Suche:ino

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

What’s happening in the streets? This right here, a celebrated engineer Yas Inoue and Dj Takaya Nagase come together in the studio and rework the Voltage Brothers rare groove jam “Happening In the Streets” with a cleverly put together edit with filters, effects and sonically tweaking it to perfection. They've created a perfect dance floor masterpiece already championed by Louie Vega, Joe Claussell, Spinna, Mike Dunn, and Rich Medina. This choon has everyone in anticipation for it’s release.

Japanese sound engineer Yas Inoue, based in New York began his career in the world renowned Maw Studios in the late 90s and has engineered for producers such as Masters At Work, Patrick Adams, Leroy Burgess, and Randy Muller contributing to the creation of various New York house and disco hits.

Takaya Nagase, a New York based Japanese Dj started as an A&R for Japanese record label Soundmen On Wax. He learned and studied under the great David Mancuso of the Loft Party NYC and later held his own Joy parties along with other Loft members. Having had regular gigs at Club Shelter from 2006 to 2007 and at Club Output from 2017 until the closing in 2019, he built his dj chops and now currently djs at New York City's top venues such as Le Bain, Good Room and Nowadays along with monthly shows on the famed Lot Radio in Brooklyn.

Together they are Domo Domo and with their first project on Vega Records they are on their way to becoming New York household names in the dance music industry. Look out for “Happening In The Streets” coming soon at all digital and streaming outlets with vinyl releases on 12” and 7”. Lookout everyone, this one’s a sure HIT!!!

* First album by new age and ambient music pioneer. * One of “The 20 best new age albums.“ by Facmag. * 40th anniversary reissue on limited CD and VINYL. * Taken from Original Tapes and mastered by Grammy-nominated Jessica Thompson. * Fans of Peter Klaus Wiese, Steve Roach, Erik Wøllo, Anugama, Al Gromer Khan, Brian Eno, Robert Fripp, Steven Halpern, Pauline Anna Strom, Steven Halpern, Laraaji, Inoyama Land, Michael. * Ultimate collector’s item for those who deeply in Ambient Music history. * Available on limited CD and VINYL with original artworks from 1975.

The final installment in the planet love trilogy unveils yet another three DAT-retrieved compositions, conceived by Marco Repetto at axodya between 91 & 92.

D.o.c. e.p. drips heavily from melancholy. The wayward blend of joyous piano-arrangements, bittersweet pads, bleep, organ, groovy basslines, samples and 909, demonstrates the young producer’s more elate side, and underlines his inordinate ability to diversify.

It is with great pleasure that return_backspace resurrects some of Repetto’s most treasured compositions, and presents to the world the unadulterated future sound from the golden age of electronic music.

remastered

Zum 25-jährigen Jubiläum der postapokalyptischen Videospielserie 'Fallout' erscheint der Soundtrack zum Online-Spin-Off 'Fallout 76' (2018), geschrieben von Inon Zur, einem der größten Videospielkomponisten, als Deluxe-Format mit einer sorgfältig kuratierten Auswahl von 20 remasterten Tracks aus dem Startscore sowie diverser Updates bis einschließlich 'Night Of The Moth' auf schwarzem und transparent-gelbem 180g Doppelvinyl. Das Cover-Artwork stammt vom Art-Team des Spiels und zeigt die legendäre Power Armor.

Swedish outsider anti-folk: Embedded in the ever exciting Swedish underground scene Enhet För Fri Musik continues the quest for innovation numerous legendary Swedish bands started during the 70s, Pärson Sound, Trad Gras Och Stenar, Arbete Och Fritid. Taking the ideas of communal music craft and experimentation, on this album the group comes to a unique combination of Jandek-like atonal guitar, organ, tape effects, field recordings, saxophone and Sofie Herner's amazing loner voice running over it.

The only known EP released by Sick Hardcore, a project of Florence based Franco Falsini, the founder of Kaos Records, an important outlet for the Florentine 90s scene. “Digital Justice” is a collection of 4 proto rave dancefloor oriented tracks featuring sample based sounds over heavily percussive patterns of rhythm with an overall darker tone. Sometimes bordering EBM and New-Beat sentiments, yet also touching upon more progressive sounds and breakbeat elements. In addition to the original release's tracklist is a secret unreleased (more contemporary sounding) version of “Clinic Rhythm” which might have been put together by Franco himself more recently – hard to tell, but sure to impact any dancefloor for the better. Generously remastered for big room action.

box-set clear / vinyl / 180 gr

The Stone Techno Series returns with another exciting compilation. This time alongside a new festival that celebrates forward thinking artists from 9th to 10th of July at Europe's biggest coal mine complex under the UNESCO World Heritage Zollverein. The project is exceptional at its core, bringing back excitement and inventiveness to the genre.

The project functions as a multidisciplinary ever-evolving experiment that brings different aspects together. Sampling, creating and releasing music made out of million years old inorganic materials which shaped and defined the Ruhr Area like nothing else. "Auf Kohle geboren - born on coal" stands for this region and the so-called "German Wirtschaftswunder".

The Stone Techno project wants to embrace the history of "the Ruhrpott" while looking into the future as well. Techno Music stands for upheaval and modernity, while coal is the symbol of the Ruhr Area. This unique project will lend audibility to the ongoing process of transformation in the cultural and natural history of this region. Science and museums crossing paths with contemporary electronic music culture.

The Stone Techno project is not shy of its obvious significance. World-famous Ruhr Museum and The Third Room collective mark a first of its kind of long-lasting collaborations between a techno brand and a cultural institution.

This time the project is conceptually going one step further: Before the final backfilling of the mine at Zeche Zollverein, the acoustic atmos

'Pyramids, Stars & Other Stories: The Tangent Live Recordings 2004-2017' ist das neue 2CD bzw. 3LP Live-Compilation-Album von The Tangent. 'Eine Triple-Live-LP ist etwas, das man auf der Bucket List stehen hat.', sagt Leader Andy Tillison. 'Ich träumte davon, so etwas zu machen, seit ich ein Kind war.' Drei Konzerte sind vertreten, eines von 2004, eines von 2011 und eines von 2017. Alle wurden bereits in irgendeiner Form als 'inoffizielle Bootlegs' veröffentlicht, aber hier auf InsideOut werden sie zum ersten Mal standesgemäß präsentiert. Das 'Pyramids And Stars'-Konzert aus dem Jahr 2004 in Deutschland, bei dem die 'Roine Stolt'-Besetzung von The Tangent einen Großteil des Debütalbums 'Music That Died Alone' sowie (damals) neues Material vom zweiten Album 'The World That We Drive Through' spielte, ist in vollem Umfang enthalten. Hinzu kommen Tracks der COMM-Ära-Besetzung der Band (aufgenommen ohne Wissen der Musiker) bei einem Konzert in Großbritannien - sowie Tracks, die 2017 in den USA von der aktuellen Besetzung der Band aufgenommen wurden. Diese erschienen ursprünglich auf den Fan-Veröffentlichungen 'Southend On Sea' und 'Hotel Cantaffordit'. Präsentiert in einer neu gestalteten Ed Unitsky 'Pyramids and Stars' LP-Gatefold-Hülle und Doppel-CD-Digipack sowie als digitales Album, wurde die Veröffentlichung dieses Albums von den Fans der Band lange erwartet.

Five tracks of masterful, ritualistic, and pitch-black evil make up the
entirety of Ng'ambu - an album which is meant to be interpreted as a
hymnal to invoke and praise spirits - shows the band drenched in
offerings to the bands personal connection and dedication to Quimbanda,
the Afro-Brazilian diasporic belief system based around magic, rituals,
and offerings
The band explains, "It is both an offering to our Cabula, that is our house, as it is
to the spirits of Quimbanda themselves. In some sense we are turning what could
otherwise be poison into medicine. It is a process of engaging, through struggle,
with those aspects of ourselves and the world which live at the pivot point of
chance and desire. It is about seeking agency even in the thistles of the road.
Quimbanda is the fire by which we forge our iron and the strangling plantst that
cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our
anxiety and the motivation that anxiety produces. It is conflict and the strength
that comes from engaging that conflict. People say, idle hands are the devil's
plaything, and so we have put those hands and The Devil to work."
For the band's sophomore release, MEHENET connects a powerful fury of black
metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing
samples of the bustling French Quarter and by paying respect and praise to the
cultural music of the city by incorporating congas, whistles, and bells. Recorded
and mixed in 2019 by James Whitten at High Tower Recording in New Orleans,
LA.

