April 18th of this year was the first Record Store Day. During its promotion and celebration, among the many quips and quotes I heard in support of buying records, the most repeated was country singer Shelby Lynne's "You can't roll a joint on an i-pod." But my favorite was by Jack White of The White Stripes who praised "music you can hold in your hands." The holding is even better, of course, when the package is as cool as the tunes. And, for collectors, the pleasure is often intensified by the rarity of the object, as well as its overlooked cultural value. Which is why I'd like to praise some of the lost treasures recently unearthed and re-issued in Japan, especially the Oriental Erotic Sunshine series by Tokyo based Tiliqua Records, a series of one-time limited CD pressing re-releases of erotic Japanese LPs from the sixties and seventies which I highly recommend you try to get a hold of. Housed in mini-LP gatefold sleeves adorned with the original artwork and including extensive liner notes, you'll want these beauties in your paws and not just in your i-pod.
Known as iroke kayokyoku, Japan's aural erotica genre generally features the naughty vocalizing of beautiful B-movie starlets who coo, purr, groan, moan, giggle, whisper, and sigh while lustily narrating over groovy tunes ranging in style from lounge, new age, and jazz tracks to sleazy disco, usually packaged with nude portraits on the cover, centerfold inserts, and the occasional fold-out poster. (It's the kind of record Scarlett Johansson should have cut instead of covering Tom Waits. Husky-voiced phone sex scenarios and an R-rated photo spread -- seriously, how could she lose?) The starlets tend to be from pink films (pinku eigu), a type of softcore sexploitation that, like iroke kayokyoku, is distinctly Japanese. Pink films can be broken down into various sub-categories, such as roman porno and pinky violence (koshoku rosen). Roman porno (short for romantic porno-graphy) includes such niches such as S&M films (the more extreme of which may also classify as ero guro, or erotic grotesque). Pinky violence, as per its name, blends action and titilation, often quite succinctly in the form of topless heroines brandishing weapons.
As a belated contribution to Record Store Day, here's a digressive and haphazard (in other words, bloglike) appreciation of Japsloitation sounds and visions -- beginning not with pink, but green...
Hedorah (a.k.a. the Smog Monster) (MP3)
from Howl: The Grunts & Growls of All Toho Monsters
From Million Monkey Theater's review of the 1971 kaiju (giant monster) film Godzilla vs. Hedorah: "Here we meet a young lady named Miki Fujiyama, played by 23-year old Keiko Mari. This was Mari's very first feature film acting role, and since then has mostly stayed on television series, including stints on such wonderfully named series as Star Wolf, Science Taskforce Dynaman, Solar Taskforce Sunvulcan and Dinosaur Taskforce Koseidon. Since 1982, she has also been a regular cast member of the Japanese version of Sesame Street. Where first we see her, she's gyrating atop a table wearing a skin-tight body suit painted with all sorts of crazy symbols. Her hair here is long and flowing and shaggy. She has a nice body, but the context of the scene and the poor lighting do not allow us to appreciate it that much. And then she begins to sing. The song is 'Save the Earth' and it is an uncatchy 1960s hippy song about saving the planet from pollution. Thankfully, my DVD didn't subtitle the song, so I just listened to the actress sing it in Japanese. Keiko Mari apparently sung the song herself, as well as several others we hear throughout the movie, and her voice is quite good. Since she will prove to be a TERRIBLE actress, I can assume she got the role solely because she was a singer and was pretty." After listening to this album, released the same year, our young reviewer may suspect there were other reasons for casting Miss Keiko.
Shower (MP3) by Petite M'Amie
from Girl Friend Baby Doll (1971)
Says Tiliqua Records: "Petite M'amie's Girl Friend ~ Baby Doll is without a doubt the rarest of all recorded iroke kayokyoku artifacts and copies of the original album -- if they surface at all -- change hands easily for about 1500 ~ 2000 dollars.... Originally recorded and released on May 5th, 1971, Petite M'amie was the nickname for Mari Keiko. Although she does not get naked on the cover like all the other starlets, the music she hushes out into being is utterly depraved, spiked up with an unheard quality of forlorn sleaziness, an erotic hushing and uttering that would make even Ike Reiko blush.... But where Ike Reiko's effort was drenched in a sultry pornographic vibe, Petite M'amie's benchmark recording is instead bustling over with an innocent -- almost childlike -- erotic sensuality that sounds harmless but is even wilder and more deranged than Ike Reiko's take on eroticism. Mari Keiko's hushes, sleazes, breathes and hovers like Nobokov's Lolita all over this one, teasing her lover, laughing in ecstasy, moaning, singing about erogenous spots and so much more while the music dwells in a psychedelic road trip towards the bedroom. Just delusionally erotic."
