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Night On Earth records
is an independent structure/label created 20 years ago which deals with
the invisible and the deviant,
the void and the love,
the parallax and the unknown …
we release vinyls and tapes
we organise events
we are you and us
we are nothing and everything
we are oblivion and memory
we are your egotrip’s nightmare
we are your deviancy catharsis
meet us through this double LP which is one cartography of the night on earth vortex across 3 continents and several generations of music freaks and braincrackers

Some Artists missing there (there are too much : RINUS VAN ALEBEEK, SS MYLITTA, SOLAR SKELETONS, THE RADAR THREAT, ÂME DE BOUE, and.. RIPIT !

From Karma Recordings comes their eigth EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound.

The massive rave icon Ellis Dee, one of the biggest producers on the planet brings his unique blend of piano sounds to the hands in the air anthem Warehouse Crew by DJ KOS, as well as featuring the original. DJ Ande has gone a little different with his hardcore tune Trip Home Pt 1 which is a nod to the classic hardcore tunes Trip to the Moon by Acen. To round things off web ring back DJ Terrace to hammer home a wicked tune in Top Gun which makes this another belter of an EP not to be missed.

LWS debuts on can you feel the sun. We hear nature being carved like a pumpkin. We hear the exhalation in an easy breath, the inhalation through a morning mist. We hear it’s time to eat and the table is heaving with grapes and custards. We thank the DJs who have been playing this to the moon and the stars and the dancers wide awake.

2024 Repress

Re-mastered from the original Mono Master Tapes. Limited repress 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Essay written by Brian Priestley.

Double insert using an original photo by JP Leloir from the concert.

Artwork by Jean-Louis Duralek.

Each record has been visually checked to prevent defects.

A never-before released Art Blakey 1965 live recordings.

First official release with the full permission and cooperation of the Art Blakey Estate & INA (Institut National de l’Audiovisuel).

Art Blakey, Live in ’65 boasts an exceptional one-hour concert from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring Freddie Hubbard on trumpet, Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax, and, of course, Blakey on drums.
Freddie Hubbard’s incendiary playing on “Blue Moon” and the blistering 24-minute version of his own “Crisis” shows that he was one of the most innovative trumpeters in jazz history.

On this live session, the audiences seem to have been enthusiastic and appreciative. “Everywhere we’d go people would say, This is the best Jazz Messengers we’ve heard!”, according to Davis. “And because of the way Jaki would play and Reggie would go, it was like a semi-freedom thing – with Messengers heads, you know, but when we got to soloing…! And Blakey was ridin’ and floatin’ the time…but he would always be loose enough to follow, to keep it going. He’s one helluva musician.”

Recorded at Palais de la Mutualité, Paris, France, November 3, 1965.

Freddie Hubbard (Trumpet)
Nathan Davis (Tenor saxophone)
Jacki Byard (Piano)
Reggie Workman (Bass)
Art Blakey (Drums)

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

Up To Here ist das diamantene Debütalbum von The Tragically Hip, das ursprünglich am 8. August 1989
veröffentlicht wurde.
Es enthält einige der beliebtesten Songs der Band: „Blow At High Dough“ und „New Orleans Is Sinking“
- beides Nummer-1-Radio-Singles in Kanada sowie die Fan-Favoriten „Boots Or Hearts“ und „38 Years Old“.
Die erweiterte Neuauflage von Up To Here ist ein Muss für Sammler. Sie wird in Form von vier Doppel-LPSets auf 180g-Vinyl sowie einem Vier-CD-Set und einem Buch, das die Geschichte des Debütalbums dokumentiert, präsentiert. Die Neuauflage enthält ein 2024-Remastering des Originalalbums, eine Aufnahme
von Live at The Misty Moon, dem 1990 für MuchMusic gedrehten Special aus dem The Misty Moon in
Halifax mit begleitendem einstündigen Konzertfilm auf Bluray, sowie die Demos der ursprünglichen Aufnahmesession von 1988. Vier bisher unveröffentlichte Songs, die es nicht auf das Original-Album Up To
Here geschafft haben - „She’s Got What It Takes“, „Get Back Again“, „Rain, Hearts And Fire“ - sind Teil
dieses erweiterten Pakets, das in Atmos neu gemastert wurde.
Erhältlich ab dem 8. November!

