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14 track vinyl version of the 2012 CD compilation. Pressed on pale blue vinyl, with printed lyric inner sleeve. First time on vinyl. Includes poster and postcard.
A swish compilation LP featuring fourteen of the most memorable songs in the career of the top notch indie band THE HIT PARADE.
Entitled ‘PICK OF THE POPS (VOL1)’ the LP collects together the most poignant moments in the career of THE HIT PARADE, and includes their thoughtful recording for Sarah Records “In Gunnersbury Park”, their tubthumping single for Minty Fresh USA “Hitomi” as well as other cuts, both cheerful and desolate in style, that feature CATH CARROLL (Factory Records), AMELIA FLETCHER (Heavenly and Talulah Gosh) and HARVEY WILLIAMS (Another Sunny Day and The Field Mice).
THE HIT PARADE was formed by JULIAN HENRY with his school friends MATT MOFFATT and RAYMOND WATTS in 1984 when they released their first single ‘Forever’ on JSH RECORDS. Since then they’ve clung to the sensibilities of pure pop and have become a curiosity item with their retro attitudes and songs about dead writers, disused swimming pools and failed love affairs.
Their early vinyl singles were lauded by John Peel, the NME and Melody Maker, the now defunct weekly paper that published JULIAN HENRY’S writing. In the 1990s the band toured alongside Edwyn Collins, The Milkshakes and Sarah Records notables, and signed to Japanese and US labels, releasing a sequence of albums that have since become collectible.

• Sony Music Masterworks and Milan Records announce the vinyl release of “My Hero Academia: World Heroes' Mission” with music by composer and arranger YUKI HAYASHI. The film adaptions are based on the original Comic Series “My Hero Academia”, which sold over 50 million copies worldwide.

• Based on Kōhei Horikoshi’s most successful manga series, ‘My Hero Academia: World Heroes’ Mission’ is an action-adventure film directed by Kenji Nagasaki. When a sinister organization threatens to wipe out all superhuman powers, the fate of the world is on the line. But before they can succeed in putting their evil plans into action, the Pro-heroes around the world assemble to come up with a counter plan to stop the worst from happening.

• The soundtrack of the critically acclaimed, hugely popular film adaptation is now being released as a stunning double coloured vinyl with a double gatefold.


• My Hero Academia: World Heroes’ Mission is the third movie, following the success of My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising (75M streams to date), and marking a major shift in the series' story - putting Deku in a precarious position of being painted as a villain.


• Besides the movie adaptations, the comic was adapted into an anime series. The 5th season of the series is currently on air. You can watch it on Funimation and Crunchyroll in the UK and you can find “My Hero Academia Season 1” on Netflix.
About the composer Yuki Hayashi:
• Yuki Hayashi was born in Kyoto, Japan in 1980. Being an active member in a men's rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.

The seductive first full-length from electronic composer and multi-disciplinary visual artist Amosphère. Born in China, partly educated in Japan and now residing in Paris, her work came to the attention of a wider circle of listeners when she was invited by Laurel Halo to perform as part of a 10-hour durational ambient concert at London's Mode Exchange in 2019. Amosphère uses a careful selection of vintage electronics, sophisticated harmonic sense, and keen compositional intelligence to invite listeners into a meditative sonic space. Time expands and contracts, simplicity reveals complexity, and repetition becomes patient transformation. Spreading out over six expansive yet self-contained tracks, more die of heartbreak serves as a perfect introduction to Amosphère's warmly enveloping approach to analogue sound. Developed from scores (contained in the accompanying booklet) using techniques from concrete poetry and graphic notation as well as fragments of traditionally notated material, these six pieces take in a broad sweep of moods and approaches, from the gently burbling layered monophonic patterns of the opening 'circuit of unconsciousness', reminiscent of the sun-drenched synth figures of 70s Alvin Curran, to the haunted gliding tones and reverberating pops of the closing 'melting a piece of cadmium'. At times starkly minimal and making bold use of the stereo field, Amosphère's production approach keeps the grit and grain of her analogue gear intact, at times calling to mind the work of pioneers like Delia Derbyshire and Eliane Radigue.

