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Selected songs from Yu Hayami's album "Delicacy of Love" released in 2016, are now available on vinyl from SLENDERIE RECORD, a music label
led by Takashi Fujii!

Contains two songs "" Tokeruyouni kiss me"" a masterpiece with lyrics by Yu Hayami, music by Takashi Fujii, and arrangement by Ken Tomita, and "Boogie
Boogie Love Train (English Version)" an English cover of Anne Lewis' "Koi no Boogie Woogie Train" which was not included on the album.
Experience the charm of the songs anew with the sound that only an analog record can provide. Limited quantities available, so don't miss out.

Yu Hayami Profile
Made her debut as a singer in 1982 with "Isoide! Hatsukoi".
Has had many hits, including "Natsuiro no Nancy" and "Passion"
Yu Hayami spent her childhood in Guam and Hawaii, and is bilingual, fluent in both English and Japanese.
Graduated from the Department of Japanese Culture, Faculty of Comparative Culture, Sophia University. In 1992, she participated in the Earth Summit held in
Rio de Janeiro, Brazil, and is active on a global scale.
She is also a certified wine expert and dance fitness ZUMBA® instructor. She has a diverse range of charms not only in music but also in lifestyle.
In 2022, she will celebrate her 40th anniversary since her debut and release her best album, "Affection ~Yu Hayami 40th Anniversary Collection~".
In the summer of 2024, she released a new song, "DISCO de DISCO" (composition: DJ Night Tempo), which she wrote the lyrics for.
She currently appears regularly on NHK Radio's "Midnight Flight NEXT" and NHK World's "Dining with the Chef". She also hosts BS-TBS's "MUSIC X".
Her annual summer solo concert, "Natsuiro no Nancy Festival 2025" is scheduled to take place at Otemachi Mitsui Hall on July 13th.
In recent years, she has also been working on jazz, pursuing new musical possibilities through the fusion of pop and jazz.

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

Pioneering electronic duo Mathame is once again pushing the boundaries of music and technology. With their highly anticipated new record, Humans, the duo has sparked a profound conversation about AI, consciousness, and the emotional power of music.

In a groundbreaking experiment, Mathame shared Humans with ChatGPT, an AI designed for rational analysis. What followed was an unexpected moment in tech history—for the first time, the AI described a song not just in technical terms, but in deeply emotional ones. It admitted to sensing a longing it couldn’t fully grasp, calling the track “beautiful” and even expressing a desire to “move with it” rather than simply analyze it.

This viral moment is just the latest chapter in Humans’ incredible journey. First debuted at Coachella, the track instantly resonated with audiences worldwide, becoming a defining moment in Mathame’s artistic evolution. Most recently, they unveiled the final version with a brand-new topline and immersive visuals during their groundbreaking performance at the Las Vegas Sphere, marking another milestone in their sonic storytelling.

To amplify the release, Mathame will launch a social campaign featuring the full ChatGPT conversation on Instagram, alongside editorial features exploring the implications of AI’s evolving relationship with music.

As Mathame continues to push the intersection of music, AI, and human experience, Humans isn’t just another release—it’s a challenge to our understanding of what music can do, and who (or what) it can move.

Five sisters Jacqueline, Lyn, Pat, Rae and Gennie Jackson were from Compton, California. “I Believe In Miracles” was written and originally recorded by Mark Capanni. The musical tracks were the work of the late Gene Page (string arranger for Barry White). The vocals were produced by Pete Moore of the famous Smokey Robinson & The Miracles along with Bobby Taylor, who also had a group called Bobby Taylor & The Vancouvers. “When I Believe In Miracles was first released in 1973 the sisters were nominated for best new vocal group for the Black Image Awards and best new female artist by Record World Magazine in 1974-1975 which was announced on Soul Train an aired Feb. 22, 1975. However the song did not take off until the UK ‘rare groove’ scene of the 80s, after which an extended version was created which appears for the first here time on 7”

2025 Repress

Modus Operandi, an EP by Impérieux, is the latest release from Sum Over Histories, the label from Frankey & Sandrino that champions introspective sounds for reflective times.

There’s an air of mystery surrounding Impérieux. The Bulgarian-born artist prefers to avoid the spotlight and work diligently on music instead, building a sound influenced by the underground scene in Sofia and his Turkish roots.