Phase Group are thrilled to present our next release by newcomers to the label, the excellent Hamburg band, Love-Songs. Their new album 'Passive Progressive' will be out on cassette and digital on October 18th.

Love-Songs are the trio consisting of Thomas Korf (electronics + vocals) Sebastian Kokus (Bass) and Manuel Chittka (Percussion) who make cosmic, kraut-inspired electro-acoustic music. Many will be familiar with their previous output on wonderful labels like Kame House and Bureau B.

'Passive Progressive' lands in the form of 8 enthralling tracks that take us through dreamlike and psychedelic echoing territories, where Korf’s modulating electronics and effected vocals ripple over the grooving rhythm section of percussion and bass supplied by Kokus and Chitka. Across the album, the band are joined by a host of guest musicians and friends from Berlin and Hamburg’s underground and experimental music scenes, supplying Trombone, Mbira, Clarinet, Flute and extra synthesisers and vocals to enhance the mind-expanding and unique sound palette of these incredible tracks.

As with most of the material we’ve released on Phase Group, this is music that’s hard to pin down, that lends itself equally well to creating transcending atmospheres in the early moments of a special kind of club set as to soundtracking a mind-bending and deep personal listening experience. We’ve no doubt that the sound that Love-Songs have crafted with Passive Progressive will be enthusiastically received by all sonic voyagers and fans of the label, and we’re over the moon to welcome them to the Phase Group family.

Passive Progressive is available on limited cassette, with double-sided risograph print artwork by Andrija Čugurović.

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: Mac DeMarco has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip. This Old Dog makes for his fifth in just over half a decade_bringing the total to 3 LPs and 2 EPs. According to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks. It was a little space_in time, location, and method_that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop_complete with a few new toys_that the gap was giving him perspective (insert tooth joke here). Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic strums on the album-opening "My Old Man," the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly," says DeMarco. Despite the changes considered during the creation of This Old Dog, Mac DeMarco's mid-twenties masterpiece, it's clear that the engine that motors him is in no danger of slowing down.

Mit der neuen Doppel-LP 'Long Distance Love - A Sweet Relief Tribute to Lowell George' hat Sweet Relief, die Organisation, die alle Arten von Berufsmusikern und Beschäftigten der Musikindustrie finanziell unterstützt, die mit körperlichen oder geistigen Problemen, Behinderungen oder altersbedingten Problemen zu kämpfen haben, ein Juwel vorgelegt.

Lowell George war der Gitarrenvirtuose, Sänger und Songschreiber von Little Feat. In dieser Sammlung von 25 Liedern interpretieren und spielen Künstler wie Elvis Costello, Ben Harper und Dave Alvin seinen vielfältigen Katalog. Der in Hollywood, Kalifornien, geborene George war Mitglied von Frank Zappas Mothers of Inventions, bevor er diese Band verließ und mit Bill Payne Little Feat gründete. Lowell gehörte der Band 7 Jahre lang bis zu seinem Tod an und veröffentlichte in dieser Zeit acht Alben. Obwohl George 1979 starb, lebt sein Vermächtnis durch dieses Album weiter.

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

Matter-of-factly, Lycox exclaims "Yaaahh" right at the beginning. That's an affirmation but in times of distress it can also mean resignation, something like "Yeah, whatever". Lycox says he was only freestyling though. Then the bassline appears. Elastic, expressive, full-bodied. And it's not even present the whole time. He was "trying to develop a new formula for the Kuduro beat."

Songs for the club? Most certainly. Different sensibilities, one same focused mind. Lycox evolves within tradition, he has mastered the groove, the ambience, the right tones. Simply called "Energia", the last track circles above wistfully, menacing but maybe just promising some sort of action. With a few drops one could almost switch over to a parallel universe of old school Trance, a reference that feels as alien here as maybe this track feels to someone for whom the standard Afro House sound represents modern African music.

