The music of Osaka-born purveyor of punk Phew has never been conventional. It is, in essence, anti-convention.

From her late 1970s creative output with Aunt Sally, a band that spliced rock with psychedelic flavors in a hail and wash of avant-punk, to later collaborations with Ryuichi Sakamoto and German producer Conny Plank, it has never been a question of convention, only of sounds — how they clash, how they cooperate.

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