More about Sarayashiki:

Instruments used (by Matt): nylon string guitar, acoustic guitar, electric guitar (Telecaster, Jazzmaster, Jaguar), bowed guitar, bass guitar (Jazz bass), violin, cello, mandolin, upright piano, synth (MicroKorg), assorted found percussion (typewriter, film camera), feedback + noise, voice, field recordings.

Tyler plays a Dark Horse kit.

Pedal chain: MXR Dyna Comp, Ground Control Audio Blood Oath, Walrus Audio Iron Horse, Land Devices HP-2, Red Panda Particle, EHX Deluxe Memory Boy, Hologram Infinite Jets, Hologram Dream Machine, Death by Audio Reverberation Machine, SolidGoldFX Surf Rider III, Line6 DL4 (used in stereo).
Amplifier: Fender Blues DeVille Tweed 212.
Mics: Royer R-10 Ribbon, MD421, SM57, Zoom H2n, iPhone XR, MacBook Pro onboard microphone.
Tape Machines: Centrex KD-12, Marantz C-200LP, Tascam Porta02.
Interface: Scarlett 18i8.

No MIDI, digital controllers, virtual instruments, and only minimal digital effects/VST plugins (aside from those for mixing/mastering) were used on this record. All sounds were created organically with analog devices.

Field sounds were recorded in Manhattan, Brooklyn, Portland, Tokyo, Kyoto, Nara, and Osaka.

"crush it until the petals fall." samples some New York City subway performers. the title is taken from a line in "You Always Hurt the One You Love" by the Mills Brothers.
"an eternity in the vast garden of sacrifice" samples the theme from the 1960 film "il bell'Antonio."
"秋日和 (akibiyori)" samples a ceremony I attended at a temple in Kyoto.
"sans toit ni loi" samples a scene and borrows its title from the 1985 film "sans toit ni loi."
"angel brain" samples a New York City subway performer.