Memai (Shiseikatsu) [Dizzy] (MP3) by Reiko Ike
from Kokotsu no Sekai (1971)
Reiko Ike was the undisputed queen of pinky violence. According to former Flesh Eaters frontman and punk raconteur Chris D. -- a.k.a. Chris Desjardins, programmer for the Los Angeles repertory theater The American Cinemateque, and author of Outlaw Masters of Japanese Cinema: "[A]lthough at the time looking grown-up and worldly for her age, [Ike] hadn’t even hit 21 when she became one of Toei’s most provocative cinematic bad girls. Still in her late teens when she first materialized on the big screen in 1971, the stories of how she was discovered are inconsistent, one rumor assert-ing she was scouted at a nightclub, another that she was spotted as a model. Whatever the case, she didn’t seem to have been enamored of the idea of appearing naked in compromising, sometimes humiliating situations on film. Apparently, her family was also less than happy about the antics Toei [Studios] proposed she get up to for the sake of box office success in the Girl Boss series. Yet, after all was said and done, there she ultimately was, in all her courageously defiant, nubile glory projected many times bigger than life in a multitude of Japan-ese cinemas. One can occasionally see Ike’s conflicted feelings shine through in her pinky violence movies, and it’s her transcendental performances that remain the most memorable -– simultaneously beautiful, fearless and heartwrenching."
テンプテイション (MP3) by M. Kawahara & the Exotic Sounds
from Ecstasy (1970)
The liner notes to Kokotsu no Sekai describe Reiko Ike's vocal style as an "erotic presence" that "flutters across a multitude of erogenous non-verbal modes -- moaning and uttered shrieks of ecstatic pleasure, sibilating suffocated whispers of excitement, and grunting and growling like a bitch in heat." The musical backbone and arrangements were provided by band leader Masami Kawahara whose own iroke record of funky Latin-flecked porn jazz was released the prior year. The liner notes to Ecstasy include an interview with Kawahara who says he doesn't remember the name of the girl who provided the saucy sound effects on his album, but does recall she had to be played like an instrument and touched or petted on cue whenever a moan was required.
In her third film, director Norifumi Suzuki's Modern Porno Tale: Inherited Sex Mania (1971), Reiko Ike co-starred with French erotic actress Sandra Julien. The Japanese film-rating board objected to the graphic lesbian scenes between the two and the film had to be severely cut before its release. Later that year, Julien put out her own iroke record entitled Sexy Poem. Says Tiliqua Records: "[A]part from the lovely jacket and pictures/poster that were included with the LP, the musical contents are just deliriously fantastic and stand quality-wise shoulder to shoulder with Ike Reiko's Koukotsu No Sekai as the most sexiest disc ever recorded worldwide. Just imagine this: a French nymphet singing and moaning in the Japanese language impregnated with a heavy sultry French accent. How much more erotic can music possibly get?" Well, I'll tell you. How about a duet with Miki Sugimoto wherein the two starlets engage in a lengthy lesbian session of sighs and groans over tribal bongos and frenetic go-go horns? Hopefully, Tiliqua will find a way to re-release this one. If you're lucky, you can find it as one of the six CDs in the out-of-print Oiroke Box.
Du Ar Min Enda Karlek (MP3) by Christina Lindberg
In 1973, Reiko Ike starred in Norifumi Suzuki's awesome Sex and Fury. Her co-star this time was Swedish sex kitten Christina Lindberg whose rape and revenge classic Thriller - A Cruel Picture (a.k.a. They Call Her One Eye) came out that same year (and I believe is still banned in Sweden). Christina never made an iroke record, but she did pose nude for the cover of her sole 45 ("Allt Blir Tyst Igen"/"Du Ar Min Enda Karlek"). The buxom doe-eyed beauty began her career as a centerfold at 18, appeared in over twenty sexploitation films, then began writing for men's magazines while studying journalism, eventually becoming editor-in-chief of the largest aviation magazine in Scandinavia. She also became an avid mushroom picker and even released an instructional video in 1993 called Christina's Mushroom School. The school she's most known for, however, is the hormonal high school she attended in Schoolgirl Report, a 13-part German pseudo-documentary series about the sexual temptations of teens.
