Moritani Hirami-legendary prima donna of japanese underground scene.At that time her "Aunt Sally" had been one of the first japanese underground group.She managed to work with such stars of local electronic scene as Ryniichi Sakamoto and Otomo Yoshihide.Sye collaborated wiht such masters of new-jazz avantgarde as John Zorn,Bill Laswell,Bootsy Collins.But the greatest success fell upon the mysterious singer,made her legendary mistress of european music,in the beginning of 80es,when with the help of Conny Plank,chronicler of german progressive "kraut-rock",she recorded the joint album with musitians of group Can-Holger Czukay and Jacki Liebezeit.Thus progressive musical society knew the name of PHEW.
Ten years later,in 1992,PHEW returnd back to splash on "our likeness" her unbridred energy,luxurious rage of the voice and extravagancy of sound constructivizm in furious cocktail with Jacki and Alex Hacke (Einsturzende Neibauten).The works both became the respected classic,and the rare concerts-the events.First of such events happened in 1994,14th January, in the historical district Kansai (see "Exile Osaka",2'94).For NOVO-TONO PHEW invited Yoshihide and guitarist Boredoms Yamamoto Seiichi.I don't know what when has happened with the project,bur after edition "Panorama Paradise" PHEW informed about interrupting of group's existation.And during spring she took part in the joint concert with yîung and awfully dynamic Melt-Banana,participants of which Yasuko and Agata helped us to communicate with PHEW.
Continuing to be opressed for the promised by PHEW exclusive in the eve of New Year suddenly we received CD-single of her new project BIG PICTURE,strangled the errors of whose who thought that the Country of Rising Japanoise cheerlessly perished in mad noise carbon monoxide.Singing of PHEW is delightful.Deep pathetic spoken-vocal is like a rite,bewitchering,exciting,filled by ancient sacral-occult mystesizm,hypnosing and fascinating simultaneously.Spinning and flashing circle of psychodelic electro-transe and breaks of trip-hop,illusory rhythmical pulsations,this voice will remain you both syntetic rulades Deee-Lite and pseudo-pop,early works of Fred Prith.Debute demo BIG PICTURE is a collection of three graceful avant-synthi-techno-pop compsitions.From dance expression of "Door"s Hammond organ through fascinating reverbaration,remaining the works f Laurie Anderson,the voice goes to the veiled expression of background,academc whispering og grand piano,where early ntroduction (in the style of Diamanda Galas) change the aesthetical and romantic lullaby.Cover's design echoes t the exotical/space-virtuality:transpaent matrx penetrating by strict lines of hieroglyphs above red offsprint.
In the strange aestethic sound understanding modern japanese undergrond-music continues to wolf down all accessible euro-styles and trends,mixing it with the pesonal world-outlook and,sounding like music from Mars,as on moe nighty fair tale,as epos.And name of PHEW in the stream is like a graceful jerk (phew-phew!!!)for the coddled and degrating society of musical "pop-corn".

Igor Vaganov

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