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RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

For the second instalment of his new born label, U FIT, Nico Lahs doesn't make any exceptions and delivers another sublime EP of high quality, the usual we are used to, showing how the Italian producer can equally release a lot of material in just a few months, but still of the best substance.

Another 4-track EP that will get all deep/house heads in agreement: from the heavy house for sweaty basements to quirky and hypnotic/ethereal stuff.

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output. Following our release of Courts Or Wars, combining their early material, we are proud to reissue their only full length album, World Of Rubber.

Fueled by experimentation in both song construction and recording techniques, the duo leave you enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Indeed, the goal had been to make each album a concept album, with this to be titled: Second Layer’s World Of Rubber. Alas, this was to be the first and last of those efforts. New detailed liner notes from Graham Bailey shed considerable light on the creation of this cold classic and its immediate aftermath.

Bailey’s inventive construction and deconstruction of various electronics, effects boxes and tape loops form the propulsive base for these songs. Borland’s guitar playing is jagged and unleashed. Above it all is an undeniable sense of melody and Adrian’s distinctive vocals. Soon, they would wonder where Second Layer ended and The Sound began, but World Of Rubber would stand as a document of this fertile period. It would also be a lasting testament to their desire to push the boundaries of their creativity. Dark and brooding the result is what Bandcamp described as “brutally bleak, blank-eyed post-punk that remains chillingly compelling.”

A long-in-the-works project of ours, here comes A Tribe Called Kotori's first foray into full-length territories, as the immensely talented Rampue takes us on a melancholy-riddled ride across his phantasmatic mindscapes. A true sound explorer, deftly steering his ship down the junction of electronica, abstract and balearic-infused prog house, the Berlin-based vibist has us transfixed and elevated throughout the twelve cuts that form the backbone to this lushly textured promenade in sound - at times understatedly euphoric, at others rivetingly exotic.

Of the creative process that lead to 'Bubblebath Trance', Rampue explains "It all started and ended in the same moment: my cherished feline companion, my laptop awash with an unintended bath, and alas, a dearth of backups. The resultant calamity, an echo of chaotic tranquility." Under the generous layer of irony lies some unaltered truth about Rampue's debut long-player for A Tribe Called Kotori: this sense of serenity that goes with stepping into this warm and bubbling primitive chaos of sorts infuses the listening experience far and wide. Distantly emulating the "euphonious strains" of iconic PS1 video games soundtracks from his youth days, the album has us surfing a constant paradox of emotions, wistful but not abandoning itself to sorrow, dynamic yet suspended in some sort of mind-expanding stasis. As if you were looking at the world beneath you in exploded view, conscious of all thing, slowly moving up the many layers of our atmosphere towards uncharted skies.

A paragon of Rampue's most poignant take on classic electronica tropes, 'Harmonie' blazes with a poetic fire that engulfs about everything in its wake. Just figure yourself riding a chocobo across the sand-covered expanse of North Corel (toasting to the FFVII nerds here) as this blasts out in the distance. From this trancey bubblebath emerge lots of musical shades and nuances, from the nicely dubbed-out, brass-heavy coastal jazz of 'Schattenschranz' to the choppy, trip-hop-adjacent future electronics of 'Inside', via the exuberantly joyous mess of faux-organic number 'Tripomatic' and cinematic charisma of 'Ich hasse Sonne' high-flying orchestrations.

Connecting the dots between that trance-indebted ebullience and further downtempo-friendly attraction, 'Verfahren' perhaps encompasses best what 'Bubblebath Trance' is about: gracefully walking the tightrope in-limbo nostalgia-soaked inner movements and a powerful outward thrust, burning to let the feelings ooze out from the shell that holds them.Clad in purely 90s-compatible breaksy motion, 'Salz' is another attempt to reconcile emotional and physical dissonance, like kneading all states - solid, liquid and vaporous - into an impossible mega-vibe of its own; malleable, strong and enveloping in equal measure. Borrowing from two-step and UK garage, 'Take Away' is a definite high in Rampue's master unfolding of musical twists and turns, summoning a Boarder Community-esque atmosphere and clashing it alongside floor-ready footwork motifs to fascinating effect.

