Shinjuku Thief was the alias of experimental electronic musician Darrin Verhagen, also the Melbourne, Australia-based creator from the Dorobo record label. Acquiring his name in the Nagisa Oshima film Shinjuku Dorobo Nikki (“Journal of the Shinjuku Thief”), Verhagen additionally included cinematic affects into his music by conceiving his are soundtracks to nonexistent movies; his debut, 1992’s Bloody Tourist, drew similarly on ambient and commercial traditions, although in the foreseeable future his more commercial projects were documented beneath the name Shinjuku Filth. (New Age-inspired functions, accordingly, were related to Shinjuku Fluff.) The next Shinjuku Thief LP, 1992’s The Scribbler, was a minimalist piece commisioned being a soundtrack for the stage performance predicated on Kafka’s The Trial, even though 1993’s The Witch Hammer was the initial in some darkly orchestral information inspired with the supernatural, filled with a nod towards the German expressionist movies from the 1920s. Branching right out of the Shinjuku name, Verhagen followed another alias, that of Teacher Richmann, to record 1994’s Succulent Blue Sway, a techno-inspired discharge constructed for the Canberra-based Vis a Vis dance firm. Rubbish, a Shinjuku Filth cooperation with Dark Lung’s David Thrussel, implemented in 1996. 2 yrs later, Verhagen implemented with Elevated by Wolves on Iridium.