history), please visit our Privacy Notice. This is her debut album from 1981 which saw her teaming up with Holger Czukay & Jaki Liebezeit of Can & also with legendary Krautrock producer Conny Plank. You can change your choices at any time by visiting Cookie Preferences, as described in the Cookie Notice. Phew is the alias of a Japanese performance artist and former lead singer of Japanese no wave band Aunt Sally Hiromi Moritani. Click ‘Customise Cookies’ to decline these cookies, make more detailed choices, or learn more. Third parties use cookies for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products. This includes using first- and third-party cookies, which store or access standard device information such as a unique identifier. ![]() If you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie Notice. We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements. Most often she carries an incredibly strong debut as an equal partner with her heavy lifting companions, who leave us with another compelling artifact of the brilliant drum and electronic experiments that German music provided in the 70s and 80s.We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie Notice. But sometimes she’s hoarse and unsure, as if putting a recent dream into words. Often Phew is defiant within her echoey darkwave/proto-industrial cavern. I don’t know what her Japanese lyrics mean, but when a specific vocal style is used for some songs, like the lovely, weary piano anomaly of “Dream”, her role is easy to translate. As a vocalist, Phew is mercurial – both cold and passionate, singing badly to evoke freedom and sweetly to evoke intimacy. ![]() ![]() Phew is a distinct statement that stands up in its own right, but there is still something cerebral, powerful, and selective that begins here, as if Phew knew she couldn’t miss by working with the right people and aiming for the avant-garde jugular. But then there is the very Japanese statement of those zither-like synths. On the one hand “Closed” is heavily indebted to the Can/Plank influence - the song’s energy bubbles up from underneath with an electronic viscera of miked-up drums and dub energy, something that Plank was known for infusing into krautrock. The album kicks off with the bright statement of “Closed,” and yet it doesn’t fold small enough to be confined here. In the 90s she was a member of a Japanese supergroup Novo Tono which included Seiichi Yamamoto of The Boredoms, and she also worked with Ryuichi Sakamoto at the height of his creativity with Yellow Magic Orchestra.Īny attempt to understand Phew’s debut album as the defining event of her long career is like trying to shrink an exploded universe of creativity back into its Pandora’s box. It’s evident that it took persistence, savvy, and curiosity to have crafted so many albums with collaborators that seem heaven-sent. For her 1980 solo debut single, she teamed with Ryuichi Sakamoto and worked with members of Can on 1981s Phew and 1992s Our Likeness, both of which proved. But besides being in the right place at the right time for these collaborations, Phew’s career doesn’t live up to her cute escape-artist stage name. Her 1981 debut was recorded in the German studio of Krautrock behemoth producer Conny Plank before his death in 1986, with two members of Can. It’s also an apt name for a vocalist who has escaped every close call with mainstream recognition while still being a legendary contributor to avant-garde J-Pop, releasing an album as recently as 2010. “Phew” is an expression of relief for narrowly avoiding something.
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