"Under the declared state of emergency due to the COVID 19 pandemic, I am recording the next album in my room. For me, recording is about creating my own future, and I am working on it everyday sometimes suffering from auto-intoxication. Recording makes the future, In other words, my present might be reflected in what was recorded in the past. So I dug out three songs tracks from my old hard drive that mirror the current situation and edited a mini-album. Synthesized dimensions for Len Lye Trilogy is the sound source I provided for the exhibition Sensory Agents at the Govett-Brewster Art Gallery in 2018." - Phew --- Phew / voice & electronics --- Recorded at Phew’s room in Kawasaki 2015-18Mixed by Hiroyuki NagashimaPhoto by Masayuki Shioda Artwork design by Oliver Barrett 'Synthesized dimensions for Len Lye Trilogy' - Recorded in 2018 Courtesy of Govett-Brewster Art Gallery and the Len Lye Foundation. Commissioned by the Govett-Brewster Art Gallery for the exhibition Sensory Agents, 2018 'Can you keep it down,please?' Recorded in 2016. Featuring Hiroyuki Nagashima on synthesizer. --- Phew's Bandcamp page

“Patience Soup presents the entirety of a live performance from the trio of Oren Ambarchi, Jim O’Rourke, and Japanese underground legend Phew that took place at the Kitakyushu Performing Arts Center on November 4th, 2015. Known to many listeners outside Japan primarily for her early collaborations with members of Can, Phew has been undergoing something of a creative renaissance in the last few years, prolifically recording and releasing a body of work that strips away the band arrangements present on most of her past releases to focus solely on her raw DIY electronics and possessed vocal stylings. Forming a perfect companion to 2017’s well-received Voice Hardcore, a series of pieces composed of only her processed voice that saw Phew push her work into the most abstract terrain yet, Patience Soup finds the trio inhabiting an uneasy landscape of moans, howls, and smeared electronic sonorities. Presented in atmosphere-enhancing room fidelity, the set begins in crunching textural abstraction and Phew’s vocal asides, set against a backdrop of Ambarchi’s shimmering Leslie-cabinet guitar tones and O’Rourke’s synthetic slivers. A testament to the risk-taking prowess of these three master improvisers, the performance moves organically from ecstatic crescendos powered by Phew’s processed wails to moments of near-silence in which a translucent veil of lingering electronic tones is gently punctuated by O’Rourke’s chiming piano chords. Constantly shifting, both harmonically and dynamically, Patience Soup is suffused throughout with a haunted energy and shows these three established figures continuing to venture out into uncharted territory.”