Sexy Girls (MP3) by the Gert Wilden Orchestra
from Schoolgirl Report (1970)
From 1971 to 1974, Reiko Ike starred in seven of Toei Studios' Sukeban (delinquent girl or girl boss) films and all four of the Terrifying Girls' High School films. Her recurring co-star throughout these films was the super cutie, pouty-lipped Miki Sugimoto. Sometimes one would have the lead, some-times the other. Sometimes they played rivals, sometimes partners. Together they would bare breasts, blades, and guns as they sparked rebellions and sought revenge. Sugimoto was a fashion model and starlet of the Japanese TV series Go-Go Girl in All Night Fuji. 
She made her film debut in 1972's Hot Springs Mimizu Geisha, but was best known for her lead role in the 1974 pinky violence classic Zero Woman: Red Handcuffs. She left the film industry in 1978 to marry a former classmate-turned-businessman and became a nursery school teacher. Pink film starlets often sing on the soundtracks of their films and you can find a few tunes sung by Sugimoto on the Hotwax Trax compilations Sukeban Guerrilla and Yakeppachi Rock. Various selections from films featuring the delinquent duo can be found on the Hotwax CD Miki Sugimoto vs. Reiko Ike: Onno Bancho Nagaremono/Futen Gurashi. 
Shinjuku Carmen (MP3) by Miki Sugimoto
恐怖女子高校 女暴力教室 (MP3) by Masao Yagi
(from the 1972 Ike & Sugimoto film Terrifying Girls' High School: Women's Violent Classroom)
from the CD Sukeban Guerrilla
Soundtrack selections from the previously mentioned films Sex & Fury, Hot Springs Mimizu Geisha, and Modern Porno Tale: Inherited Sex Mania, among others, can be found on the Hotwax Trax comp Female Yakuza Tale: Inquisition and Torture, named after the 1973 Reiko Ike classic about which Amazon writes: "Set in Meiji-era Tokyo circa 1905, the outlandish story kicks into high gear when renegade thief and gambler Ocho (Reiko Ike, fully recovered from the bloodbath in Sex & Fury) is joined by a 'lone wolf' drifter (Ryohei Uchida) in pursuit of a gang of murderous thugs with connections to the gruesome 'crotch gouge' murders (involving deadly injuries that are best left to the imagination). By the time they close in on a disgusting kingpin who's been enslaving prostitutes to smuggle Chinese heroin in their nether regions, Ocho has recruited a small army of sexy, sword-wielding hookers who aren't feeling the least bit merciful. The result is an outrageous orgy of boobs, bullets, and bloodshed..." Perfectly pinky album art, too:
Reiko Ike ran afoul of the law in the late seventies -- once for drugs, once for illegal gambling -- but continued to appear in films until the end of the decade, including appearances in two of the five install-ments of Kinji Fukasaku's masterwork series tracing the history of the yakuza, Battles Without Honor & Humanity (1973 - 1979).
Battles Without Honor Theme (M-15) (MP3) by Toshiaki Tsushima
from Hotwax Trax Composers Series: Jingi Naki Tatakai
Hotwax is a Japanese magazine about music and cinema that began publishing in 2005. Each issue comes with a CD of music to accompany the articles. Like the Tiliqua discs, you'll want these in your hands and not just on your hard drive. Recently Hotwax released its first bilingual issue, Queen of Japanese Movie -- 160 pages worth of info and full-color photos, covering 24 select bad girl films from 1970 to 1974 (during the major studio rivalry between Nikkatsu and Toei), including a lengthy section on the Stray Cat Rock series of violent girl gang flicks starring cult film icon Meiko Kaji. 
Sex Hunter (MP3) by So Kaburagi
from Nikkatsu New Action: Stray Cat Rock
From Cult Sirens: "Masako Ota was born in Tokyo on March 24, 1947. Nothing much is really known about her youth. She started her movie career in the mid-sixties, for the mighty Nikkatsu Studio, quickly co-starring along the legendary Sonny Chiba. But these first projects stuck her in minor roles. The pivotal moment in her career took place in 1970. Changing her name to Meiko Kaji, she was elected to be the main star in a series called Alleycat (or Stray Cat) Rock, which mainly followed the doings of a gang of female delinquents. Meiko portrayed the leader of this gang, already creating the imperturbable screen persona that became her claim to fame, in Stray Cat Rock: Sex Hunter." Don't let the title fool you, though. The Stray Cat Rock flicks aren't pink films and Meiko Kaji purposefully avoided becoming a pink film starlet. In 1971, when Nikkatsu moved into the financially lucrative erotic market, Kaji moved to rival Toei. 