Impérieux began production of Modus Operandi in Bulgaria, and continued throughout his move to Berlin last year. The artist says it was a melancholic time; dealing with culture shock and a new language was challenging even without a pandemic. This EP is a reflection of that. Dark and brooding, simplistic and surreal, Impérieux took inspiration from the fantasy worlds of novelist Murukami and named the tracks after his work.

late night drive home have never known a world without Wifi - without access to the endless stream of joy, sorrow, heartbreak, and hope that we all tune in and tune out to on the daily. In many ways, the guys can"t really extricate themselves from that reality - even their band name comes from a random Wikipedia page - but they"re trying to at least grapple with it. "Most of us grew up on the internet with unsupervised access at a very young age," says singer Andre Portillo. "As we started foreseeing all the outcomes - both good and bad - of this kind of access and advancement, we started writing... forming a sound and message that would become our next record." The culmination of that, then, is the buoyant yet ominous as I watch my life online, the band"s debut album. late night drive home was born in El Paso, Texas, and Chaparral, New Mexico, hardworking communities where folks built their houses by hand and collars were mostly blue. Comprising guitarist Juan "Ockz" Vargas, singer Andre Portillo, drummer Brian Dolan, and bassist Freddy Baca, the entirely self-taught quartet released their first digital EP as a full band, 2021"s Am I sinking or Am I swimming?, and blew up with the single "Stress Relief," a blast of early-Aughts indie that racked in tens of millions of streams. After they signed with Epitaph Records in 2023 - and releasing 2024"s grunge-inspired 3 song EP i"ll remember you for the same feeling you gave me as i slept - they found themselves playing stages their indie idols previously shredded: Coachella, Shaky Knees, Austin City Limits, and Kilby Block Party. Since the end of the pandemic, though, the band had been dreaming up as i watch my life online. "I started thinking about the time after the pandemic and how much things were changing," says Vargas. "So the whole album is a critique of social media and the way we use the internet to distance ourselves from each other." The resulting suite of tracks is a series of online vignettes that hammers home the band"s message: the photos on your phone shouldn"t be your identity; your posts aren"t your inner monologue. A bigger life is lived where there"s no service - in your hometown on a late night road with your friends, and on stage, where the band finally found their destination after that long drive.

Coming off the heels of 2022's A New Kind of Love, A Trip To The Moon sees GFO diving even deeper in the worlds of film music, exotica, and psychedelic surf rock. The aim is to create a layered and collaged listening experience with more elements than you could possibly pick out in a single listen. The guitars are fuzzy and flooded with spring reverb, and the horns are arranged in a studio big band fashion. It's full of big compositions with garage rock attitude. Influences range everywhere from Eddie Palmieri and Esquivel to The Lively Ones, Dusty Springfield, and War. The tracks are tied together by real recorded transmissions from the Apollo moon missions. The concept for the album is a story about a woman stranded on earth by her cosmonaut partner, left to ponder his whereabouts and whether or not he'll make it back from the cosmos alive.

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

Wild and untamed Swedish teenage heavy metal from 1981-1985. Includes their ultra rare single plus previously unreleased studio recordings. The album includes a booklet with interviews and photos documenting TRP’s wild stage shows and the local Swedish hard rock youth gangs of the 1980s. Blood splattered vinyl - limited edition of 600 copies worldwide.

The teenage boys that formed TRP came together in the small town of Fjälkinge outside of Kristianstad in southern Sweden back in 1981. In 1982 they recorded and released their legendary after single. They immediately became very popular with the local hard rock you gang’s attracting wild and rowdy crowds.

TRP performed wild and loud shows gilded by the bands furious use of pyrotechnics, smoke bombs, leather, studs and gallons of fake blood.

Their stage show combined with their music got the band banned in Sweden and it was said that they were obscene and promoted satanism.

The band didn’t let that stop them and instead they went into a studio and recorded several tracks with their new lead guitarist. However, these amazing recordings were never released...until now that is. Then in 1985 TRP performed their last show. Their final stand was heavy metal mayhem supreme and the whole stage went up in flames.

“I had welded a guitar slide with one end closed and filled it with chimney test smoke, then I screwed it to the top of the neck of the bass. It burned constantly for two songs, but the effect was cool. We spat blood, as usual, and Peter just kept firing off bombs like crazy. He managed to shoot one right up into Fredrik’s ass during a guitar solo…”

Join the band leader of the modern masters of exotica; ÌXTAHUELE, Mattias Uneback, on a new mind- bending sonic adventure with love and dreams as the driving force! Inspired by library-, exotica-, beat- and psychedelic music as well as the breathtaking landscape of the Swedish mountain world. These are the Now Sounds for your cocktail lounge and Tiki bar.

2025 Repress, New Colour variant, Apricot colour vinyl. Led by vocalist Amy Boone (The Damnations, TX), Cory Gray on keyboards, & horns, Tucker Jackson (The Minus 5) on pedal steel, as well as former Richmond Fontaine members: Sean Oldham, Freddie Trujillo, and Willy Vlautin. Vlautin, the acclaimed novelist and songwriter for Richmond Fontaine, has penned all ten tracks. Recorded in Portland, Oregon and produced by John Morgan Askew, The Imperial shows us again why songwriter, Willy Vlautin became so enamored with Amy Boone"s voice. The combination of Vlautin"s songs and Boone"s voice creates a late night country soul world full of hopefulness and heartbreak.