Five tracks of masterful, ritualistic, and pitch-black evil make up the
entirety of Ng'ambu - an album which is meant to be interpreted as a
hymnal to invoke and praise spirits - shows the band drenched in
offerings to the bands personal connection and dedication to Quimbanda,
the Afro-Brazilian diasporic belief system based around magic, rituals,
and offerings
The band explains, "It is both an offering to our Cabula, that is our house, as it is
to the spirits of Quimbanda themselves. In some sense we are turning what could
otherwise be poison into medicine. It is a process of engaging, through struggle,
with those aspects of ourselves and the world which live at the pivot point of
chance and desire. It is about seeking agency even in the thistles of the road.
Quimbanda is the fire by which we forge our iron and the strangling plantst that
cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our
anxiety and the motivation that anxiety produces. It is conflict and the strength
that comes from engaging that conflict. People say, idle hands are the devil's
plaything, and so we have put those hands and The Devil to work."
For the band's sophomore release, MEHENET connects a powerful fury of black
metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing
samples of the bustling French Quarter and by paying respect and praise to the
cultural music of the city by incorporating congas, whistles, and bells. Recorded
and mixed in 2019 by James Whitten at High Tower Recording in New Orleans,
LA.

Repress !

Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project. After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

The Outsert carves some cold IDM/Breakbeat work outs for the first piece of wax on his elusive Intrasert Sound imprint”

Tip for fans of Objekt, Batu and classic Skam 12's

Japanese street music icon, Yasushi Ide released new album featuring Don Letts, Josh Milan, Jeff Mills, DJ Krush and more.


"This is a sound track for rude, underground adults! Amazing mixture of reggae, dub, funk, jazz, rock, afro, house. Masterpiece that goes beyond genres of music created by great producer, Yasushi Ide who has relentless motivation and global network of talents." - Shuya Okino (Kyoto Jazz Massive / Kyoto Jazz Sextet)

"Great album! It is amazing to finish such a big project involved many collaborators at this high quality only in a year and 4 months. The magic of Cosmic Suite is there are variety of styles, and it makes you feel deep and spiritual at one point, but at the same time you can feel relaxed. Also, I have to say that the sound quality is great. It sounds very clear and it can only be done with top level recording and mixing professionals." - Ken Ishii

Yasushi Ide is the Japanese street icon. In the 90's he was called "the Guru of Shibuya-kei" which was the movement of Shibuya style of eclectic pop by the artists such as Cornelius, Pizzcato Five, or Original Love who is once again recognized in City Pop revival of recent years. (Yasushi Ide was a manager of Original Love, and also Kenji Ozawa)

Through his works, he has been creating the global network of musicians such as Josh Milan of the Blaze, house music icon, Don Letts, the pioneer of connecting punk rock with reggae, and Jeff Mills, Detroit techno legend, and released a great amount of hi-quality music on his label, Grand Gallery.

The Cosmic Suite project started in 2020, during the pandemic. It started as a project to reconstruct the parts of music Jeff Mills created for Chieko Kinbara, a violinist which Mills produced. However, it turned out to be 36min of spaced themed original track = Cosmic Suite.
(There are few phrases of Jeff Mills music left in the final version) This masterpiece created a buzz in the music scene in Japan and overseas, and became Yasushi Ide's new beginning.

In June, 2022, Ide released "Cosmic Suite 2". Originally, Cosmic Suite was an instrumental. "Cosmic Suite" is the reconstruction of "Cosmic Suite 2" with the element of vocals. In this project, Don Letts, Josh Milan, DJ Krush are featured as guest musicians. Moreover, drums of Tony Allen, the legendary Afrobeat drummer, and Style Scott, a drummer known for his works in early days of ON-U label, and Gota Yashiki, a Japanese drummer known for his works with Soul II Soul are featured in this album. Also, Japanese brightest talents such as Kan Takagi of Major Force, Kaoru Inoue aka Chari Chari, Tomoyuki Tanaka aka Fantastic Plastic Machine and Calm are featured as artists and engineers. This is the true dream team of the Japanese underground music scene.

The artwork is done by Josue Thomas, the founder of popular fashion brand, Gallery Dept. He is also featured as poetry reading artist in track 1 of "Cosmic Suite 2." Ide and him collaborates in various projects under the concept of "Universal Music Connection."

Yasushi Ide's also well received as a dub artist. (beside his wide range of musical styles)
His dub cover of Bill Withers' "Ain't No Sunshine (Space Dub Mix)" is selected for "Late Night Tales mixed by Don Letts" in 2021.

Highlight of "Cosmic 2" is the unique dub sound in tracks such as "Lava" feat. UA, the Japanese singer often described as "Japanese Bjork", and "Sumimasen Suite" feat. Rebel Dread (= Don Letts).

Tokyo is the melting pot of street music from all around the World such as Dub, Jazz, House, Hip Hop, Afrobeat, Punk rock, Techno,,, You can see the influence of all spectrums of rebel music in this album. This unique avant-garde music can only be created by Yasushi Ide, who has been heavily involved in this truly unique music scene for a long time.

Following the long-awaited Paradise Of Delusion LP from 2021, An’archives announces Lunatic Pearl, a 10” EP by Japanese psych-pop legends Shizuka. As with the material on Paradise, 狂気の真珠 Lunatic Pearl draws from the deep well of music the quartet recorded in 2001, this time from two studio sessions. Here, though, the group’s classic line-up of Shizuka, Maki Miura, Jun Kosugi and Seven is augmented – on the a-side, they’re joined by Yasushi Nagata on guitar; flip the record, and Kazuhide Yamaji chimes in on acoustic guitar and bass.

Both Nagata and Yamaji were members of long-running Tokyo psych-out gang Dip (also known as dip the flag); Yamaji eventually joined Shizuka for a time, appearing with them on the 2010 DVD, Owari No Nai Yume, released by PSF. Part of Lunatic Pearl finds Shizuka in Paisley Underground mode, the spaced-out acoustic mantras of “Shiroi Inochi” and the instrumental “The Street The Fairy Goes” surprisingly reminiscent of the smeared, slow-motion psychedelics of Opal’s early EPs. The latter, a weightless blur, hovers in the air on dreamy drifts of DX-7, drifting melodies landing on the track like an astral traveller, lost and delirious.

“Lunatic Pearl” itself is a monster, one of Shizuka’s most rock-reverent moments, its bold riff soaring over a rhythm section that thuds menacingly, as though they’re the kings of the rumbling spires. “Signs”, another track from the Studio EUN session, features some gloriously unhinged playing from Miura, as though he’s tearing the song’s seams apart, as the group push Shizuka’s simple, perfect song into the stratosphere. Brief yet perfectly formed, Lunatic Pearl is another gorgeous entry in the Shizuka discography.

2023 Repress

"Fear Inoculum" ist das Grammy-prämierte Meisterwerk von Tool. Nach der Veröffentlichung der limitierten 5-Disc-Vinyl-Box mit Einzelpressung ist dieses von der Kritik hochgelobte Album nun als 3-LP-Set erhältlich, das ein neues Artwork in einem dreifachen Klappcover und ein exklusives Poster enthält. Zu den Mitgliedern von Tool gehören Schlagzeuger Danny Carey, Gitarrist Adam Jones, Bassist Justin Chancellor und Sänger Maynard James Keenan.

F-Side Special etching, NO AUDIO

City Of Light was recorded in Banaras, India, and mixed in Greenpoint, NY. It is about Banaras, a city older than history, tradition, and legends. It is Shiva's land, founded at the dawn of creation. It is India's oldest and most fabled city. The Hindus call it Kashi, the luminous... The City of Light. Music composed by Bill Laswell + Coil, Trilok Gurtu, Tetsu Inoue, and features texts and vocals from Lori Carson and an historical introduction by Hakim Bay. First time ever on vinyl, re-released in our Sub Rosa Blackcore series. City of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banarasalso contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced featuring Trilok Gurtu on tablas, Coil (Peter Christopherson + John Balance) on electronic, Tetsu Inoue at sound collages and Lori Carson at vocals. Track Listing LP side 1 01 Nothing 13'03 02 Kashi 7'19 side 2 03 Kala 13'06 04 Above the Earth 11'19

The Others (Lustmord Deconstructed) is a celebration of the fearless attitude of being different and the expression of unique ideas which have never existed before. Over 13 years after the release of O T H E R , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of `Ashen'. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. The original O T H E R was released by independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, O T H E R is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of `Godeater', while Japanese post-rock act MONO deliver a crushing version of `Er Eb Os', and THE OCEAN take us on a cathartically heavy mindtrip back to our `Primal State of Being'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own.

The meaning of Vārua, soul or spirit in Tahitian, is also the root of the word Vārua'ino, designating both evil spirits and celestial phenomena (thunder, rain, meteorites and rainbows), and helps shed a new light on the true essence of this new EP. Its changing nature naturally encourages the connection between the tracks and the variety of genres they conjure. The whole project articulates itself around a DNA formed by traditional percussive instruments, Ori deck, a bravado carried by the young Tahitian underground scene, and ancestral ōrero (Polynesian oratory art).

Often swaying between stellar coherence and astral wandering, the seven tracks of the EP see QuinzeQuinze highlighting personal feelings and paradoxes which make for the backbone of human experience through an archipelago of fables with mystical allegories.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world. The Sounds Of Transonic compiles six tracks recorded in Tokyo between 1991 and 1995 and released by the pioneering Transonic label, founded in 1994 by Kazunao Nagata and active until 2004.