Sister Street Fighter Theme (MP3) by Shunsuke Kikuchi
At Toei, Kaji could be a cool action heroine and keep her clothes on, leaving the sex and nudity to supporting players. Such was the treatment given another of Toei's action starlets, Etsuko "Sue" Shihomi. As a teenager, Shihomi wrote fan letters to Sonny Chiba which surprisingly resulted in an invitation to audition for and then join Chiba's elite Japan Action Club of martial artists. A skilled gymnast, she quickly rose through the ranks. She appeared in a few supporting roles in Chiba action films, including his most popular, The Street Fighter, then was given a starring role in a spin off, Sister Street Fighter, which was popular enough to foster two sequels. She was known as a risk taker who liked to live on the edge and would pull promotional stunts like jumping from one high building to another over a crowd. She was married for a number of years to Japanese folk singer Nakabuchi Tsuyoshi, but they later divorced after he was caught in an affair with another actress. When martial arts films faded in popularity, she moved into period films then faded in popularity herself. In 1975, Shihomi came out with the title single for the Toei movie Gangs of Youth: The Thirteen Steps, which can be found, along with the blaxploitation-style soundtrack music for all three SSF flicks, on the Legends of Toei Action Movies CD.
Sister Street Fighter (MP3) - Trailer (1974)
From the introduction by Trash Video's Andrew Leavold for Brisbane Channel 31's Friday Night Schlock Treatment: "The first Street Fighter was a grim exercise in brute force and nihilism; this pseudo-sequel designed to cash in on the Street Fighter tag is more a frenetic pop-art collage that owes more to Batman than Bruce Lee. With crash zooms and exaggerated camera angles, a fight scene every five minutes to a fantastic Seventies action score, and a bizarre array of masked and caped villains, including Hammerhead and his thugs in wicker basket hats, it’s so fast-paced and deliriously nutty you can’t possibly fault the plotholes and insane logic. Sonny Chiba has little to do as 'Sonny Kawasaka' other than show up in two epic fight scenes and utter a few howls from underneath his knotted monobrow. It’s really Sue’s film, and Sister Street Fighter proved so successful it turned Sue Shihomi into Japan’s top female action star and prompted two of its own sequels. So sit back, snort a line or two of wasabi and enjoy the rush of watching not one but two of Japan’s greatest trash icons at work..."
女囚さそり 第 41 雑居房」~劇伴 (MP3) by Hajime Kaburagi
(from the 1972 film Female Convict Scorpion: Jailhouse 41)
from the CD Go! Cinemania - Reel 4: Screaming a Go Go
At Toei, Meiko Kaji met director Shunya Ito and together they made a trio of films that made her famous throughout Japan. From Midnight Eye: "The Golden Decades of Sexploitation saw a plethora of women-in-prison flicks in which the imagined ongoings of bare babes behind bars formed a convenient backdrop into which to slot the requisite number of catfighting, lesbian, torture and communal shower scenes... Don't be mistaken however, the Female Convict series is worlds apart from these sleazy productions, being both far better made, far less exploitative and adopting an almost fantastical approach to the material. In fact this film [Female Convict Scorpion: Jailhouse 41], episode two of the series, spends very little time inside the prison walls at all, instead focusing on the girls' escape from their warders through a bizarre succession of surreal encounters... Kaji was apparently unhappy with the original portrayal of the character of Sasori [Scorpion] on the page, especially the perpetual stream of obscenities flowing from her mouth, so the script was tailored to allow her to play the role almost silently." Thus was created the legendary Meiko stare.
Flower of Carnage (MP3) by Meiko Kaji
from Lady Snowblood (1973)
In the fourth installment of Female Convict Scorpion, Toei replaced director Shunya Ito with Yasuharu Hasebe, so Kaji left the series and instead took on the lead role of Yuki, "a child of the Netherworld" born for vengeance and armed with a sword that masquerades as an umbrella, in Lady Snowblood and its sequel Lady Snowblood: Love Song of Vengeance, a pair of period films based on a manga written by Lone Wolf and Cub author Koike Kazuo.
