Kyoto, Japan's answer to Heldon. Dense synth/guitar sonic excursions. This compilation has material from the 1st and 2nd albums + improvisation session, and bonus tracks.


First of all, the sounds of each track from (1) to (8) are remastered differently from the 1st and 2nd 2022 remaster versions.

Therefore, you can enjoy the difference in remastered sound. Furthermore, (9), (10), and (11) are not included in other albums.

(1) to (3) are excerpts from the 1st LP 'Interface', which was released in 1985 as an independent private release. Due to the CD maximum time, I edited a shorter version in each of the tracks.

(1) (2) This 'Interface' was originally composed in 1982 some parts as a work of OSIRIS. Since I got to know Ohta in June of the year it was recorded, we had been rehearsing this music, and it's not positioned as OSIRIS with guest, so our project team had started and continued for many years from here.

The first Heretic album was released as a private press LP.
Moriyama was a classmate of mine in high school, and I forced him to participate because I really wanted to incorporate the cello sound. At that time, I also took in many of his opinions and his advice regarding the direction of the music. He later became a famous university professor.

In addition to the composing and recording experience at OSIRIS, I tried to study about hardware technology (there was no MIDI specification at the time) and conceptualized musical direction/idea such as what sound is and what would happen if different cultures coexisted at the same time. Heretic also has the 'conceptual art' idea.

For example, I was using an analog synthesizers at the time, I have also practiced 'time art' that changes the timbre (synth's sound color) from moment to moment from this work.

In addition to the synthesizer's sound, I also partially processed for the hi-hat sound of the drum machine. Even at the time, this was not a popular approach.

Except for the improvisation, I was in charge of the basic composition, and Ohta was in charge of arranging and the rhythm's arrangement.

As I wrote in this CD's liner, the premiere of this Interface was performed with Yozox (Ain Soph's guitarist) at his wedding party in April 1983.

(3) The original version of 'El Rayo De Luna' was released on cassette during the OSIRIS era. The original version is included in Requiem's bonus track. This title was inspired by the short story by Spanish poet Gustavo Adolfo Becquer. Its English meaning is 'The Moonlight Ray'.

(4) to (8) are all tracks from the 2nd LP 'Escape Sequence', released in 1988 by the Belle Antique label, who also released this CD.

(4) The 2nd LP's whole A side was divided into 3 parts. The basic sounds are all electric guitar sounds. my guitar's delay loop is the basic structure, combining a digital delay, a chorus unit and an analog delay.

Especially in part 2, I used devices such as a pitch changer, sampling delay, guitar synthesizer, wah-wah, and analogue delay as I was searching for the possibilities of a new guitar sound. This track is also used tape collage, including subliminal processing, throughout.

Taiqui Tomiie (Bellaphon and Ain Soph) and Hiroshi Kanai (Rose Band) participated on this track as guests.

(5) Toru Ohta composed this music, which was created as a original, alternative soundtrack for the US movie, 'Fail Safe' (1964).

As of 2023, I think there is more and more recognition of the nuclear danger from a certain country. Since those days, we had such a sense of crisis, so if you are interested, please listen to it.

(6) 2 members from the Nagoya band, Anonymous played/sung their own music with Heretic arrangements. (Original song title was 'Song of the Bard').

(7) is a session take on tape, composed and played by Yozox Yamamoto (Ain Soph). In fact, due to a miscommunication (my fault), he had been thinking about arranging a different track until the day before, and he came to my studio without having had any sleep.... (very sorry Yozox!)

It was a Yozox-like arrangement that expressed a complex rhythm and very thrilling music. We can listen to his rare guitar performance, reminiscent of Robert Fripp, that we can't hear in his group.

Processing such as 'reverse gate reverb' and 'gate reverb' is applied to Robbin's percussion sound to bring it different sound from common progressive rock music.

(8) is played by Takurou Moriyama's younger brother. I changed the playback speed of the tape I recorded, and processed effects on it while the tape was slowed down. 'Maforoba' is an old Japanese expression that means 'paradise' or 'utopia'.

(9) Heretic's only studio session held the day after Tokyo live. At that time, I always had the 8-track recorder running and had a lengthy jam session. Ohta, Robert and me, Takeuchi of Anonymous, Chihiro. S (Golden Avant Garde, Lacrymosa) and Takeshi Naganuma (ds of Lacrymosa), Robert's friend, Victor Wells who was played for Akina Nakamori (famous female vocalist).

So, just before the end of this Jam recording, Mr. Takesako of Noa (a Bill Bruford style drummer) came and we had a session with him for this recording. I met with him the first time, so just say 'Hello', then started improvisation. without discussion among parties.

Chihiro.S kindly joined to play in the previous day's work as a bassist, he is currently playing as solo musician.

Mr. Takesako is the leader of Noa and a former member of Aquapolis. Noa is now back in CD release and live act.

(10) is the taken from last track from 'No Shibuya-Electro Dub & Breaks' (compilation CD released in 2008 from the Ultra Vibe label). It is a different remaster from 'Interface' and '1984-88'.

(11) is a recorded in 1987 using a digital sampling keyboard (Korg DSS-1).