Transonic’s catalogue is a glittering roll call of the scene’s major players, whose inventive and genre-blending work established forward-thinking house and techno in Japan in a way that would shape the country’s electronic sound for years to come. Transonic was instrumental in giving exposure to the work of these artists with its emblematic series of CD compilations, released over a short couple of years in the mid 90s. Beginning with 970-1450km/h, Feedback and Range, the series also included The Roots Of Transonic, featuring music from parent label Trigger. Alongside these compilations came much sought-after solo albums each packaged with striking cover art that makes the discs a visual treat for collectors to this day.

The Sounds Of Transonic brings together six tracks from the catalogue into one breath-taking package. The influence of hi-tech jazz and machine funk from Detroit is undeniable in ‘Dream Trance’ (Mind Design) and ‘Blasting Soul’ (Interferon), while ‘Under The Ground’ (Palomatic) and ‘Chelsea’ (Suzukiski) are permeated by the artificial intelligence and trip hop emanating from the UK at the time. The compilation is bookended by two tracks by Nagata himself (as Organization): ‘Space Ball’, a Model 500-worthy chase through the cosmos, and ‘Call’, an eerie echo of Kraftwerk’s telephone, transmitting expectantly out into the void and, finally, receiving its celestial answer.

With The Sounds Of Transonic these formative pieces of music will now be available internationally and, for the first time, on vinyl.

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.

2022 Repress

LP+MP3 - Carefully ReEdited, 100% Original

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.
Special remarks : LP with digital download card

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Whatever industry savvy or musical virtuosity he lacked was made up for by unflinching resourcefulness and infectious charisma. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

The Atlantic City basement sessions are a low budget, high romance testament to Tossini's character and the power of positive thinking. From the defiant, Casiotone samba of If I Should Fall In Love, to Wild Dream's dizzying escapism and the native tongue croons of Sulla Luna and Sincerita, Lady Of Mine hums with the inimitable magic of a true original. Piercing the heart with an effectively sparse combination of humming keys, CompuRhythm drums, horn flourishes and backing divas, ample room was left for Tossini to frankly deliver his much-needed life lessons.

Underperforming commercially at the hands of short lived label IEA Records, Lady Of Mine has since earned a place in the outsider music canon. Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is now finally reissued on the artist's own terms via Joe Tossini Music, in partnership with Efficient Space, restored from original master tapes with unseen photos, extensive liner notes and Tossini's trademark wisdom.

Devoutly independent, Tossini has previously self-released the 2015 instrumental album When You Love Someone as well as two books - a new fiction novel The Devil In White and his autobiography The Account of My Life.

“Pure psychotropic madness.” A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth.” Guitarist/Singer/Sonic Alchemist Dave W’s vivid fever dream ignited The Revenge of Heads on Fire, WHITE HILLS’ latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude “The Instrumental Head” to the closing punk blaze of “Eternity”, the album ebbs and flows, smouldering and seething in the middle with the 21- minute mammoth opus “Don’t Be Afraid”. “’Don't Be Afraid’ alone makes this an essential listen for fans of contemporary psychedelia.” -All Music The Revenge of Heads on Fire consummates Dave W’s prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band’s tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries, distributed worldwide via Cargo Records.

Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash line up of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now rereleased as a 180gm 3LP special edition, with an additional 12 tracks compiled by The Clash.

Having returned to London following their pivotal 17 show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatting Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.

The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.

Also includes rare Pennie Smith images + history of Frestonia essay by Tom Vague.

Dans cet opus enregistré entre Colombie et Cuba et édité pour la première fois en 2011 en CD, Sergent Garcia évoque tour à tour la tolérance, le combat de la vie des musiciens et les nombreux mensonges.
Très rapidement c’est un succès international qui lui apporte une nomination aux fameux Latin grammy
Awards dans la catégorie meilleur album de fusion tropicale ! Plus de 10 ans après sa sortie, l’artiste offre à son public une version limitée rééditée en format vinyle orange pour le Disquaire Day.
Album de joie et de fête mais toujours engagé poétiquement sur le monde, le disque comporte une dizaine de chansons dont la plus célèbre est Una Y Otra Vez. Hymne au courage et à la résistance, voilà tel est le message que l’artiste veut transmettre pour lutter contre l’oppression mentale et économique.
Il puise sa force dans les expériences propres de Sergent Garcia durant ces années où il a dû lutter pour son indépendance artistique et retrouver son inspiration.

WRWTFWW Records couldn't be happier to announce the release of Yutaka Hirose’s never-heard before 11-track collection TRACE: Sound Design Works 1986-1989, available on double LP and double CD, with liner notes from the artist.

TRACE is a collection of 11 unreleased tracks produced by Yutaka Hirose between 1986 and 1989, during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

TRACE: Sound Design Works 1986-1989 is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The Voice from Past Technology segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, TRACE is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ashikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

Mit ihrem 1993er Debütalbum ‘Scorn Defeat‘ machte die
Band um Sänger/Bassist Mirai Kawashimi erstmals international auf sich aufmerksam, um sich mittlerweile als eine
der erfolgreichsten Metalbands Japans zu etablieren.
Einstmals Vorbild für Bands wie Emperor oder Cradle Of
Filth, legt Sigh jetzt 10 neue Tracks hin, die Metal-Fans mit
ihrer Kreativität, Power und Bandbreite positiv überraschen
werden. Psychedelic- und Prog-Elemente werden gekonnt
mit den Black Metal-Wurzeln der Band vermählt.

Fear Inoculum is the Grammy award winning masterpiece from Tool. Following the release of the limited edition single pressing ultra-deluxe 5 disc vinyl box set, this critically acclaimed album is available now as a 3 disc 180g vinyl set that features new artwork in a triple gatefold jacket and an exclusive poster.

Tool members include drummer Danny Carey, guitarist Adam Jones, bassist Justin Chancellor and vocalist Maynard James Keenan.

Tape

Mexican sound artist Concepción Huerta is also a skilled photographer and video artist, and all of these aptitudes come together in the kinematic elements of her musical thesis. Her narrative seems to be an uninterrupted communication with movement as an axis: it pauses and falls with cadence at some moments; it agitates in disturbance at some others. But one movement perpetually crosses the other, even if sometimes imperceptibly.

Her sound work evokes displacements similar to what we could understand as a force of zero gravity. Taking this criterion as a backbone of her most recent work, the idea behind Harmonies from Betelgeuse focuses on the transmission of electricity between body and machine, between the organic and the inorganic. ––Strong loads of sound pulses move away from Earth's gravity through tape-manipulation. Betelgeuse is a star that belongs to the Orion constellation, but, since it has been expelled from its stellar association, it is considered a fugitive ––An exile. Harmonies from Betelgeuse is composed of eight pieces built as a whole, accompanying and destroying each other like theatrical parts of a cosmic tragedy. A beautiful analogy about impending extinction and exile.

Mastered by Rafael Anton Irisarri
Photos by Mateo Barbuzzi, design by Daniel Castrejón

‘Self Oscillation’ is made up of 5 club-ready psychedelic workouts swaying with natural momentum, from
Ecuadorian superstar Nicola Cruz, who makes his 2nd appearance on London’s Rhythm Section INTL.

The internationally renowned producer, Nicola Cruz, has been instrumental in pioneering the sound of Andean music over the last decade. Born and raised in Ecuador, Nicola has found his own unique way to tap into Latin America’s illustrious musical past to create something utterly contemporary. His previous projects have had the 4 elements running through as major themes: Fire and lava erupted during his sophomore album, Siku, with an Ecuadorian volcano doubling up as a recording space. And now, with his second Rhythm Section release, we are met with sounds of flowing water that Nicola describes as “aqueous explorations”. On this EP, ‘Self Oscillation’, Nicola Cruz fuses experimental production techniques with underwater, bass-heavy constructions. Moods change like the tides; from euphoric highs with acid riffs and latin drum patterns, the music quickly dives to moody submarine basslines and dark, frenetic rhythms.

‘Self Oscillation’ sees Nicola’s production move to new heights as he expertly bridges the gap between natural and mechanical sounds. With the help of iconic 80s and 90s synths and the retro colours of a Roland Space Echo, his newest work is a hybrid of electronic dance music and a synaesthetic image of nature. In the spirit of his previous EP on Rhythm Section INTL, ‘Self Oscillation’ showcases the synergy - or rather ongoing battle between the organic and inorganic, the analog and digital, civilisation confronted and confounded by nature. It’s within this dichotomy that Cruz revels, and manages to say so much, without words.