An ode to his studio companion, 'Buchla Trip' finds Rampue's exploring his machinic friend's quirky yet soulful array of electronic potentialities - making it sound like a conversation you'd have with R2-D2 in the heart of a Sandcrawler, whereas 'Kajal' beams us up to a fragmented headspace, halfway altered PC-Pop and arps-loaded electronica on amphetamines. Effusive and transporting, the title-track 'Bubblebath Trance' could well figure as the album's no.1 medley in essence: a bountiful lucid dream of dancing forms, colours and sentiments to wrap your head around, confidently drifting from a liminal state of consciousness down the rapids of one's troubled inner workings.

Rounding off the package, the languid ambient finale of 'Die Leiden des hungrigen Fruehstuecks' rubber-stamps the feeling that 'Bubblebath Trance' belongs to that rare category of albums. The ones that mint their own alphabet aside from typical norms and expectations, teaching you the ropes of their new language as it unreels between your ears - real and unreal, elusive to any other meaning than the one your guts and brains will be inclined to give it to, in real time. A crystal-pure object if you will, that shall not reveal its secrets, even after a thousand listens and just as many wowing moments.

Constant Sound is one of the many labels Burnski aka Instinct is heading up right now and they are all as good as each other. This one focuses on house and tech sounds and welcomes Adam Pitts to the fam with three standouts. 'Gadget Crew' opens up and has a big, high-energy groove with plenty of oversized drum sounds and a retro melody paired with an intriguing soulful vocal. It has a dark garage tinge and is perfect for late-night action. 'Just This Once' is tough and physical, with warped and naughty bass and thwacking great hits irresistible to all. Last all comes a Skins Junglist Crew remix which is exactly that - a fine one for the jungle heads.

Madben's superb Troisième Sens album is remixed again, as new mixes from Josh Wink and AVNU join previous offerings from Alinka and Avision on this standout EP.

Kicking off this fantastic package is Ukraine-born but Berlin-based Alinka. She is now right at the cutting edge of the scene after big releases on the likes of Rekids and Live at Robert Johnson. She is a regular at iconic spots like Berghain/Panorama Bar, Circoloco and Smart Bar and flips 'Addicted' into a heavy house cut with thumping drums and lithe baselines. Acid sprays about over warmer synths to make for a real peak-time weapon. Next up is Josh Wink, a legendary electronic artist who heads up the Ovum label and has consistently crafted some of house and techno's biggest tracks. He flips '1AM At A Rave' into seven-plus minutes of scintillating electronic deepness with trippy leads and real synth intensity building to an explosive peak.

NYC DJ and producer Avision has released EPs such as ‘Innocence’ on this label while also getting support for his new school techno from Adam Beyer and Chris Liebing. His remix of 'Circuit Breaker' is a chunky and textural affair with seriously weighty drums. Stark synths rise up through the mix next to bubbling acid to make for a heart-of-the-dance-floor classic. Scottish artist AVNU is another label regular who dropped his ‘Tough To Love But Worth The Effort’ album here last year. He flips '1AM At A Rave' into a dark and atmospheric cut with flashes of strobe-lit synth and zippy leads that rip up the crunchy electro-tinged drums.

This is a vital package of varied reworks that bring plenty of new direction to the superb source material.

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

The Whatnauts emerged from Baltimore in the late 60's and were produced by George Kerr & Michael Watson.

This 8-song original LP has become a classic 70s soul album, mixing ballads and groovy tracks. While "You forget too easy" could be played on any lowriders mixtape, "Im So Glad I Found You" featuring Linda Jones is the perfect Northern soul floor filler. The beatmakers & producers are given their share too, with the drum breaks of the groovy "Why Can't People Be Colors Too?" And to make this reissue even more collectable, Playoff Records added the 80s funky "Help is on the way" sampled by De La soul as the perfect bonus track. A must have for any diggers or soul music fans.

Paula heads outside in the dark. Touch and release, fingers probe searching for the unknown and return to the glove, still there for me and you. It's ours to preserve!

