
For more than four decades, Hiromi Moritani has been making music by her own rules. She’s largely known for the short-lived art-rock band Aunt Sally, which she started as a teenager in late-70s Osaka, and for her 1981 self-titled solo album under the name Phew. Since then she’s continually honed her craft as Phew, expanding beyond her postpunk beginnings into straight-ahead rock, otherworldly pop songs, and avant-garde experimental pieces built around her voice. Though she’s collaborated with a handful of artists throughout the decades, including Bill Laswell, the Raincoats’ Ana da Silva, and turntable experimentalist Otomo Yoshihide, her solo endeavors have consistently been her most enthralling and intriguing. With the new Vertical KO (Disciples), Phew skews darker, presenting ...
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