These songs pile up in a threshold balanced between styles, sensations, maybe in the middle of life itself. Such a concentration of energy is bound to need release and that comes figuratively through details in the music reaching out to receptive ears. "To Bem Loko" explicitly tries to "literally drive everyone crazy on the dancefloor." Once again Lycox provides vocals, as in "Edson no Uige", about a friend who embarked on a trip to the Angolan province of Uige and came back speaking only the local dialect known as lingala. A nod to tradition, very emotional, without compromising complex arrangements. Consequently, we the listeners are kept believing there is still enough space for a bright future. To ears accustomed to Lycox productions the title "Contemporaneo" (opening of side B) reads like a redundancy, then.

Maybe this music can never be quite as massive as other Afro styles. Without sounding pretentious, it avoids simplistic patterns, it demands a bit more mental processing while it certainly aims to loosen the limbs. Universal in vocation, underground at the core, Lycox definitely calls it Batida but for some it is still Ghetto Music. Like DJ Veiga said when describing a previous release for Príncipe, Ghetto is home, though. Lycox adds it is a foundation of personality. "Few in our community will recognize your work when you come from the same environment, but once you establish your reputation outside of the neighbourhood and even outside of the country, people will look at you differently, as if you were a star."

REPRESS ! Mental Hardfloor, progressive and psychedelic. Excellent !

Der Ausdruck von hart erkämpftem Optimismus umschließt The Good Kind, ein Album, das Themen wie Sexualität, Beziehungen, Gemeinschaft und Krankheit erforscht. Die für Our Girl typische Dynamik durchdringt das Album, von schweren Gitarren und aufsteigenden Lead-Linien bis hin zu ohrwurmartigen Refrains und intimen gesanglichen Momenten. Voller Wärme und Ehrlichkeit ist The Good Kind eine Feier der Entschlossenheit – der Entscheidung, sich gegen alle Widerstände dem zu widmen, was zählt.
The Good Kind wurde in den Rockfield Studios aufegenommen und produziert von der Alt-Rock-Legende John Parish (PJ Harvey, Sparklehorse), Fern Ford (The Big Moon, Prima Queen) und Soph Nathan selbst. Für Our Girl spiegelt es den langen und kurvenreichen Weg zu ihrem zweiten Album wider, und die dauerhafte Belohnung für das Vertrauen in den Prozess.

Während des Entstehungsprozesses von The Good Kind haben Our Girl gelernt, sich selbst zu vertrauen, den schwierigeren Weg durchzuhalten und ihn als den einzigen zu erkennen, der es wert ist, gegangen zu werden. Die Entscheidung, dem Sound nachzujagen, den sie wollten, war der ermutigendste Moment ihrer bisherigen Karriere, und es hat sich ausgezahlt: The Good Kind ist ihr bisher selbstbewusstestes, bewegendstes und am besten umgesetztes Werk.

The Moon projects only a portion of its shadow on the Sun. While the densest shadow of the Moon, the umbra, does not reach the Earth, only the partial shadow, the penumbra, is projected onto the Earth. During this event, a gust of wind approaches, hiding within it a mysterious and palpable energy. This natural phenomenon serves as the inspiration to launch the first chapter of the Thama Series titled "Eclipse of Existence."
Eight tracks of deep and energetic techno, divided into two episodes, woven by talented artists. A sonic journey, a dance of rhythms.

The Moon projects only a portion of its shadow on the Sun. While the densest shadow of the Moon, the umbra, does not reach the Earth, only the partial shadow, the penumbra, is projected onto the Earth. During this event, a gust of wind approaches, hiding within it a mysterious and palpable energy. This natural phenomenon serves as the inspiration to launch the first chapter of the Thama Series titled "Eclipse of Existence."

Eight tracks of deep and energetic techno, divided into two episodes, woven by talented artists. A sonic journey, a dance of rhythms.

