The longform instrumental pieces of Vertical Jamming first appeared on a self-released tour only CD in 2016. Subsequently they were issued in a mail order cassette edition by Disciples. The pieces have now been specially edited by Phew for this first time limited edition clear vinyl pressing, cut by Dubplates & Mastering in Berlin.

Explaining the background to the music, Phew comments: “Drone was recorded in 2014. It is a track that expresses the mood of those days, guided by the sound of a very simple oscillator. At the time of the catastrophe in Japan in 2011 and the Fukushima nuclear accident, and the change of government in 2013, I didn't feel like singing at that time, and instead started making music using a very simple oscillator. Cheers and Encore were recorded alongside the album New World using two more complex synthesizers. The content is a sequel to Drone, a sketch of the mental landscape from 2014 to 2015.”

The hypnotic sprawl of the music bridges the dystopian sci-fi soundscapes of Edward Artemiv’s Stalker soundtrack and the untethered generative labyrinth of contemporary Autechre productions, whilst still retaining smudges of human warmth that anchor the listening experience: a primitive Suicide-eque drum machine that drives the hums and bleeps of the synth forward, or a drone collapsing into squawks and trills akin to a flock of birds.

Phew is a legendary figure in Japanese underground music. Starting out in 1978 fronting one of Osaka's earliest punk groups, Aunt Sally, and going on to collaborate with a whole host of notable names as a solo artist in the 80s, including Ryuichi Sakamoto, Conny Plank, Holger Czukay and Jaki Liebezeit of Can, Alex Hacke of Einstürzende Neubauten, and Chrislo Haas of DAF. In recent years she has made music on record or live with Ana Da Silva of The Raincoats, Jim O'Rourke, Oren Ambarchi, Ikue Mori, and Yoshimi of OOIOO / Boredoms / Saicobab.

LP Tracklisting: Side A. Cheers [vinyl edit] 18:48 Side B. Encore [vinyl edit] 19:45