I listened to it day and night, in Tokyo's subway, walking across the busy streets and empty avenues. Sitting on the pavement in front of a konbini, a can of whisky-perrier in hand. On the plane, amidst the opaque grey clouds. And at the temple - humid mountainous scapes and dry wood. In Japan the sun sets earlier, and the warmth of the day lasts a little longer, so it fades more smoothly into the night. Aesthetically and musically speaking, it makes you want to dance the ‘JIVZ’, somewhat inebriated, a little too early in the afternoon, as if it were too late already, with nylon-bodies, bulging booties but the shoulders cumbersome, as the notes of 'HDV' play along. Then, at first slow and wobbling, you hit the road onto some warm and cramped nocturnal destination. Preferably serving sake and broiled foods, 'D1V4G' on my mind. Recall Eno through the volutes of 'M45C4R4D3'. And 'QYURKY RUQ' in Cutty Ranks' live and its lo-fi riddim. The impression of being an airwave lost in between two AM frequencies, in the near-quiet of this interstice - 'D41N7Y 5QU4R3'. Then you open an eye, look to your left, the body buried under a plaid, the pendulum of the big wooden clock has lost the pace, 'In Transit Across The Uni', and you can't help but think these ebony and solid oak monsters sitting in the living room once were that incredibly hi-tech cupboard in an ancient home. Giant mechanism, in the heart of the house. Watches and proportions. You close your eyes. I figure myself the creature from the cover dancing an elastic dance, when comes the last of the 'JIVE ED' - its limbs suddenly zoomed-in, stretching out like chewing-gum seen from a disproportionate perspective, retracting just as quickly. Something that would fit the beach scene from Funky Forest like a glove, or the one of the animated short's screening. Only frustration, the hope for a stronger, lastingly groovy and cheerful 'LYFSPAN’.