András Cséfalvay makes simple music with a potent atmosphere. A well-known figure in the Slovak underground (artistic, literary and music) scene, he returns after years of silence with a collection of intense songs. It's music which tackles both fantasy concepts and environmental trauma; Cséfalvay, armed only with the voice of a bard and his own hand-made guitar, will kindle your imagination and take you to the most unexpected corners of your mind.

More than a singer, on 'Future Role of the Church in the Forthcoming Enviromental Transformation' Cséfalvay acts like a narrator, wearing his heart on his sleeve. He sings of his hate of percussion instruments, Jupiter and other planets, tells tales of guns and love, nature and Mithrandir. His unique style is completely absorbing, despite the minimal, traditional set-up known from his live performances. Existential, yet light, these twelve songs mark a welcome return of a fascinating artist who presents his own vision of the past, present and future – it's bleak and existential, but also filled with purity and honesty that's impossible to resist.

'Future Role of the Church in the Forthcoming Environmental Transformation' is András Cséfalvay's second album, and his first for the sincere label Weltschmerzen.credits

What started as a one off project for a bit of fun on the Fuzzbrain Records Compilation LP in 2019, quickly mutated into a fully fledged band made up of four UK heads with plenty under their collective belts: Ben Woolf (Blind Authority, Lawful Killing, Frame Of Mind, Stages in Faith, Layback), Bobby Cole (The Annihilated, Churchgoers), Jon Osbourne (Mastermind), and Ollie Hudd (Fortbragg Zine). When QC heard this ‘demo’ it was so in your face we just knew we had to put it on wax, because this blend of Krackdown and Outburst era NYHC with a still distinct London hardcore sound will blow your fuckin’ face off! Live expect some crazy energy and antics that’s hard as nails. Who else is gonna do a hardcore version of the James Bond theme? Stay warned, friends.

The story of Existence dates back to 2016 when a group of young Stockholm hardcore heads wanted to get into some good old Cro-Mags worship. After some changes in personnel, the current line-up of deranged idiots has been paving the way for a violent future since early 2017. They currently share members with several other bands, including Blood Sermon and Speedway and are all active in the local DIY community in different ways, for example running Alive and Well Fest. With an EP under their belt in 2018, several tours across Europe and beyond, as well as appearances on such stages as Outbreak, the sound began to evolve leading up to the masterpiece that is the debut LP, ‘Go to Heaven’. Clocking in at nearly 40 minutes we don't think anyone can truly be prepared for this insanely epic body of work. From Slayer, to Merauder, to H8000, to Arkangel to Integrity, this is a masterclass in metallic hardcore songwriting by the strong beating heart of Stockholm HC. Songs that take you on a journey from a classic metallic breakdown riff to acoustic guitar sections to sword samples needed a hand that was not afraid of the complexity, leading to Jonah Falco of Fucked Up on mixing duties giving this the depth that it deserved. At times introspective, and at other times classic brute force, the themes of the lyrics are well summed up with the painted artwork by Nora Löwenberg of a face behind shattered glass, exploring the multifaceted nature of humanity and the ever changing place of the self in today’s global world. So if this all sounds like your kind of hardcore, then listening to this LP will truly be… heaven.

Whoop whoop, it’s the sound of the inimitable KRS One’s ‘Sound of da Police’ and the mind bogglingly clever ‘Hip Hop vs Rap’, reissued here for the first time ever on 7 inch vinyl, housed in an original artwork picture sleeve this is a must have for anyone in the know.

First up ‘Sound of da Police’. A song that spoke out against the long running history of the Black community experiencing police brutality, violence and racism at the hands of those that were meant to be protecting them. The hard-hitting words from KRS touch on the history of slavery and it’s manifestation into systemic racism throughout the ages since.

“Change your attitude, change your plan
There could never really be justice on stolen land”

Couple that with a rough breakbeat, chopped through the MPC alongside choice funk samples and that legendary police siren ‘Whoop, Whoop’ and you had a certified golden era rap classic that ignited the fire in the belly of many across the globe.

On the flip, ‘Hip Hop Vs Rap’. A bumping hip hop loop lays the foundation for KRS to work his genius melding all manner of classic hip hop lines that are the perfect ammunition to cut up on the decks and results in a flow that certifies that hip hop is the culture that you live and breathe.