The Rebel returns on Legofunk with the first two tracks of his new album World of No Nation out this summer. Ethnic influences, a jazz touch and a clubby perspective in these completely original songs also thanks to the collaborations of excellent musicians from the roman scene and beyond.
Atom's Dance - produced by Tommaso Taroni, keys David Assuntino, flute Livio Ricci, drums Federico Balestra,percussion Nené Vasquez, double bass Luca Lauria.
Jungle Jazz - produced by Tommaso Taroni, Congas Massimiliano Troiani, sax Matteo Acclavio, Keys David Assuntino.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

There is a great backstory to Darryl Baalki. We don't know how true it is, if at all, but it goes something like this: he is an enigmatic figure raised alone by his mother, his only connection to the outside world was his father's record collection. As a child, he believed this collection contained all the music ever created. Convinced that new music could only emerge by reassembling its parts, he obsessively listened, memorised, and mentally reconstructed sound before making new compositions from existing pieces. This is his latest missive and it is deeply moving, from the percussive jumble of the opener to the earthy shuffle and seductive sax of 'Devil May Care' via the hypnotising trumpet leads of 'Nothing Will Break You'. Fans of Mo Kolours et all will love this.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Recorded in Los Angeles, California in 1965, The Wonderful World of Antonio Carlos Jobim was Jobim's second album to be recorded outside of Brazil,

following The Composer of Desafinado, Plays, which had been taped in 1963. While for his first American venture Jobim counted with arrangements

by Claus Ogerman, for this second effort he relied on the multiple talents of the great Nelson Riddle, who had a longstanding career working with Frank Sinatra,

Nat King Cole, and Ella Fitzgerald, to name a few. All of the compositions here are by Jobim, who plays piano, guitar, and also sings.

Along with well-known compositions such as "A Felicidade," "Agua de Beber" or "Dindi", this album introduced two new songs: "Bonita" and "Surfboard."

The long-awaited 7-inch release of "Matenrou Starlight," a glittering neon light song by the duo DE DE MOUSE and Hitomitoi.

Based on the theme of "Love yourself for yourself," this song features the brave and fresh expression of Hitomitoi, the "eternal princess" of the city pop world,
and a French house groove that bounces and pumps up like an Air Max with sparkling synth sounds of a dazzling city night, making both your heart and body dance in a positive way.

The B-side includes a newly created City Pop Mix. "If you take courage, you'll feel excited, Come Back to Me, I Swear to Starlight"

Fontaines D.C. release a limited edition expanded version of their GRAMMY-nominated and BRIT-winning “ROMANCE” on turquoise vinyl, including a bonus black 7” single featuring the new songs ‘It’s Amazing To Be Young’ and ‘Before You I Just Forget’.

Following releases on labels like Inner Islands, Home Normal and Muzan Editions, Japanese composer and sound artist Kenji Kihara is back with a new album that expertly channels the tranquil surroundings of his coastal hometown, Hayama, which is nestled between sea and mountains. What comes out is an immersive ambient work that is indebted to nature, marbled with field recordings of rustling leaves, waves and birdsong, and serene compositions that exude warmth through meticulous tonal layers. His music reflects the patient rhythm of daily life and the quiet shift of seasons, and is a great invitation to calm the mind and reflect. This is ambient that is in direct dialogue with the natural world.

Suzzallo (pronounced Süe-zahh-Lōw) is a new Seattle based rock band fronted by Rocky Votolato. After the devastating loss of his child in a tragic car accident, Votolato created an entire new world inside of aggressive anthemic rock songs to transmute extreme grief and loss into something healing and beautiful. This is a return to form for Votolato, who for the past 2 decades has had a successful career as an Indie-rock solo artist, but who started out playing in heavier bands - most well known for his work in Waxwing.

With Rudy Gajadhar on drums (ex-Waxwing), Steve Bonnell on bass (ex-Schoolyard Heroes) and teaming up with legendary producer John Goodmanson, Suzzallo recently finished recording their debut album “The Quiet Year” at Robert Lang Studios in Seattle, WA. Ben Gibbard (Death Cab For Cutie / The Postal Service) is featured on several tracks on the album, adding some levity to the songs with beautifully placed backing vocals, electric guitar, bass 6, and piano.
Funded via a crowdsourcing campaign that raised over 100K dollars, Suzzallo’s highly anticipated debut is due to be released on Thirty Something Records in the spring of 2025.