Decomposed recalls classic American hardcore like Bad Brains, Poison Idea and Jerry’s Kids or Japanese ragers like Paintbox, The Comes, Eiefits and Skizophrenia. But there’s also a healthy slug of classic UK and US punk and even a bit of Krautrock, psychedelia and Black Sabbath in there too. Nottingham has always been a melting pot for heavy music. For a small city, it has boasted more than its fair share of genre defining bands and artists, not to mention record labels. Bands cross-pollinate, form projects and offshoots and play one-off gigs that would result in lengthy careers and world tours if they had happened across the Atlantic. It has always been like that there. No big deal (but yet, a really big deal if you know). One such band/project/offshoot were Endless Grinning Skulls. Formed by guitarist Andy Morgan (also from Bloody Head, Army Of Flying Robots, Nadir and countless more), drummer Steve Charlesworth (Heresy, Wolves Of Greece, Meatfly, Geriatric Unit) and bassist Gords (Hard To Swallow, John Holmes, Geriatric Unit) in the early twenty-teens, they re-set the bar for the 3-piece hardcore band before (perhaps inevitably) burning out in 2018. Morgan and Charlesworth weren’t done though. They’d forged a bond in EGS and wanted to carry on playing together so - in a familiar Nottingham storyline - they recruited former Pitchshifter guitarist Stu Toolin on bass and Anmarie Spaziano (who you might know from running a famous burger joint) on vocals and formed Blind Eye. They knew Toolin was about to relocate to Portland, Oregon so they wrote and recorded an EP (released on Morgan’s own Viral Age Records). Quick-sharp. No messing about. And that – by rights – should have been that: over and out. New band please. However, the demo captured a rare intensity and vitality that more considered projects often fail to achieve. This was a band let loose, free from previous shackles and loving the noise they made. It seemed a shame to stop there. Recruiting Matt Grundy (a former bandmate of Morgan’s in both Nadir and Dead In The Woods) to the bass vacancy they went back to Stuck On A Name Studios in 2021 with Ian “Boulty” Boult at the helm again and delivered the album Decomposed.
Decomposed genuinely rocks out without losing one iota of the effervescent anger that made the demo such an essential listen. From the insistent, minimal opener Ready To Go Now via the unhinged thrash of Straw Man and the menace of the stomping Pero No Quieres, to the measured chugging and epic crescendo of closer Broken Star, this record is a fucking blast. Needle off, flip it back over, play it again. Your neighbours are loving it so much they’re banging on the walls to tell you. “I suppose the intention was to write high energy, catchy hardcore, with a nod to what has come before, but also to do our own thing,” explains Andy. “Lyrically, the album was written during the pandemic, and although it’s not ‘a pandemic album’, I think it deals with a lot of the feelings of loss, separation and isolation

Artificial Countrysides is Athens, Ga - based Elf Power's 14th album and
first for Yep Roc Records
The band expand their sound on this record to glorious effect, adding marimba,
harpsichord, synth bass, distorted drum machine loops, and mellotron to their
time tested mix of fuzz guitars, moog keyboards, pummeling drums, and layered
acoustic guitars, achieving a satisfying and unique synthesis of traditional and
futuristic sounds. Lyrically the album mirrors this approach by discussing the
difficulties and advantages of dealing with modern life's digital and artificial
landscape, balanced with the natural world. Elf Power formed in Athens, GA in
1994 and have released 14 albums, two eps, and a handful of singles, while
touring North America, Europe, and Japan many times playing alongside acts like
R.E.M., Flaming Lips, Dinosaur Jr., Neutral Milk Hotel, Guided by Voices, Arcade
Fire and many more. Albums such as 1998's Dave Fridmann-produced "A Dream
In Sound" and 2008's collaboration with the late folk rock icon Vic Chesnutt, "Dark
Developments", have cemented the bands' reputation as the finest purveyors of
modern melodic psychedelic folk rock around. The band became known as a
member of the much heralded Elephant 6 Collective, which includes their friends
and collaborators Neutral Milk Hotel, Apples in Stereo, Olivia Tremor Control, Of
Montreal, and many more.