Porno For Pyros exploded out of the ashes of Lollapalooza founders Jane's Addiction's ashes. Featuring two of the founding members of Jane's, Porno went on to create bombastic alternative rock that defined the sound of the 90s. This is the first ever greatest hits collection from the band, who just reunited for a brief tour in 2024 for the first time in ages. Pressed on multi-coloured vinyl and featuring brand new art, it also includes a brand new remix of "Pets" by Daniel Avery, and three brand new recordings - "Fingernail," "Little Me" and "Agua."

Auf seinem Sony Classical Debut-Album "Human Universe" zeigt der außergewöhnliche japanische Pianist und Komponist Hayato Sumino seine facettenreichen musikalischen Einflüsse in einer vielfältigen Auswahl an Stücken klassischer Komponisten wie Bach, Händel, Purcell, Chopin, Fauré und Debussy, ikonischer Filmmusik von Hans Zimmer und Ryūichi Sakamoto sowie seinen eigenen Kompositionen und Arrangements.Die Besonderheit an Hayato Suminos Klavierspiel ist sein einzigartiger, souverän-virtuoser Stil, bei dem er eine präzise klassische Technik mit dem feinen Gespür eines Arrangeurs und ausgeprägten Improvisationsfähigkeiten verbindet. So lässt er beständig Eindrücke aus Genres wie dem Jazz oder der Popmusik, in denen er ebenso aktiv ist, in seine fundierten klassischen Interpretationen einfließen."Für `Human Univers' habe ich mich von den antiken Vorstellungen des Universums und dem Zusammenhang zwischen Kunst und Wissenschaft inspirieren lassen. Die alten Griechen glaubten, dass Himmelskörper im Universum Töne aussenden und dass das gesamte Universum Harmonie und Musik erzeugt, die sogenannte 'Musik der Sphären'."Hayato Sumino ist ein außergewöhnliches Phänomen: Bereits als Teenager begeisterte der 1995 in Tokio geborene Pianist und Komponist unter dem Namen "Cateen" mit virtuosen Videos klassischer Klavierdarbietungen und emotionalen Klavierarrangements von Anime- und Games-Soundtracks ein Millionen Publikum bei YouTube. Bis heute hat über 200 Millionen Aufrufe erzielt und über 1,5 Millionen Follower bei YouTube und Instagram gewonnen. Wenngleich Hayato Sumino bereits seit seinem 2. Lebensjahr Klavier spielte und Unterricht erhielt, studierte er bis zu seinem ausgezeichneten Master-Abschluss im Jahr 2020 Informationswissenschaft und -technologie an der Universität Tokio. Noch vor Abschluss seines Studiums gewann er 2018 als Außenseiter völlig überraschend den Grand Prix bei einem der wichtigsten Klavierwettbewerbe Japan - dem PTNA-Wettbewerb. Der Gewinn war der Startpunkt seiner Karriere als professioneller Pianist. Im Anschluss nahm er für ein halbes Jahr Klavierunterricht bei Jean-Marc Luisada in Paris und avancierte seitdem auf einer Welle der Begeisterung zum Klavier-Superstar in Japan. So spielt er am 14. Juli 2024, seinem 29. Geburtstag, ein Klavierrecital vor 14.000 Menschen in der ausverkauften Tokioter Konzerthalle Nippon Budōkan.Internationale Aufmerksamkeit erregte er 2021 beim Internationalen Chopin-Wettbewerb, wo er mit seiner hervorstechenden Interpretationen das Halbfinale erreichte. Im April 2024 feierte Hayato Sumino sein spektakuläres Debüt in der Royal Albert Hall mit seiner Aufführung von Gershwins "Rhapsody in Blue", die sowohl online als auch im Konzertsaal für Aufsehen sorgte. Als Solist tritt er mit zahlreichen Orchestern auf der ganzen Welt auf, darunter die Hamburger Symphoniker, das NHK Symphony Orchestra, das Boston Pops Orchestra, das Chicago Symphony Orchestra, das Baltimore Symphony Orchestra, das Tokyo Philharmonic Orchestra, das Japan Philharmonic Orchestra und das Polish National Radio Symphony Orchestra. Sein Debüt in der Elbphilharmonie gibt Hayato Sumino im Januar 2025.