Der musikalische Werdegang der japanischen Gesangskünstlerin Hatis Noit begann einst unter ganz besonderen Vorzeichen. Nun mündet diese Reise in die Veröffentlichung ihres ersten Longplayers. Das acht Stücke umfassende Debüt ist die perfekte Eintrittskarte in ihre unvergleichliche Klangwelt. Genau genommen begann die Reise mit einem Initiationserlebnis , einem musikalischen Erweckungsmoment im zarten Alter von 16 Jahren, als die Japanerin gerade pilgernd zu Buddhas Geburtsstätte in Neapel unterwegs war. Sie hatte die Nacht in einem Frauentempel verbracht und vernahm am nächsten Morgen den Sologesang einer buddhistischen Nonne: Das Jenseitige in diesen Gesängen berührte sie so sehr, dass ihr schlagartig die unvergleichbare Kraft der menschlichen Stimme bewusst wurde. Was sie da hörte, war ein wirklich ursprüngliches, auf uralten Instinkten basierendes Instrument, das uns unweigerlich mit dem Kern des Menschseins, unserer Umwelt und unserem Universum verbindet. Ab diesem Moment wusste sie, dass das Singen ihre Berufung ist. Der Albumtitel Aura ist vom Werk des Philosophen Walter Benjamin inspiriert, der darin die Essenz der Kunst erkannte, da für ihn die Aura eines Werks unter anderem durch Echtheit und Einmaligkeit geprägt war. Hatis teilt diese Auffassung, denn sie musste feststellen, dass sie "während der Pandemie wirklich sehr zu kämpfen" hatte. "Als Sängerin bin ich einfach nicht besonders gut darin, am Computer zu arbeiten. Ich ziehe Live-Auftritte in wirklichen Räumen vor. Mit anderen Menschen zusammen zu sein, denselben Raum mit ihnen zu teilen und die einzigartige Energie und Atmosphäre des jeweiligen Moments zu spüren - das ist etwas, das mich immer wieder inspiriert. Für mich bedeutet Kunst tatsächlich genau das: dieser geteilte Augenblick."

Der musikalische Werdegang der japanischen Gesangskünstlerin Hatis Noit begann einst unter ganz besonderen Vorzeichen. Nun mündet diese Reise in die Veröffentlichung ihres ersten Longplayers. Das acht Stücke umfassende Debüt ist die perfekte Eintrittskarte in ihre unvergleichliche Klangwelt. Genau genommen begann die Reise mit einem Initiationserlebnis , einem musikalischen Erweckungsmoment im zarten Alter von 16 Jahren, als die Japanerin gerade pilgernd zu Buddhas Geburtsstätte in Neapel unterwegs war. Sie hatte die Nacht in einem Frauentempel verbracht und vernahm am nächsten Morgen den Sologesang einer buddhistischen Nonne: Das Jenseitige in diesen Gesängen berührte sie so sehr, dass ihr schlagartig die unvergleichbare Kraft der menschlichen Stimme bewusst wurde. Was sie da hörte, war ein wirklich ursprüngliches, auf uralten Instinkten basierendes Instrument, das uns unweigerlich mit dem Kern des Menschseins, unserer Umwelt und unserem Universum verbindet. Ab diesem Moment wusste sie, dass das Singen ihre Berufung ist. Der Albumtitel Aura ist vom Werk des Philosophen Walter Benjamin inspiriert, der darin die Essenz der Kunst erkannte, da für ihn die Aura eines Werks unter anderem durch Echtheit und Einmaligkeit geprägt war. Hatis teilt diese Auffassung, denn sie musste feststellen, dass sie "während der Pandemie wirklich sehr zu kämpfen" hatte. "Als Sängerin bin ich einfach nicht besonders gut darin, am Computer zu arbeiten. Ich ziehe Live-Auftritte in wirklichen Räumen vor. Mit anderen Menschen zusammen zu sein, denselben Raum mit ihnen zu teilen und die einzigartige Energie und Atmosphäre des jeweiligen Moments zu spüren - das ist etwas, das mich immer wieder inspiriert. Für mich bedeutet Kunst tatsächlich genau das: dieser geteilte Augenblick."

Nyami Nyami Records presents a reissue of a rare gem from the Gramma Records catalog , the historic Zimbabweean label. Dumisani Maraire, the leading creator of modern mbira, settled in the USA in the late 60s where he popularized the traditional music of the Shona people.

Tichazomuona is the first album he recorded in liberated Zimbabwe, in 1986, with his wife Maichi and daughter Chiwoniso.

You can hear the very young singer on lead vocals on the title track, long before she went on to perform solo on the international stage.

We launched Nyami Nyami with her last recording Zvichapera and are happy to also release now her very first.

An image album made with the concept that 'children really want, the mouth is opened and the voice is lifted and made a song that can sing. Includes 10 songs + 1 instrumental musical. Song / Azumi Inoue, Joe Hisaishi, Kimiko Mori, Taku Kitahara, Suginami Children's Choir.

Orange Vinyl

WRWTFWW Records is very happy to announce the release of the new album from legendary Deee-Lite member Towa Tei, celebrating the 30th year of his career. It is available on (orange) vinyl for the first time outside of Japan.
The album, simply titled LP features Japanese music icons Haruomi Hosono and Yukihiro Takahashi (Yellow Magic Orchestra), Yasuaki Shimizu (Kakashi), fellow METAFIVE colleagues Tomohiko Gondo and Yoshinori Sunahara, HANA, Wataru Iga, Shunji Mori, Hidefumi Ino and more.
It was mixed by famed engineer Goh Hotoda and the artwork comes from painter Tomoo Gokita.
Poppy, catchy, dancy, and very funky, Towa Tei’s 10th solo album is 100% delirious ride and a testament to the Deee-Lite member’s ever-expanding creativity, combining simplicity and experimentalism in the most feel-good ways. Indoor, outdoor, and every day of the year, this one will make you dance and smile!
This release is a collaboration between legendary Japanese label Nippon Columbia/Better Days and WRWTFWW Records.

Making an album is never easy, but throw in a couple of lockdowns and a
singer-songwriter (Gerard Sampaio) with an inoperable brain tumour and
you've got GOOD NEWS, BAD NEWS, an album which spans delicate love
songs and meditations on not being around for much longer
Gerard describes his situation as 'really shit, but good material for writing songs.
At an incredibly tricky time, making this album and the love and support of the
band itself have been a godsend. Like self- administered music therapy'.Never
slipping into self-pity, these songs paint a picture of a man staring into the abyss
with wit and humour. On the raucous POSITIVE he sings about trying to stay
upbeat in the face of his 'cancer journey' and whether being positive all the time is
really such a good idea. SISTER AND BROTHER is a sweet, heart-breaking ballad
to his wife and children. And the title track GOOD NEWS, BAD NEWS describes
the rollercoaster that is 'living scan to scan'.
But before we even get to all that, there's the mesmeric FALL BACK, rousing footstomper OBVIOUS, moody waltz SODIUM GLOW, and CARELESS SHOWDOWNS –
a showcase for the gorgeous vocals of multi- instrumentalist Jen McKee (in
addition to playing cello and accordion).
Recorded remotely during lockdown, Tim Davidson makes a welcome return with
his pedal steel guitar, Jamie Houston lends his keyboard skills, while J.P. Berrie
and Gordon Kyle provide horns throughout, and a sublime muted trumpet solo on
the title track and album closer GOOD NEWS, BAD NEWS.
….The Sweetheart Revue is a six- piece band from Glasgow made up of Jack
Cocker (guitar and vocals, Liam McArdle (bass), Jen McKee (cello, accordion,
piano and vocals), Heather Phillips (violin and vocals), Moshe Price (drums) and
Gerard Sampaio (guitar and lead vocals).
They've been making music together since 2007, always with an emphasis on
harmony, melody and storytelling. Lead singer and songwriter Gerard Sampaio
credits Bill Callahan, Bob Dylan and David Berman as his biggest influences.The
Sweetheart Revue released their first album THE SILENCE AND THE COMMON
SENSE in 2017. They were recently described as 'Scotland's best kept secret'.

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

2 jungle and one solid raggatek for the finish... Don't miss that roots parl !! Authentic brlloy stuff !!

A seamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara's sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purpose, 4 X A Dream is both balearic acid folk and damaged steel drum dub, hi-tech new wave balladry and ambient synth pop. Classical and neoimpressionist vibes haunt and entrance. Quite possibly the most unique LP you'll ever add to your collection.

A seamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara's sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purpose, 4 X A Dream is both balearic acid folk and damaged steel drum dub, hi-tech new wave balladry and ambient synth pop. Classical and neoimpressionist vibes haunt and entrance. Quite possibly the most unique LP you'll ever add to your collection.

This is the demo recording sessions from Television in 1974 under Brian Eno's guidance. TheA SIDE demos were recorded at Good Vibrations Studios in NYC with Richard Hell on bass, and produced by Brian Eno and Richard Williams of Island Records.It also includes three live tracks from CBGB's in 1975 including the unreleased (I Look At You And Get A) Double Exposure, the band never recorded in studio. An abrasive 13th Floor Elevators number and the inonic Richard Hell (I Belong To The) Blank Generation It is fascinating listening to the early versions of these songs that eventually appeared on 'Marquee Moon'. Each versions are distinctly different having a 'harder edge' to them and closer to the final released editions. Sound Quality: Very good stereo

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.