History tends to look back kindly on musicians unafraid to proudly wear their music on their sleeves. On the cover of their debut album The Ingram Kingdom, the members of Ingram stand united in front of a banner that reads, "the funk is in our music," and the transfixing image of the cover flows deep in the body of the album's audio landscape. For this special 7" single, P-VINE has paired two sensational sampling covers with organ-frenzy jam "The Champ" originally by Mohawks with "Apache" by Incredible Bongo Band.

Ed Black, better known by his stage name, edbl, is one of the most talented musicians to come out of South London's independent music scene. Despite his lofi soul / hip-hop sound being frequently compared to the likes of Tom Misch and Jordan Rakei, Black's distinct production style brings out the best of each featured artist. The result is a sound quite unlike any other, showcasing the best of South London's incredibly talented and diverse scene, all tied together by Black's incredible production.

Since forming on O'ahu, Hawai'i, in 2009, The Green has become one of
the most successful and beloved bands in the reggae genre
During their relatively short career, the band has been awarded a "Best Reggae
Album" nod from iTunes (2010, for their self-titled debut), four coveted Na Hoku
Hanohano awards in their native Hawai'i (2014, including Group of the Year, two
time Reggae Album of the Year and Entertainer of the Year), and two #1 Billboard
Reggae chart debuts, along with charting on the Billboard Top 200. Not bad for a
band that was formed by six members of Hawai'i's tight- knit music scene to
record a few songs and have some fun. The Green was one of the first Hawaiian
reggae bands to tour extensively on the mainland, as well as going further afield
to New Zealand, Japan, and other locales. Before becoming a headliner on their
own, the band supported bands like Bruno Mars, Rebelution, Iration, Soja, and
Damian Marley. The Green's fourth studio album, 'Marching Orders' continues the
group's steady march to the top ranks of their genre and beyond, with early
reviews already calling it "innovative" and "imaginative."

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

Third pressing on transparent pink vinyl. At the 2018 edition of Roadburn Festival - a congregation of all things obscure, heavy and experimental in Tilburg, the Netherlands - two generations of Japanese Krautrock genius took to the stage for a live collaboration that was just as hypnotic as it was inevitable. The artists in question were Tokyo's Minami Deutsch and the legendary ex-Can frontman Damo Suzuki. With Minami Deutsch's heady metronomic jams providing the backdrop on which Suzuki was left free to deliver his distinct improvised vocals, the Live At Roadburn LP is challenging, raw and, at times, totally alien. Divided into three parts, from start to finish the LP is consumed by an unrelenting motorik rhythm section that never lets loose for a second. At the flick of a switch, intricate guitars veer from hypnotic and meditative to skewed psychedelic freak-outs drenched in fuzz. Where Minami Deutsch's playing is sharp and meticulous, Suzuki's stream-of-consciousness ramblings steer the music into whatever direction he sees fit. The result is equal parts disorientating, sporadic and totally all-consuming - the only thing keeping you grounded being that distorted and seemingly-endless 4/4 drive. Repetition. Minimalism. Improvisation. Transcendence. That was the ideology of seminal Krautrock pioneers Can, whose 1970-1973 work with Damo Suzuki at the helm unleashed something in music that would change it forever. Some 45 years since Can's final record with Suzuki - the inimitable Future Days - and the spirit of that era still lives on. Not least because ever since then Suzuki has embarked on an endless one-man tour, traveling around the world and taking to the stage backed by countless different bands. Crossing paths at Roadburn, Suzuki's ensuing performance with Tokyo via Berlin-based group Minami Deutsch is now available to relive on wax.

