Collateral Gore is the debut album from my project Place of Rescission. All sounds were performed by myself using voice, drums, bass guitar, synthesizer, noise boxes, clarinet, theremin, and various percussion. I'm not totally sure how to classify it, not that it really needs to be classified. But some of the feedback I've received so far have mentioned things such as "bleak, so very bleak", and "like a much more deliberate Throbbing Gristle at times", and "it features elements I'm familiar with yet somehow as a whole it sounds like nothing I've ever heard before." thanks in advance if you want to give it a listen.

Album streaming links:

Bandcamp

Spotify

Apple Music

iTunes

Interview at
BothKindsOfHeavy.com:

https://www.bothkindsofheavy.com/home/an-interview-with-place-of-recission

And feel free to add me
on Insta if you want!

Instagram

Nijino Records - Explorer Releases:

https://band.codes/narrativenijinos

Jap Sakaki - Explorer Releases:

https://band.codes/japsakaki

A message from our leader, Hiro.

A Note, an Apology, and a Confession

We owe you an honest apology.

To those who found us through Classical Nijinos: we are sorry for its sudden disappearance. You deserved an explanation. Here it is.

Nijino Records grew — stubbornly and chaotically — from musicians bound by friendship across Fukushima and Spain: DIY punk, alternative rock, J-POP, ambient, and experimental music, acoustic and electronic alike. This unclassifiable collective became Love Dolls, guided by composer Hentai Heroin (Hiroyuki Watanabe), who built this label not as a business, but as an act of preservation — a place where music that might otherwise vanish could survive.

And then, in a development that surprised no one more than ourselves — the orchestras arrived.

Disbanded classical ensembles from Fukushima, worlds apart from the punk surrounding them, were welcomed into Love Dolls. To honour their work, Classical Nijinos was born. It grew faster than expected, attracted listeners unfamiliar with our origins, misunderstandings followed, reports were filed, and the page was removed.

That is the plain truth.

We are not a conventional label. We are people who believe, quietly and stubbornly, that music deserves to survive. Nijino Records has been shadowbanned — not for any violation, but for being too difficult to categorise, even for algorithms. If you searched for us and found nothing: we are not gone. We are simply invisible to those who haven't already found us.

To long-time followers who stayed through the silence: thank you.

To new souls who found their way here: welcome.

To everyone who kept these recordings alive: you gave music a second life.

— Hentai Heroin / Hiroyuki Watanabe, Nijino Records

It's 21-tracks of weird and (mostly) spooky instrumentals. Here Comes The Flood says "...he basically invented his own musical language." Stylistically, it blends dark ambient, noise, post-rock, and industrial. I hope you’ll check it out, and please let me know what you think! 

Mother Raspberry & A.R.C. proudly present their newest excursion into adventurous musical frontiers of the highest caliber with ‘Western Jeff in Tarnation Country’.

This project had its origins in 2011 during the Mothers Day recording sessions and flashes of Tarnation Country have shown up on subsequent releases (OLDIES)

However.. in 2024 Jeff began to make a name for himself. This sound concept was developed over the next two years and the story of Jeff’s trip to Tarnation Country in search of gold mountains is here for you to listen to

https://motherraspberry.bandcamp.com/album/western-jeff-in-tarnation-country

https://getmusic.fm/r/mother-raspberry-a-r-c-western-jeff-in-tarnation-country

What does a plants frequency sound like?

Experimental audio diary of plant energy and synthesis.

YouTube w/ visuals:

https://youtube.com/@gardenofeedeme?si=m9U1a0zVxgBHXIa_

Bandcamp:

https://plantsong.bandcamp.com/music

I've been working under the name Place of Rescission since early 2025. I recently released my first album called Collateral Gore.  All sounds were performed by myself using voice, drums, bass guitar, synthesizer, noise boxes, clarinet, theremin, and various percussion. I'm not totally sure how to classify it, not that it really needs to be classified. But some of the feedback I've received so far have mentioned things such as "bleak, so very bleak", and "like a much more deliberate Throbbing Gristle at times", and "it features elements I'm familiar with yet somehow as a whole it sounds like nothing I've ever heard before."

Thanks in advance for giving it a listen!

Bandcamp

Spotify

Apple Music

iTunes

And feel free to add me on Insta if you want!

Instagram