PURPLE COLOURED VINYL

Mdous Musik hat ihre Wurzeln zwar in traditionellen Tuareg-Melodien, gibt aber auch immer wieder Einflüsse von u.a. Eddie Van Halen preis. Neben Mdou besteht die Band aus Bassist und Producer Mikey Coltun, Drummer Souleymane Ibrahim und Gitarrist Ahmoudou Madassane. Zusammen haben sie längst auf ausgiebigen Touren bewiesen, dass sie nicht nur heimische Hochzeitsfeiern rocken können, sondern ebenso Festivalbühnen auf der anderen Seite der Erdkugel. Dabei beherrschen sie sowohl den hypnotischen Boogie von Black Sabbath der Masters of Reality-Ära, als auch den erhabenen elektrisierenden Groove von Black Uhuru. Mdou Moctar lebt in Agadez im Niger, einer eher ländlichen Gegend, die wie eine kleine Oase mitten in der Sahara wirkt. Hier entsteht auch ein Großteil seiner Musik, die ihn in West-Afrika zu einer echten Berühmtheit hat werden lassen. Verbreitet haben sich seine Sounds dort nicht durch das Internet und Social Media, sondern über die Speicherkarten aus Mobiltelefonen, die wie Tapes weitergegeben und getauscht werden und wie analog-digitales Lauffeuer durch das Land gehen. Den internationalen Durchbruch schaffte Mdou Moctar 2019 mit dem Album "Ilana: The Creator". Mit seiner vierköpfigen Band reiste Moctar anschließend durch die Welt und wurde schnell zum inoffiziellen Botschafter seines Landes. Nun liegt der langerwartete Nachfolger vor.

Following in the footsteps of the pathbreaking Minna Miteru compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws fifteen songs (eighteen on vinyl) from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya’s songwriting, and the group’s limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido and more.

yumbo is very much the vision of Shibuya, an amiable iconoclast whose songs seem informed by some of his early listening – there’s the playful seriousness of Maher Shalal Hash Baz’s Tori Kudo here, an avowed long-time hero for Shibuya, but also the flexibility of freely improvised music. You can also hear Shibuya’s fondness for Mayo Thompson and The Red Crayola in both the idiosyncracies of the writing and the egalitarian looseness of the playing. Shibuya also carries those energies into the group’s membership – there are fantastic stories of him having a conversation at a record shop, or overhearing someone speaking, and asking the person in question to join yumbo as one of their various singers. He seems open to chance as a driving force, as a way to make space for unexpected possibilities to blossom.

The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There’s a gorgeous soul-inflected lilt to “A House” that makes it delightfully affecting; the swaying brass on “Storm” propels its melody to a moody, dreamlike conclusion; the nakedness of “The Sweetest Mass” is slightly reminiscent of Carla Bley’s more pop-focused writing, crossed with the classicism of the songs that spilled from the Brill Building in the ‘60s. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like “Umbrella People” from Onibi.

Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on “Umbrella People”) and Olympia, Washington’s LAKE (on “The Devil Song”). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

RNXRX returns to VEYL for his debut album, 'Impreciso'. No stranger to the label, the artist first made an appearance on 'Previously Undisclosed Rituals' and then again with 'Sigil', a collection of B-sides which act as the perfect prelude to this offering.
Derived from an alchemy of inspiration, the album is the result of endless nights unearthing samples, vinyl oddities, effects databases from a bygone era and the artist’s own post-processed vocals - imprecise components which all combine perfectly to form this LP.
Unconstrained by genre, 'Impreciso' journeys through strains of body music, psychedelic rock, soundtrack and more, delivering electronic experimentations which expose the artist’s darkest tendencies while
revealing a long admiration of post-punk, hip hop and science fiction’s finest.
Twelve tracks falling somewhere between homage and reinvention, 'Impreciso' operates with 80’s circuitry, throws back to 90’s beat nostalgia and drills into a cyber-verse for a familiar yet unexpected trip perfect for this moment.

Mdous Musik hat ihre Wurzeln zwar in traditionellen Tuareg-Melodien, gibt aber auch immer wieder Einflüsse von u.a. Eddie Van Halen preis. Neben Mdou besteht die Band aus Bassist und Producer Mikey Coltun, Drummer Souleymane Ibrahim und Gitarrist Ahmoudou Madassane. Zusammen haben sie längst auf ausgiebigen Touren bewiesen, dass sie nicht nur heimische Hochzeitsfeiern rocken können, sondern ebenso Festivalbühnen auf der anderen Seite der Erdkugel. Dabei beherrschen sie sowohl den hypnotischen Boogie von Black Sabbath der Masters of Reality-Ära, als auch den erhabenen elektrisierenden Groove von Black Uhuru. Mdou Moctar lebt in Agadez im Niger, einer eher ländlichen Gegend, die wie eine kleine Oase mitten in der Sahara wirkt. Hier entsteht auch ein Großteil seiner Musik, die ihn in West-Afrika zu einer echten Berühmtheit hat werden lassen. Verbreitet haben sich seine Sounds dort nicht durch das Internet und Social Media, sondern über die Speicherkarten aus Mobiltelefonen, die wie Tapes weitergegeben und getauscht werden und wie analog-digitales Lauffeuer durch das Land gehen. Den internationalen Durchbruch schaffte Mdou Moctar 2019 mit dem Album "Ilana: The Creator". Mit seiner vierköpfigen Band reiste Moctar anschließend durch die Welt und wurde schnell zum inoffiziellen Botschafter seines Landes. Nun liegt der langerwartete Nachfolger vor.

Black Truffle is delighted to offer up a rare serving of unheard works by legendary Swiss artist Anton Bruhin. Active as a visual artist, poet, and musician since the 1960s, Bruhin has created important work in forms as varied as concrete poetry and landscape painting, imbuing everything he does with wit, humility, and absurdist humour. A recognised master of the jew’s harp (or Trümpi, as this ancient folk instrument is known in Swiss German), Bruhin’s sound work also encompasses tape collage, sound poetry, and manipulated bird song. On Speech Poems/Fruity Music we are treated to 26 short pieces made between 2006 and 2008 using the audio software Fruity Loops. These pieces carry on Bruhin’s long-running project of exploring the creative use and misuse of cheap, accessible technologies. In many of his analogue works, Bruhin explored the possibilities of simple cassette equipment. He invented DIY approaches to layering sounds by using multiple tape machines, experimented with distortion and tape speed, or, in his classic Inout (1981) created a maniacally single-minded audio monument to the pause button. Like the computer pixel drawings the artist produced around the same time as these recordings, Speech Poems/Fruity Music extends this approach to consumer software, presenting two parallel sequences of works that make use of Fruity Loops’ inbuilt synthetic instruments and its speech synthesis function. The instrumental works play like a twisted take on the aesthetics of 1980s video game soundtracks, using synthetic accordion and harpsichord sounds to realise jaunty little ditties that exploit their machine-realisation by making use of improbable pitch-bends and humanly impossible tempos and articulations. Between these samples of Fruity Music, we are treated to the Speech Poems, a series of recitations by a lone computer-generated voice. Many of them are in fact songs, as the synthetic voice crudely and hilariously changes pitch as it moves through its fragmented syllables and odes to cream in coffee. Carrying on Bruhin’s interest in the creative misuse of technology, many of the Speech Poems attempt to force Fruity Loops’ voice synthesis, designed only to speak English, to speak German. By entering phonetic text into the program, Bruhin gets it to produce a passable German alphabet and a series of approximations to a proper pronunciation of his name. Hilarious while strangely austere, entertaining but bizarre, Speech Poems/Fruity Music is classic Anton Bruhin, arriving in a beautiful mosaic cover by the artist, with the text of the ‘abc für anglophone’ on the back cover.

Solo album by the great pianist Tete Montoliu recorded in 1971 and released on SteepleChase in 1986.
“El Grand Señior from Catalonia” was the way Dexter Gordon used to introduce Tete Montoliu to the audience at Club Montmartre in the ‘60s. Vincente Montoliu Massana, better known as Tete Montoliu (1933-1997) was born blind and learned to play piano at age 7 by Braille method.
He studied music at the Conservatori Superior de Música de Barcelona (1946-1953). His remarkable international career took off in 1956 when Lionel Hampton invited him for his big band and since then Tete played all over the world with host of jazz luminaries.
“Listen to the superb interaction between a man and his piano in the utmost sublimity...Montoliu shares the same pulse, sincerity, talent with his illustrious predecessors Art Tatum and Earl Hines...” - Pierre Steve

After our last release with Dub Keyboarder Ao Inoue from Dry&Heavy Tokio/Japan we now are super proud to announce;
Our next Ep coming up in November is done by TURMSPRINGER + 2 heavy weights Producers. QUENUM labelhead of Cadenza delivered an superb minimal 80´s sounding remix and we could convince no further then Neil Fraser aka MAD PROFESSOR to join the Mole Audio Project He´s done a few “versions” on his old smokey dusty console which will come out within the next few month , Keep your ears open for this !

