Pacopacomama 071624 100-naoko Adachi- Ayano Mim...

| Component | Meaning | |-----------|--------| | Pacopacomama | A neologism coined by the duo. “Paco” (from the Spanish slang paco → “crazy”) + “paco” (repeated) + “mama” (Japanese mā “mother”). The phrase is meant to evoke a playful, chaotic motherhood—the nurturing of chaotic sound. | | 071624 | The date 24 June 2007, the single day during which all 100 tracks were recorded, processed, and sequenced. | | 100‑Naoko Adachi‑Ayano Mim… | Indicates 100 tracks, each authored by the two collaborators (Naoko’s vocal/field layers + Ayano’s guitar/electronics). The ellipsis after “Mim” reflects the deliberate incompleteness of the credit—an invitation to fill the gap with the listener’s imagination. |

The title thus works on three levels: conceptual (the “mother” of chaos), chronological (the day of creation), and structural (the number of parts). Pacopacomama 071624 100-Naoko Adachi- Ayano Mim...

| Item | Details | |------|---------| | Title | Pacopacomama 071624 100‑Naoko Adachi – Ayano Mim… (commonly shortened to Pacopacomama 071624) | | Release date | June 24 2007 (hence the numeric code “071624”) | | Format | Limited‑edition CD‑R (500 copies) + hand‑stamped sleeve; later digital re‑release (2021) | | Label | Kōrōshō (independent collective based in Osaka) | | Primary contributors | Naoko Adachi (vocals, field recordings), Ayano Mimura (guitar, electronics) – credited as “Ayano Mim…” | | Genre | Experimental noise‑ambient, avant‑pop, “shibuya‑kawaii” deconstruction | | Length | 1 hour 12 minutes 23 seconds (100 tracks, each ~45 seconds) | | Concept | A “100‑second collage” where each track is a snapshot of a day in the life of the two artists, recorded and manipulated on June 24 2007. | | Item | Details | |------|---------| | Title

Pacopacomama 071624 quickly became a cult artefact among collectors of Japanese noise, lo‑fi field‑recording, and “hyper‑fragmented” pop. Its cryptic title, ultra‑short track lengths, and the almost mythic anonymity of the creators have made it a subject of fascination for musicologists, cultural historians, and fans of “post‑digital” aesthetics. Both artists met at an experimental music night

Both artists met at an experimental music night at Osaka’s Club Uranus in early 2006. Their shared interest in “micro‑duration”—the idea that a single, sub‑minute snippet can convey a complete emotional narrative—sparked the concept for Pacopacomama.

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