“Jamais Vu” was conceived in the shadow of Tokyo's brutalist Sofitel tower, circa summer 2005, and composed shortly after. It was originally released under a different name by a completely different alias (more on this in a moment). In 2014, It was “remastered” (translation: I just put the needles in the red and let things ride from there), and now is finally seeing public distribution in a way I’m happy with.

Although these days I am more taken by drone / overtone virtuosi like Eliane Radigue and Charlemagne Palestine, back then this album’s ‘extreme computer music’ technique of sonic “hyper-exchange,” of radioactive debris and non-narrative pixilated shards flying all around the listener’s headspace, still felt like the most natural extension of my happily chaotic environment. It was also quite deliberate that it sounds like multiple people manning the machines; I am after all a ‘colonial’ being inhabited by a host of constituent personae that each seem to have their own sonic signature, and often the failure to harmonize these personae is more interesting than the moments when I succeed.

Of my entire recorded output (a fraction of which is actually online), this one has to be the clear winner of the “inverse relationship between effort made and attention received” prize. As to the "effort" part, I’m very fond of key passages in this one: for example, the mixture of amplified dust mite noises and intercepted Czech taxi dispatch that begins this album is one of my personal favorite intros overall. There is also a floating, melancholic interlude at around the 17-minute mark that I find too beautiful to have actually been composed by me. Same goes for the art-damaged lounge / ski chalet segment thrown in for comic relief. Nevertheless, I can’t even begin to pretend that this made any kind of waves in any sort of niche market. The fact that these sounds were largely composed for a 2005 Kobe City live concert, which was attended by TWO non-performers, was just the beginning of the under-appreciation.

To help put this sad past of indifference behind me, I am mischievously giving this one another chance by releasing it with a title that, given the circumstances surrounding its creation and re-creation, makes more sense than the original. Again nobody heard the damn thing first time around, and those who did know me on a first-name basis...thus I don’t expect any complaints of charlatanry.