Birds are singing, a soft female voice embraces the stars, then the funk hits the fan: the second album of mysterious Japanese singer Nadja haunts immediately and marks one of the most exquisite reissues in the ever-growing catalogue of Studio Mule. Originally released in 1989 as promo only CD on the Japanese label Polystar, the album features some of the finest eighties pop funk fusion arrangements of the era. A deeply enchanting lost gem, that gets listeners instantly into heavy repeat addiction.

All ten songs are arranged by a group of grandmasters of their art. Japanese saxophonist, composer and music producer Yasuaki Shimizu, man behind the electronic ambient fusion classic “Kakashi”, was in charge for tunes like “Wac-Wack”, a neon light funk pop song, full of soft big city eroticism, ultra-slick synth lines and real funkateer explosions. It’s followed by “夢のとりこ”, the most stirring pop tune on the album, that originally was written by French composer, multi-instrumentalist, actor and singer Areski Belkacem, known for his and long-time collaborations with French avantgarde singer Brigitte Fontaine. Shimizu transformed the song into a low hanging funk jewel, with a cool rolling bassline, dub depth and synths that cry for cosmic help. Above all Nadja signs with a sexy chill, that somehow could only emerge in the 1980ees, when the cold war even made pop music real cool. The follow up is named “真珠のように”, features again music by Belkacem, this time transformed by Shimizu into electronic erotic pop - dreamy, witchy and precisely musical composed.

The B-Side opens with “Velvet Rain”, a funky urban boogie composition by Japanese keyboard player, composer and producer Akira Inoue, enlarged with glimmer camp kitsch, that immediately puts a smile on the listeners faces. It gets followed by “Paradise Catcher”, a soft pop tune with longing string and horn sections, arranged by legendary Jamaican rhythm and production duo Sly & Robbie. It somehow marks one of the strangest songs in their longstanding career, as it is largely minimal orchestral but yet super tight when it comes down to the rhythmic magnitudes. The next tune, “Private Tripper”, also stays soulful, funky and horn driven. Always pleasing the super tight, yet feathery voice of Nadja, that is dancing about boogie grooves and illuminating melodies with a seducing tragical coolness. Finally the album ends with a stylistic break in the overall musical atmosphere. It comes from Japanese musician Hiroaki Goto, it’s called “地図をずっと南へ”and features Afro-Brasilian voodoo rhythms, pan flutes, cosmic piano notes and Nadja, singing like a rain forest sorceress from outer space.

Ten arrangements by a bunch of high-grade arrangers, that all left Nadja’s voice enough space to widespread her talent as a supremely seducing singer, who wrote all lyrics, vocals and chorus by herself in order to present her touching vocal class in a vivid, bewitching timeless style. Come in and get ensnared!

The (in)famous ice skater Wosto, after his solo EP, returns on our label, this time, bringing reinforcements with him: NOSTALGIE ÉTERNELLE (Inox Kapell and Dieter Mauson) .

SAUERSTOFFF (oxygen / one F for every freak as they say) is the name of their band.

Three sick tracks, with a very German imprint, came out from their last meeting and we caught it on the fly and engraved on the groove for the pleasure of your ears.

The release will be available in a limited series of 150 hand stamped 7’’.
Mastered at Sensorium

Wenn einer der größten Popstars der Welt auf ein neues Album zusteuert, genügen schon drei Buchstaben und alle wissen Bescheid: „KP5“ lautete monatelang das inoffizielle Kürzel für Katy Perrys kommenden Longplayer. Das Album heißt „Smile“, klingt nach „Smile“ – und kommt am 28. August. Die erste Single „Daisies“, eine Hymne auf die Unabhängigkeit, zeigte schon sehr gut die Richtung fürs neue Album, denn die Sängerin will in der aktuellen Situation vor allem inspirieren, das sprichwörtliche Licht am Ende des Tunnels aufzeigen, wie sie kommentierte. Die Titelsingle ”Smile” ist ein weiteres durch und durch positives, absolut lebensbejahendes Statement. „Drei Minuten absolut zuversichtliche Energie sind das“,
so ihr Kommentar. Auch die schon 2019 veröffentlichten Singles „Never Really Over“ und „Harleys in Hawaii“ werden auf dem Album vertreten sein, die in der Standard-Edition insgesamt 12 Songs vereint und sehr persönlich klingt, weil Katy ganz offen Probleme und Zweifel anspricht, mit denen sie in den letzten Jahren zu kämpfen hatte. Seit KP im Jahr 2008 mit „I Kissed A Girl“ erstmals die #1 in Deutschland
erobern sollte, hat die US-Sängerin alles abgeräumt. Zuletzt erschien das Album „Witness“, mit dem sie wieder einmal die #1 in den US-Charts eroberte (in Deutschland wurde u.a. die Single „Chained To The Rhythm“ vergoldet).

They say you can't judge a book by its cover, and going by 'Jazz Rock', nor a record by its title. Though entering into jazz territory and featuring some distorted guitar, 'Jazz Rock' is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min'y music performed on the koto and shakuhachi.

Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min'y players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and ear the bamboo rustling in the distance on a long hot summer's day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session. Takeshi's exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC's. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument). Though certainly not an ambient record, 'Jazz-Rock' has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the 'Jazz Rock' album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future classic as much as we do.

Emotional Rescue is proud to reissue a collection of global music band, International Noise Orchestra, presented across 4 special EPs.

Founded when Berlin based musician Ulrich Hornberg mixed a newly acquired Commodore 64 with visiting Algerian drummer Jol Allouche's tablas "old culture meets new technology" the fundamentals were laid. Simple, maybe naive, with a curiosity to combine and inspire. 'The means of production must belong to the workers', investing in a studio, label and publishing house allowed INO the adventure to record what they wanted, a project via 'gastes', taking their influences and culture, in a melting pot of eastern melodies, african percussion, jazz, soul, dub, and pop an orchestra not of size, but of different playing styles and idiosyncratic interpretations.

Old meets new starts with their cover of Gimme Your Lovin, taking Winwood's classic and molding a white funk, pop, rock, dance hybrid, with enigmatic actor / singer Richard Strange's distinctive poetic delivery. Following Dr. Sarmaz, released under INO's alias - Internationales Gerauschorchester - the global dance vibrations begin.

Feel It Flow is pure 80's dance pop, with Glynnis Thomas (Savage Progress) distinctive tones leading to the jazz fusion of Atai, before closing with the guitar / synth / tabla rhythms of Culture Rescue Service.

Jimi Tenor & Bizz O.D. met 1989 in a Helsinki club called Berlin. They decided to move to New York City in 1992 to start the band "Public Extacy" which never saw the light of day. A few years later, Jimi had already left NYC but was visiting so the two met to record "Bizz O.D. & Jimi Tenor's Traffic E.P.". Released in 1995 on OZON Records founded by nobody else but Jammin' Unit and Biochip C. Originally a 3 track e.p.but we at Temple Traxx thought that it was the right time to remaster and reissue this acid jewel and add an unreleased bonus track called "Girls" in this limited edited edition. This 4 track e.p. shows once more that the two artists are real inovators and pioneers of a sound that is hipper than ever in 2020.

Motomitsu is a Japanese producer, DJ, Children’s book author, Illustrator, Poet living in Paris. The tracks of this EP are inspired by the original Detroit House Music, however it’s not an imitation. The tracks are made with Japanese sensitivity and Parisian atmosphere.

Fantastische Best-Of-Compilation des venezuelanischen Ambient/Electronic-Musikers Miguel Noya mit remastered Highlights seiner Karriere seit seinem Solodebüt, dem deepen Sci-Fi-Electronic-Werk "Gran Sabana" (1984). Inspiriert von Brian Eno, Jon Hassell und Tangerine Dream vereint Noya Ambient, Space-Electronica, Soundtrack, Psychedelia und organische Geräusche zu einem intensiven Sound, der sich - ähnlich japanischer Ambient-Produzenten - mit einer eigenen Note von den westlichen Pendants abhebt.

WRWTFWW Records is too happy to announce the much anticipated official reissue of Japanese duo Inoyamaland’s quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue.

With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended". Playful and magical, it’s a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The 10-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful.

The original recording sessions for the album took place in an apartment filled with Inoyamaland’s "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time 80s Japanese ambient greats alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way - and holding that mysterious power of "music that makes life a little easier and happier".

Mental Acid tribe music... Deep and melodious. sugar kiss !

They Say: “Documentary and industrial underlays for current themes of modern life”.

We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb.

This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop.

The record comes galloping out the gate with a pair of rapid synthy-eurodisco bombs - the title-track and “Panama” - before slowing down to a woozy pace on “Inorganic Matter”. “African Nightclub” sounds like it reads, and is a particular favourite of Prins Thomas. Indeed, it was used to great effect on his seminal Cosmo Galactic Prism mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of “Grease Plant” before “Southerly” lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys.

For us, though, it’s all about the opener to side B: “Mechanical Heart”. Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as “Guitar and percussion, light industrial underlay”. Hmmm. How about, “after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings”. Just wait for those drums at the 3 minute mark…

The beatless ambience and menacing stabs of the proto-electro “Chemical Threat” follows, before the open drums and incredible fills of the metronomic “Steady Going” and fantastically monotonous funk breaks of “Nepal Trek” round out this sensational set.

