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The obsessively researched archivist’s resolve is still very much present, but the processing style and overall sound here is more faded than the Japan Blues of yore, transmuting discernible sounds into magickal textures that boil and bubble until all that’s left is vapour.\n\nOn 'Sazanka, Hokkai Bon Uta', Japanese vocals are dubbed into bare syllables, juxtaposed with flute improvisations and muddy whirrs. Eventually, the instrumental elements turn to noise, like some shortwave radio transmission slowly falling out of range. Environmental sounds become uneven, clunking percussive currents offer a sort of dream logic, morphing into faint choirs. In the final third, Williams pulls away the veil almost entirely.\n\nThe album's most compelling section is the side-long 'Soran, AIzu Bandai-San, Shimabara Lullaby'. If you've heard Robert Turman's 1981 album \"Flux\" - a reel-to-reel recorded slo-mo kalimba and piano masterpiece - you'll have an idea of how this one rolls. 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