4 Tracks of high quality trippy, and atmospheric techno from mystery Japanese project MA!

Tiptoe between the toadstools of Liverpool’s city parks, and amongst the foliage you might find a Strawberry Guy, contemplating his next chord-progression. Composing hi-fi symphonies from within his humble abode, the Welsh-born songwriter is ready to share the fruits of his labour with debut album Sun Outside My Window. A timeless vista of ethereal balladry looking towards 19th Century musical maestros and works of art, it brings new meaning to the term ‘Modern Classic’ and is the most optimistic of lockdown records yet.
“It’s about seeing the simple things in life and them making you happy,” tells Alex Stephens, the Guy behind the Strawberry. “I remember this day when I was really down… looking out the window, the sun beaming in was beautiful, it made me want to go outside – it was simple but made me so happy in that instance.”
A one-man impressionist, painting majestic soundscapes, Strawberry Guy blends truthful lyrics with lush arrangements to conjure new emotive worlds. Inspired by composers of the Romantic period, or Debussy, Ravel, and other classical artists of the 1800s, his wonderland moves like a Monet painting where arpeggios dance between meadows of dazzling dynamics and dramatic key changes. As former keyboard player of The Orielles and Trudy and The Romance, the light through his floor to ceiling windows has caused a dramatic Greenhouse Effect and now ripening on solo terms, his innocent uploads of ‘Without You’ and ‘F-Song’ comfort 2 million Spotify listeners a month. ‘Mrs Magic’ has received 40 million streams, landing at #13 in its chart and countless fan-created videos have appeared on YouTube. “Throughout history composers have tried to capture emotion, painting their own impressionist pictures with musical brush strokes… I guess I’m just trying to do the same and people enjoy that,” he suggests modestly.
Named by musical friends Her’s after his impeccable taste in milkshakes, Strawberry Guy upturns ‘bedroom artist’ perception, as each idea is crafted into a widescreen wonder where vocals tag-team instrumentals and countermelodies flourish within the Georgian walls of his Liverpool flat’s small space. “I want it to sound like I’ve squeezed an 80-piece orchestra into my room, and for listeners to wonder how all those strings got there,” he says. “Working on the 4-part harmonies, the orchestra became real; I began believing in myself.”
Imitating nature’s effect on emotion, like 70s songwriters, or the fantastical soundtracks accompanying vibrant scenes in the Japanese animated Studio Ghibli films and video games, landscape is brought to the fore. Monet’s picturesque Meadow at Giverny features as the album’s accompanying artwork – perhaps a reminder of the rural Welsh countryside views through his childhood home’s window; “I was inspired by how calm and peaceful the image felt. Its painted lines show real-life scenes in a magical way, which to me reflects my music.”
Just as the first Strawberry Guy EP Taking My Time To Be offered a slowing down for the soul, Sun Outside My Window is musically unhurried, written and recorded over 2 years. “Recording as a lone berry meant I could run with my emotions in the moment and deliver something true; it would have been an entirely different album had it been recorded in a studio,” he says.
Modern Classic? Only time will tell. For now this Guy’s happy-sad world is here to get the juices flowing and with, pandemic permitting, a US tour in 2022, life looks a whole lot sweeter. Until then, take it slow, be at one with the wilderness and remember, when life gives you lemons, swap them for Strawberries.

Kaiju is the floor-shaking, speaker-knocking new album from Canibus, one of hip-hop’s greatest lyricists who continues to push himself as an artist. It also serves as his first solo release since 2015’s excellent Time Flys, Life Dies... Phoenix Rise, which was produced entirely by Bronze Nazareth. It’s only fitting, then, that ‘Bus would once again work with only one producer for this project, which finds him spitting mind-melting bars over beats from Oxnard, CA beatsmith/rapper Body Bag Ben.

The 11 tracks on Kaiju strike a balance between personal experiences and striking grandiosity that ‘Bus expertly crafts with his pen. They also all boast the rewind-worthy lyrics you’d want from one of the genre’s most creative and truly timeless talents. You can hear this immediately on the opening track, “Curmudgeon,” where he spits raw bars with his signature growl over BBB’s monstrous production. That vibe carries on throughout the record, from the snarling, DMX-assisted “Entameta (Remix)” through to the hip-hop epic of “Verzuz.”

This is truly Canibus at his best, blending surrealist wordplay and turns-of-phrase with sharp, witty commentary about the state of the world today. Even better, he’s backed by some of BBB’s best production to date, which rumbles and stomps as much as it sounds like it’s covered in a thick layer of grime. It’s much like the inspiration for the album’s title—a giant monster (kaiju, in Japanese) like Godzilla rising from a slumber, ready to wreak havoc on his opponents.