This is a library masterpiece in no uncertain terms, full of synth funk, afro beats, exotica, leftfield madness, dance floor dynamite and all-around greatness.

As with our KPM and Themes re-issues, the audio for The Now Generation comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metalic silver glory.

banging raving techno with an excellent Minimum Syndicat track.. Aceed !

The latest addition to Furanum's discography arrives as an EP entitled "White Cold Skin" that simultaneously marks the emergence onto the scene of Beuthen OS. In keeping with the central ethos of the label, the figure behind the guise interrogates and ably materializes the industrial aesthetics of raw power and dystopic bleakness within the confines four diverse yet thematically coherent compositions.

The exploration of said dichotomy is cogently on display within the eponymous track, where an immediately evident presence of inordinate subsonic force is gradually complemented by the imposing throes of harsh yet carefully crafted analog cyclicality. Linearly hurtling toward its final destination, it relentlessly batters the listener with exhilaratory waves of cold sweat in its wake.

In contrast, "J131" and "Porobieni" present far more dispersed and unorthodox rhythmical structures as they maintain the omnipresent sense of part thrilling, part foreboding unease that permeates the record. Propelled by a pervasive pendulatory sway, the former radiates barely repressed power as it exerts its existential narrative, while the latter seems to speak to the ritualistic submission of willing bodies continually broken on the rhythmic wheel of a self-perpetuating cycle of sonic gratification.

Finally, recorded live and serving as an apt epilogue, a beatless yet by no means any less compelling droning rendition closes out the record. Whereas overt melodic content was hitherto eschewed in favor of rhythmic complexity, the piece more than delivers on this front, thrusting the audience into an ever encompassing and vividly visceral collage of throbbing textures as it progresses towards the revelatory unconcealment of a recondite core.

Mastered & cut by Kassian Troyer at Berlin's Dubplates & Mastering,

Pacific Breeze is a collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between.

Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early '70s, as heard on Light In The Attic's acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, 'Deconstructing the line between imitation and authenticity.' Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card

Osaka based producer 7FO. Having previously released a cassette on RVNG International, and a 7'' single on Bokeh Versions in 2017, this is the Japanese producer's debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time.
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The mysterious figure recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native lands, 7FO's music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as 'gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds'.

The 12'' comes with artwork designed by label head & visual artist Jack Hardwicke. To accompany the release Greek filmmaker George Kountouras, who also collaborated on the artwork, has directed a gorgeous video for the title track 'Moment'.

'Harnessed To Flesh' is the new release from Berlin based industrial project OPERANT (Instruments of Discipline's founder and sub, respectively, Luna Vassarotti & August Skipper). Since 2016's 'ZK-II' & 2017's 'Zero Knowledge' Operant have been consistently touring, enforcing their reputation as a live act, melding chaotic noise with a disturbed, euphoric techno.

With this new release Operant engage a sense of intimacy which encapsulates their live performance; there is the familiar sense of hypnotic rhythms and collaged sound seen in the earlier works but the duo's production and focus have evolved, opening up new spaces and textures to their sound.

The opening track, 'Also To The Inorganic World' reflects the more noise oriented moments of their live show, improvised fragments, contact mic's and metal sheets combine with soundtrack like synths that seek to bolster a sense of unreality and pervert lo-fi expectations, 'Be A Boy' is a slow build, punctuated by car-crash impacts with the most coherent, almost narrative driven vocal of the record, concluding with a jarring, rhythmic seizure. Side-A finishes with 'Chancellory', an underlying sense of being underwater pervades, choking vocal sounds straddle the line between disturbing and playful. The B-Side sees a more direct and aggressive approach, 'The Sacrifice of Meaning for Power' is a dance floor oriented storm of percussion and punishing snares, Luna's vocals violently penetrate at moments, creating a feeling of vertigo within the locked rhythm, 'Dead Realities VIII' closes the record, beginning with a gabber influenced, rhythmic groundwork that unravels into a dronescape where an already torn reality is utterly destroyed.

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.

The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.

Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

There are some records that manage to sound both of a time and utterly timeless and Bon Voyage Organisation's Jungle Quelle Jungle (a nod to Supertramp's Crisis What Crisis) is one of those albums. Its silken-smooth production, irresistible grooves, funk-tinged guitars, lush soundscapes and general glowing presence could easily lead one to believe that have dug up a lost disco gem from the 1970s. However, behind the disco-pop gleam lies eerie dystopian sci-fi ruminations of a futuristic bent and tones that can often feel as French as they do Asian or African.

This sort of cross-continental exploration is an expansion on BVO's previous two EPs, the man behind the Organisation, Adrien Durand, says. 'I tried to continue the musical expedition between dystopian Science-Fiction Haunted Africa - plus Haitian Vaudou on 'Soleil Dieu' - and futuristic Asia. Addressing, in a double entendre manner, some of the political issues that I am sensitive to.' In fact the jungle in question in the album's title is a metaphorical one and one that creates a vast series of environments for Durand to explore such subjects as world trade, utopian ideals and themes of idols, as well as of time and communication. However, one will need to speak French to decipher such explorations, as well as shake off the natural impulse to move with every glorious beat on its 13 tracks, of which are moved along by Maud Nadal and Agathe Bonitzer's golden vocals.

Durand is a full-time producer based in Paris, working with the likes of Amadou & Mariam, so it makes sense that this record would absolutely sparkle in this department. Durand feeds off the variety of musicians coming and going during recording sessions as well as the rotating members and numbers of people involved with the band but fundamentally he writes all songs on piano first before bringing them to record live. 'We recorded a rhythm section of five - drums, percussion, guitar and myself on bass/synth bass and keyboards - at La Frette which is a studio located in a mansion outside of Paris and fitted with a beautiful 1973 NEVE desk. We only used analogue gear, by taste really, and found it a pretty reliable way of doing things. This simply consists of putting good players together in a room and waiting for the right take to happen.' Two four-day sessions and a 'cooling off' period (to let the recordings settle) soon followed before Durand picked the material back up to give it a final polish.

The resulting album is one loaded with intricacies and idiosyncrasies, something that Durand puts down to his own unique approach. 'I don't consider myself much of a songwriter but I love arranging rhythm sections and I'm pretty proud of the ones on this record.' This applies when it comes to working with such musicians as Inor Sotolongo Zapata, who with Durand used traditional Cuban percussive instruments and explored Haitian rhythms. When Durand expands on some of the ideas and influences that were funnelled into the record, you begin to get a sense of the vastness of the sounds that fill his world, from Trevor Horn's production work on ABC's Lexicon of Love, to the literary work of JG Ballard to the visual flair of the original Blade Runner and even the Tuareg sounds of Tinariwen, due to the fact that his studio neighbours their manager's and he would hear their rhythms bleeding through the walls. You therefore end up with an album that offers tracks such as 'GOMA' that fuses Chinese and African rhythms as well as 'SI D'Adventure' a piece of pop music that is dazzlingly hook-laden.

As a result of this cooking pot of sounds, influences, thoughts and creations, Durand has more of a gumbo approach to making this music than a set-out scientific formula. 'There is no definite recipe for me to like the production of a record,' he says. 'Of course it really sticks out that my work is really influenced by the 1978-1983 period, the golden age and last stand of analogue studios and session musicians.' Whilst Durand adores the traditional and conventional music, he really views this as something bigger and wider. 'I have a taste for the otherworldly vibe from records coming from less sought-after musical scenes, particularly Poland, Haiti, Ethiopia, Somalia, Congo and early Cantonese pop. Languages and the rapport of the people involved in the making of those records really inspires me. I particularly hate the use of the word 'World Music' as a potpourri for everything that doesn't sound quite western enough.'

more talking all that jazz, more high aiming music by fumio itabashi: mule musiq is ready to release another record by the legendary japanese jazz pianist, born in ashikaga, tochigi in the year 1949.
this time his first solo record ever: the heavy jazzing 'nature', which has never been reissued on vinyl since its birth in 1979. it has been recorded at nippon columbia 1st studio, tokyo from march 13 to 15 in the year of its release.
it features itabashi making feverish love with the piano and sharing the studio with the great bass players hideaki mochizuki and koichi yamazaki, drummers kenichi kameyama and ryojiro furusawa, soprano saxophonist yoshio otomo and vibraphone wizard hiroshi hatsuyama.
they all joined him to perform his very own songs, composed by itabashi himself and produced by ryonosuke honmura, who also produced japanese jazz heroes like saxophonist keizo inoue during his career.
but enough background information. what counts is sound. it is fresh, propulsive, twitchy and melodi-ous from the first to the last tone. sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors - from john coltrane to mile davis, from thelonious monk to art blakey.
'nature' also shows how deep itabashi studied the history of the genre, while keeping his very own vision of jazz alive. the man that made his professional debut as a member of the sadao watanabe quintet in 1971 and that also was a member of the elvin jones jazz machine world tour from 1985 to 1987, plays the piano in all tempos: nervous high-flying quick, deeply blue blues style slow.
besides the traditional jazz flavours, you get a feeling of mind-expanding spiritual jazz, that grand mas-ters like pharaoh sanders or gary bartz turned into a sacred music genre. a master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations.
it extends the jazz history with a fine balance between tradition and innovation. and it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by fumio itabashi before he and his combat-ants entered the studio.
and maybe that's the mystery of these timeless five at times epic recordings: all notes been written on paper but each musician had the freedom to dance with them in his very own unique way. so, turn the volume loud and get ready to be steamrolled by fumio itabashi's 'nature', an inebriant album that is talking all that jazz deeply!

