You must live in tokyo to be able to follow the immense output of the soundburrier that is Masaya Nakahara, aka Violent Onsen Geisha, most of his work doesn't make it out of Satou Dan's Tatsunoya bar in Shinjuku, not because no one wants it, just because the tokyo noise scene seems to gather there late at night to forefil their pork anus - chicken paw needs, and Nakahara's last 40 cdr's were the ideal soundtracks for this ritual.the old skool dead pan electronics, plunderphonics, parodies, noise blasts and synth madness that Violent Onsen Geisha or Hair Stylistics released, have always been accompanied by titles and artwork that made you doubt if it was even necessary to listen or look at anything else, much like the lafms box on rrr now that i think of it. bullshit of course, like every record announcement!When i visited Tokyo in January i accidentally met Nakahara in a recordstore, we mainly communicated in sign language but he did remember that i asked him to do a record some years before, he sign languaged that he was bad with sending stuff in the mail and asked how many days i would stay in Tokyo, i made the rather simple hand gesture of putting 3 fingers in the air, which he replied to with the words A side tommorow. As accidentally, i bump into him again the next day carrying around the A side in his pocket, all made on that day with a heavy flu, which is hearable on the lp, a stripped down heavy dim sum of collaged tapes, mini electronics, coughs, sneezes, and ants! his big synths etc were all locked up somewhere. B SIDE ON MONDAY, which was the day i left, the legend goes that Tokyo airport had to call my name on the speakers as Nakahara brought the master to the airport, seriously a minute before my plane left to belgium again that monday. the cover design and insert was a trio work of Nakahara Masaya, Tomoo Gokita and Dennis Tyfus.