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by Tokyo Bloodworm

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Words from moteer::

The last ever moteer full length comes courtesy of Arizonan duo Tokyo Bloodworm in the form of their third full length release, Palestine.

There's always been a touch if transatlantic symmetry between ourselves and the TBW boys, and so it seems fitting that the labels long playing swansong should be played out so beautifully by them.

Last seen on moteer collaborating with fellow US travellers Brael on the delightful ( and well received) Living Language album, this time R.A Sanchez and Ryan Keane have gone it alone. Well not quite. A host of friends have contributed to the cause, adding smatterings of marimba, cello, mandolins and flutes (with notable contributions from film scorer and asthmatic kitty artiste William Ryan Fritch) to proceedings.

It's this sense of collective orchestral co operative, so sensitively conducted by the band, that sets this release out as some kind of sorrowful epic. Don't be fooled into thinking that by orchestral I mean some kind of self congratulating Stars of the lid lite drivel. Palestine is every inch the tortured, difficult, beguiling epic that should define a band and a label. Recorded between 2006 and 2009 the pieces that form the sum of the record are seperate scenes swathed in (middle) eastern twilight and north western winters. If that sounds pretentious, then good, it's the last one of these I'm ever going to write.

Think of Chris Cole's Manyfingers project but without the euphoric crescendos or Mark Hollis if he'd decamped to the desert to record his next record with Demdike Stare as producers.

Mastered by distant musical relative Miles Whittaker (Demdike Stare). We're proud to have been involved in the eventual unveiling of such beauty.

Dedicated to Bryn Jones (Muslimgauze)


"minimal electronics and guitar with clanks and creaks and groans and finger noise creating a dusky Eastern ambience" - NORMAN RECORDS

"This is music that is operating on a different level, particularly structurally. It can be sparse, with open spaces, utilising repetition and an almost collage like nature, yet there's also at some point in listening a light bulb moment, where the looseness suddenly makes sense, where all the ingredients pare down and devolve, and you understand how carefully composed this music is." - CYCLIC DEFROST

"This is an album rich in mysteries that reward repeated listens. Simply put, this is on the do-not-miss list" - FLUID RADIO

"Tokyo Bloodworm's music may be dark, but it remains heady and never reaches the despair.... This being said, Palestine is not for everyone. The band's meticulous efforts to strip the music of anything unnecessary may alienate some listeners. But what makes the album stand out is the band's use of their various influences. On the one hand, the experience feels like a journey to a faraway land; on the other, it feels totally authentic." - THE SILENT BALLET

"Just a word of advice, give the album time to build up, as some of its finest moments lie deep inside the tracklist and reward those who listen in one sitting...Palestine is unlike anything I have ever heard before" - AUDIO GOURMET



released May 2, 2011

written and arranged by ra. sanchez and r. keane
additional instrumentation by william ryan fritch, phil shiozaki, david marin, maureen choi, evan keane
vocals by amy hudson
mastered by miles whittaker (modern love, demdike stare)
cover art, layout and design by craig tattersall
copyright lost tribe sound llc
published by lost tribe designs (ascap)
originally released by moteer in 2011



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Tokyo Bloodworm Tucson, Arizona

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