A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoe Mc Pherson's exploration of this world on String Figures is a deeply rhythmic, immersive and forward-thinking piece of electronic- leaning music that remains just as danceable as it does experimental.
The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. One that over time will involve video art, choreography, 3D motion design, macro film, instrumental and electronic sound. Although for now is being presented through an AV performance, films and a record with Mc Pherson collaborating with director Alessandra Leone.!
Over the seven tracks (which are laid out as chapters) the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For Mc Pherson it's about mixing worlds, histories and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping. 'Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming.' However, there's also a purer reason for the exploration of these worlds and colliding them together. 'Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings.'

5th Birthday comp featuring a host of artistst who've graced the label over the perioid.. Exclusives from Tolouse Lowtrax, Geena, Iueke, Domenique Dumont, . Inoue Shirabe, Raphael Top-Secret and more... Gatefold Sleeve. TIP!
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Made of 14 sketches - each reflecting one of the many shades of the label's catalogue - Five years of Loving Notes features new names as well as those of artists who have been involved with the label since it's very beginning, like Geena or Iueke - responsible for the first 12' released on Antinote.

The music on this compilation covers a wide spectrum of moods and atmospheres, from the dark and raw excursions from Tolouse Low Trax or Iueke to the lush instrumental crafted by Nico Motte and Syracuse's Antoine Kogut; however as the listener gets deeper into the compilation, the whole of the tunes, sitting side by side on the records, start to make sense as they all seem to point towards the same direction. If one should try isolating a common trait from all these songs, one might come to the conclusion that it lies in the way they all speak directly to the listener's emotional receptors, unvarnished and without abusing of producer's 'tricks'.

We'll let the tricky question mentioned before in your hands once you will have been through this 63-minute long testimony of exclusive music by the artists who have been shaping Antinote's sound for five years; from the opening Latvian arabesques from Domenique Dumont to the Pink-Floyd-ian ending from the latest addition to the label, Alek Lee, via Leonardo Martelli's smoggy electro and Raphael Top Secret's ominous talk-over.

Die in Genf lebende, in Lyon, mit Vorfahren aus Kamerun, geborene Emilie Nana ist ein Wunderkind. 'The Meeting Legacy' beinhaltet eine eklektische Selektion, die Vieles von dem beinhaltet, was Emilie ausmacht.

'The Meeting Legacy' umfasst 11 Stücke, inclusive Like You, welches bereits Anfang 2013 auf Compost Black Label als Maxi veröffentlicht wurde. Die Black Label # 61 wurde digital veröffentlicht und die Black Label # 95 gibt es auf Vinyl. 2013 war das eine von fünf EPs, die Emilie Nana bis dato herausgebracht hatte. I'm Childish, So What!, was erstmals im Sommer 2015 als Teil der COMPOST 500 - Compilation zu hören. Dieses Juwel ist von Emilie's Neffen inspiriert und basiert auf der Idee, dass wir, egal in welcher Lebensphase, stets zu uns selbst stehen sollen. Es ist der einzige Track auf dem Album mit französischen Vocals und vermittelt ein getragenes, leicht verrücktes, regelloses Gefühl, ein absolut fantasievolles Glanzstück. Drei Stücke des Albums: Tolstoy' Changes, Music und The Meeting Legacy, werden 2016 als Compost Black Label - Remix - Maxi erscheinen, mit Remixen von Manoo, Beanfield & Thomas Herb, Floyd Lavine.

The Meeting Legacy, der Titeltrack des Albums, ist purer Musik-Aktivismus. Der Text stammt von Elaine Brown, eine schwarze amerikanische Aktivistin und Künstlerin, Vorsitzende der Black Panther Partei. Der Bass dieses gemächlich stolzierenden Kampfsymbols ist Nana-esk und die Vocals heben sich mit Leichtigkeit ab und positionieren diesen Track auf ergreifende Weise.

Black Like Me erhebt einen fortwährenden Anspruch auf Fiktion und Non-Fiktion und verkörpert die gelebten und kenntnisreichen Erfahrungen Emilie Nanas. Eine warme, melodiöse Kreation, mit einfachsten Lyrics und im Hintergrund dümpelnden Marimbas. Es ist die musikalische Interpretation des Buches 'Black Like Me' von John Howard Griffin. Er erzählt hier die Geschichte des weissen Journalisten, der sich einer Hautverdunkelung unterzog, um sich im schwarzen Leben des separierten Südens der U.S.A. zu engagieren. Emilie's musikalische Interpretation erfasst die bunten kulturellen Äußerungen, welchen der weisse Journalist im gelebten schwarzen Alltag begegnet.

Track Fünf des Albums, dem inoffiziellen 'letzten Track von Teil 1' heist Confessions Of No Language. Während Emilie Nana hier ihre innersten Erfahrungen transponiert, oder transportiert, zielt sie auf eine 'gewisse' Körperzone. Welche Das muss man hören.

Das Album beginnt mit Off The Street, die wilden Begleiterscheinungen einer durchfeierten Nacht von Party-Girls, geht weiter mit dem, durch die frühen 90er Jahre von Janet Jackson und Prince beeinflussten Music, bei dem wir Emilie Nana sehr warm und cool erleben. Schliesslich entdecken wir sie in Inward Path, wenn sie resümiert, dass es mehr Glücklichkeit als Traurigkeit gibt, da immer Hoffnung in uns selbst existiert.

Dieses Werk erfreut sich an dem Erguss aus Nana's grazilem und dennoch lebhaftem Wesen und trachtet erfolgreich nach dem Brechen der Regeln, mit denen Kunst oft behaftet ist. Indem sie ihr Leben vergegenwärtigt, führt sie uns gekonnt, mit Kindesaugen, Teenage-Erfahrungen bis erwachsenen Sehnsüchten und ausgereif-ten Konversationen, durch Subkultur, Kampf und verschiedenen sozialen Einflüsse. Nach vier Jahren Produktionszeit, liefert Emilie Nana ein Album, das ihr verspielten, aber reifen Geist widerspiegelt und ihre Seele miteinbezieht, The Meeting Legacy.

Late Night Tales welcomes back the cult figure and ultimate musical connoisseur, Bill Brewster to compile his second episode of the curated compilation series 'After Dark'. An obscure and timeless DJled journey which begins somewhere out in the near ocean, the waves are rolling and lolling gently into the shore, while a full moon shines on the surface. It's only faint, but somewhere nearby is the sound of bass, pulsing slowly, almost in time to the waves. Welcome back to 'After Dark: Nightshift'. Once again Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess. Delivering another batch of slow cooked musical stews, making sure the tempo stays nice and steady and the emphasis is on funk, soul, grits and corn fried chicken, Brewster has done so much digging, Late Night Tales had to hire a forklift truck and tractor. Among the unreleased nuggets, there's the Fernando mix of The Detachments; inordinate excitement about Gino Fontaine, a tune spotted a year ago but has languished in Andy Meecham's Stafford catacombs ever since. Also unearthed are some hitherto secret recordings between Robert Fripp and The Grid, and there are also some proper club faves here, too, like the daft but brilliant 'Mopedbart' by Hubbabubbaklubb and the luminous 'Boutade' by Mugwump, as well as killer oldies like Salsoul Invention and General Lee

*Presenting a new collaboration featuring Oren Ambarchi on guitar, the electronics of Robin Fox, and both performing on various other instruments. The music on this album came about as the result of the two being asked to co-compose the soundtrack for a new production by renowned Australian contemporary dance company Chunky Move for their Connected production.
" Chunky Move's artistic director Gideon Obarzanek was drawn to the organic and deeply musical qualities of Ambarchi's work and the digital, almost scientic quality of Fox's sound. Over a process of many weeks these two aesthetics were merged. Working both in the Chunky Move studio and Head-gap studio in Melbourne, new works were forged from both digital and analog sources. 
" This release brings together two of the most extraordinary artist/musicians working in Australia today. Both are renowned internationally for their individual practices, and here they join forces to produce powerful music that fuses Ambarchi's legendary guitar sound with Fox's mathematically rigorous tones and textures. This fusion results in sound works that stretch in scope from the sublime and spacious to the intensely dense and foreboding. Treading a precarious line between music and abstract sound, between organic and inorganic tones, this collaboration is a must listen for anyone interested in contemporary soundworks.

one of the most popular japanese house dj "kaoru inoue" returned to mule musiq (actually endless flight!) with fantastic balearic tune.