Ending Theme (MP3) by Hideakira Sakurai
from Lone Wolf and Cub: Baby Cart in Peril (1972)
Lone Wolf and Cub chronicles the adventures of disgraced Shogun executioner turned killer-for-hire Ogami Itto and his three year old son Daigoro. In the fourth installment of the six-film series, the Lone Wolf is hired to slay Oyuki, a topless tattooed assassin played by Michie Azuma, previously known to Japanese audiences from her appearance on the popular TV series Playgirl.
Weak Point (MP3) by Kuwabara Yukiko
from Kuwabara Yukiko to Anata (1974)
Kuwabara Yukiko appeared in a wide variety of fashion and nude magazines as well as a string of movies such as Yukio Noda's 1968 juvenile gang film Delinquent Boss. (Also known as Wolves of the City, Delinquent Boss was inspired by Roger Corman's 1966 drive-in biker flick The Wild Angels starring Peter Fonda, which was hugely and unexpectedly popular in Japan. Delinquent Boss in turn inspired 16 increasingly ridiculous sequels -- not to be confused with the much more enjoyable Delinquent Girl Boss series featuring pinky violence starlet Reiko Oshida.) Kuwabara is most widely known, however, for having starred in 287 episodes of the erotic action series Playgirl. Imagine Charlie's Angels with a lot more Angels, brightly colored mod sets, badly mimed martials arts, and randomly bared breasts, and you have a general idea of the cheesy fun to be found in Playgirl. The series ran for five successful seasons, from 1969 to 1974 (Charlie's Angels debuted two years later in 1976).
Opening Theme (MP3) to the 1969 season of Playgirl
Writes Beyond Japan Hero: "During its run, a whopping twenty two actresses were part of the 'PLAYGIRL(s)' at one time or another. Most of the actresses were regular bit players of Nikkatsu and Toei Films. Some were also models, pinups and/or singers. Usually each episode featured no more than five of the girls at one time. Each episode would try to rotate the cast around but inevitably some of the actresses were featured more often than others, due to their popularity among audience members. With its unique brand of risqué humor, sexy action and touch of T & A, the show commanded at one time almost an unprecedented 17.8% rating."
Casbah No Onna (MP3) by Tamaki Sawa (vinyl rip by Crud Crud).
The show's theme song was written by Yamashita Takeo and sung by the starlet who played the leader of the Playgirls, Tamaki Sawa, who started her career as a jazz singer in the 1950s. After retiring from show business, Sawa was elected to the Japanese parliament in 1998 where she served one term then decided to return to acting. In 2003, she reprised her most famous role in a stage play revival of the series, Playgirls Inc. She died later that year at the age of 66.
Zoku Emanieru Fujin (MP3) by Taguchi Kumi
from Tokyo Emmanuelle Fujin (1976)
Taguchi Kumi achieved instant fame after appearing in Toei Studios' Tokyo Deep Throat in 1975. She switched over to Nikkatsu Studios and followed with a string of roman pornos including Memoirs of a Call Girl, Emmanuelle in Tokyo, and Emmanuelle in Tokyo: Private Lessons, all in that same year. In 1976, she served up a few more, including International Stewardess: Erotic Flight and Cloistered Nun: Runa's Confession. At the end of that year, she released this compilation of songs which she'd performed for her porn flick soundtracks. Says Tiliqua Records: "Taguchi's effort... is more mid-seventies discoed-down and funked-up. Hot dance floor hoedowns spiced up with erotic moaning and hissings. Erotic and sensual mid-seventies night clubbing with a psyched feel attached to it.... Taguchi even ventures into the realm of deep throating and leaves nothing to the imagination. A release that once again proves that late sixties and early seventies Tokyo was a wicked and perverse place to be."