“Rap is something you do,
Hip-Hop is something you live!”

It’s a true, headsy b-boy gem which deserves a place in every collection.

Edna Wright's idiosyncratic "Oops!" is one of the most sublime vocal refrains in soul music history. Anchoring its host album's leadoff cut, it sets the tone for a uniquely satisfying modern soul LP. Indeed, whilst many of its ilk come laden with filler, Wright's one solo record is an exercise in elegant restraint, a concise killer.

Originally released in 1977 on RCA, this rare and sought-after album followed the 1973 disbanding of Edna's much-loved Honey Cone. Produced by her husband, legendary producer/songwriter Greg Perry, the album was somewhat of a risk, a deep soul album released during the period when disco was altering the landscape of popular music. And perhaps inevitably, despite the stellar production and spine-tingling vocals throughout, the album glided gracefully under the radar, spawning only one single and seeing no chart action.

That single - the magnificent title-track - soon became a notorious rare groove stepper in its own right. However, in the years since, it has become a crate diggers classic. Its fame was elevated among hip-hop heads when Prince Paul memorably looped the shimmering intro when crafting the melodic hook for De La Soul's late-summer-stunner "Pass The Plugs", a wistfully melancholic back-porch nostalgia trip. And, more recently, Leon Vynehall liberally lifted the same intro for his sepia-tinged "Midnight On Rainbow Road" to augment the excellent Rush Hour compilation Musik For Autobahns 2.

Yet this album is so much more than its most famous song. An assuredly lean masterpiece from start-to-finish, the album features a further six dynamite tracks of warm, smooth soul. As such, it's an impossible task to choose certain tracks to highlight alongside the mighty title track. Throughout, Edna's strikingly mature vocals are wonderful, proudly stepping out with a sophisticated groove reminiscent of Jean Carn or Gloria Scott, whilst Greg Perry's gorgeous string-drenched backdrops add a rich depth. So much so, many of the other tracks have been sampled by producers with impeccable taste, from 9th Wonder to The Alchemist for songs featuring Nas and Talib Kweli.

Following her glowing role in the acclaimed documentary 20 Feet From Stardom, we pray this long overdue reissue will allow further light to shine on Edna. Officially licensed and beautifully remastered for vinyl by celebrated engineer Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original iconic artwork. Each copy includes a printed inner sleeve with a sumptuous black & white photo, full lyrics and heartfelt notes from Edna herself.

Japanese producer boys be kko returns to Labyrinth Records for his latest EP 'Pico'. Elegantly dance-centric, Pico and Kanari focus on textured drum work and richly layered melodies, underpinning these elements with club-ready energy and dynamics.

With its tribal beats, Japanese-inspired instrumentation and infectious energy, every element of the track 'Pico' has been crafted for summer festivals & parties through its euphoric blending of different styles - creating something unique and unforgettable.

The title track ‘Pico’ blends organic drum work with effortlessly unique and compelling synths to create a detailed sonic landscape, presenting new discoveries upon every re-listen.

‘Kanari’ adopts a darker edge with growling bass, haunting melodies and pulsating FX. A true heads-down roller likely to transport dancers to new realms.

Yetsuby lands on London label Third Place with her 'Water Flash' EP this July.

Seoul-based artist Yetsuby is best known as one half of electronic super-duo Salamanda, who have won hearts and minds with their light and floaty new-age electronica via releases on Good Morning Tapes, Human Pitch, and Métron Records. As a solo act, she has released her own music on the Taipei-based 禁 JIN as well as through the Seoul store The Internatiiional amongst self-released delights on her Bandcamp.

Turning to Will Hofbauer's playful Third Place imprint for her latest 12', Yetsuby delivers four bubbly tracks. On the A-side, the title cut 'Water Flash' leads with airy synths and textured percussion, while 'Electro Union' ups the energy with choppy vocal samples, punchy drums, and twinkling arps. On the flip, subtle synths wriggle alongside low-key percussion on 'Commercial Noisy Day', making for a heads-down affair, before the gorgeous finalé '물먹는하마' rounds out the B-side with delicate keys and detailed yet muted drums.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.