Clear Vinyl

sferic venture a new set of plasmic ambient entertainment systems by Jonas Wiese’s TIBSLC, mining that slender but heady sweetspot between the earliest Vladislav Delay productions for Chain Reaction, Japanese environmental x architectural recordings and the sort of gear you’d hear from Move D & Jonas Grossmann at the late 90’s Source Recordings heyday.

sferic pick up the mantle of late ‘90s-into-‘00s ambient with a new variant primed for the times. Following the themes of their ‘Decisive Tongue Shifts - Situation Based Compositions’ album of 2021, TIBSLC (The International Billionaire’s Secret Love Child) distills their sferic debut into a crystal clear, hypersensitive set of eight tracks that slip seamlessly into each other’s space, recalling the amorphous end of Jan Jelinek’s ambient shimmers.

Where TIBSLC’s first album sprawled over two discs, this one relates to the same recording sessions, but glimpsed via more succinct windows of opportunity. In effect they’re like Hitchcockian, voyeurist snapshots of other lives in the urban complex woven into a melting emulation of the city at dusk, replete with infrasonic bass from streets below, and streaked with the wistful dream energy and fizzy optimism of a certain city life. In fleeting rounds of ephemeral shrapnel and synth pad washes, the eight parts evoke a sense of mental discombobulation, lending itself to ruminating on the unbearable lightness of being.

It's out 1st of July and comes with a 14-page full colour comic illustrated by the legendary Hip Hop artist, Dan Lish (ego Strip). Also including Beats by Japanese beat maker Bugseed as well as Demoh Beatmaker and Keina.

Spin the dope new beats by Bugseed, Demoh Beat maker & MRHD and Keina while you read the story and look at Dan's glorious artwork.

A revelatory collection of recordings from Japanese free-sound quintet Gu-N. Formed in 1994 by Fumio Kosakai (Incapacitants, Hijokaidan, C.C.C.C.) and Hidenobu Kaneda (Yuragi), alongside Ikuro Takahashi (Fushitsusha, Kousokuya, LSD March), Ryuichi Nagakubo (C.C.C.C., Yuragi), and Morihide Sawada (Yura Yura Teikoku, Marble Sheep), Gu-N played regularly at Plan-B in Tokyo, but released little during their relatively short time together. Hazy and hypnotic, their laminar improvisations, four of which appear on this untitled album, are compelling, oneiric visions for the ear.

In his liner notes for the album, Michel Henritzi writes that these Gu-N recordings situate the group within a broader trajectory of free improvisation and collective sound within Japan – Taj Mahal Travellers, East Bionic Symphonia, Marginal Consort, each of whom sprung, in many ways, from the radical vision and creativity of Takehisa Kosugi. But there’s a unique spirit here that aligns Gu-N with these predecessors, while also marking out singular territory.

Kosakai’s background in noise, via his participation in Hijokaidan and Incapacitants, can be heard in the unrelenting oscillations and heavyweight drones that purr throughout each of these four tracks. Both Kosakai and Nagakubo were members of C.C.C.C., perhaps the clearest precursors to Gu-N in their psychedelic density, though Gu-N trade in C.C.C.C.’s volcanic energy for a more tempered, sensuous exploration of tone and time.

There’s also a brutish element to Gu-N’s improvisations – see the saturated spectrum, rumbling and phasing throughout the album, and the crushing, almost Amon Düül-esque drum tattoos that Takahashi pounds out on the second track (recorded in 1998), punctuating the music from deep inside its hallucinatory murk. Elsewhere, as on the third track (one of three recorded in 1994), Kosakai’s cello scrapes out armfuls of buzz-tone as Sawada’s bouzouki trills out, elastic and vibrant, across spindrift electronics and lung-spun winds.

What’s most impressive here, though, is the way each player, formidable musicians in their own right, defers to the might of the communal and the collective. The quintet broke up in 1998, leaving behind scant recorded evidence – just one, self-titled CD, on Pataphysique, released in 1995. This LP is a most welcome addition to the small but blissful body of recorded work made public by this mysterious quintet of spirit channelers.

A' mutant wave' solo project from Fukuoka, Japan, that combines minimal synth, coldwave with ’50s/‘60s primitive and obscure R’n’R sounds, while using vintage synthesizers and drum machines by KORG.