Showa Kare Susuki (MP3) by Tani Naomi
from Modae No Heya (1979)
Says Tiliqua Records: "Tani Naomi was Japan's finest bondage and S&M Queen who tore up cinema screens during the better part of the 1970s. This album [Modae No Heya, or Room of Agony], originally recorded and released in April 1979 was Tani's farewell statement to the world of porn. Here she delivers one of the finest examples of Showa-induced feminine erotics, hovering sexually tinted narrations over a background of kayokyoku themes and lush orchestrations. Tani recorded this album to commemorate her withdrawal from the porn business. Seen in retropsect, the disc stands out as one of the top 5 erotic albums to come out of Japan. Still her musical endeavor is an odd one amongst the other Iroke chanteuses. Right from the opening on, Tani's direction becomes clear with her narrating in a teasingly melancholic way over a kayokyoku backing track. The effect is stunning, an utterly fornlorn sense of the Showa erotic. Compared to the hard stuff she depicted on screen, the album feels muted in a cloud of pink. But still, she brilliantly succeeds in conveying the atmosphere of true Japanese eroticism, a fleeting and fragile emotion that evaporated in the cynical miasma of the eighties."
Tani Naomi took her screen name from popular Japanese writer Junichiro Tanizaki and his 1925 novel "Naomi." Like her own, Tanizaki's work usually focused on shocking erotic obsessions. Says Wikipedia: "Known for her remarkable dedication to her work, Tani would perform even the most extreme of S&M scenes without complaint. During the twelve years she worked as an actress, she never went to the beach or allowed herself to get a suntan, feeling that it was important to keep her skin very white, so that it could be seen turning red during some of the scenes involving such things as whippings or melting candle wax tortures.... Her willingness to submit herself to scenes of extreme physical difficulty led director Shinya Yamamoto to famously utter, 'Naomi Tani is a monster!' The quality of her performances was recognized by the mainstream Japanese film establishment. She was nominated for best actress by the Japanese Academy for two of her Nikkatsu Roman Porno films, Black Rose Ascending (1975), and Flesh of the Rose (1978). Director Masaru Konuma says as an actress Tani was, 'Stylish. No matter what she did -- her behavior, her attitude, her body-- everything became a perfect picture.'" In Japanese, the word Tani means valley and is also slang for cleavage. In her retirement, Naomi opened a restaurant she named Ohtani (Big Tani, or Big Valley, or perhaps Big Tits).
Wake Mo Naku (MP3) by Mabuki Junko
From Chris's Soundtrack Corner (where I just ordered my copy): "A new installment in Tiliqua's seemingly never-ending Erotic Oriental Sunshine series brings you this time the first re-release of Mabuki Junko's sole recorded artifact Ai no Dorei [Slave of Love], originally released as a cassette-only by Victor Records back in 1980 as part of their 'Yoru no Driver' series tapes. The series was de-signed specifically to target the sexually frustrated, long-distance trucker demographic in order to bring them a little erotic aural companionship on those grueling overnight hauls. Junko appeared on the scene of hardcore bondage and S&M flicks after Tani Naomi had thrown in the towel.... 
[P]ossibly the most perverted and sexually deranged recording ever to be released, Ai no Dorei is built on a lush instrumental carpet of covers of famous enka tunes, upon which Mabuki Junko rolls and writhes, enacting hardcore BDSM fantasies, perversions and degenerate sexual dramas for her lonesome big-rig listeners.... Due to the triple X-rated nature of its contents, Victor Records refrained from releasing this historical gem on vinyl, thus confining its existence to gas station and truck-stop cassette racks. For the same reason and in order to escape domestic morality claims, Tiliqua decided to keep a low profile and release this gem as a limited edition CD only, LIMITED to 500 COPIES." So buy yours now. •
Album art at top of post: Yoru no Tame Iku by Atsumi Mari. Says Tiliqua: "Fully fledged sex kitten, adult movie star and seasoned early seventies porno heroine Atsumi Mari had it all being a body built like a pleasure dome of unbridled sin, a husky voice filled with enough overdriven sex appeal to make you horny for weeks on a row and looks that could defrost even the most seasoned of male chauvinist pigs. An all round dreamboat chick and pink porno witch.... The original artwork that adorned the LP made that copies were all too quickly snapped up by Iroke fetishists making that the LP almost instantly disappeared. The music on the other hand is what counts here and stands as one of the best examples of the Iroke genre, filled with derailed passion, horny lyrics and love desperation all set against a lushly orchestrated background, cocktail lounge settings and psychedelic micro-dotted textural elements, turning it into a whirlwind of obsolete and adulterated psyched-out lust and desire." Easiest place to see her: Hanzo the Razor: Sword of Justice, another series based on a Kazuo Koike manga, this one about a medieval constable with a giant cock.
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