Buscar:the glass

Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture. It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions. The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion. A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.

"On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.

MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.

Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.

Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork."

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Fully immersive electronic music by US composer Maggi Payne, inspired by the arctic winds. Maggi Payne's sound worlds invite the listeners to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile and visible.

The music is based on location recordings, with each sound carefully selected for its potential—its slow unfolding revealing delicate intricacies—and its inherent spatialization architecting and sculpting the aural space where multiple perspectives and trajectories coexist. With good speakers, some space in your schedule, and a mind-body continuum willing to resonate with Payne’s electroacoustic journey, but then it will take you to places that other music can’t reach.

From the sounds of dry ice, space transmissions, BART trains, and poor plumbing she immerses the listener in a world strangely unfamiliar. Maggi Payne is a composer, video artist, recording engineer, photographer, and flutist and is Co-Director of the Center for Contemporary Music and a faculty member at Mills College, in the San Francisco Bay Area.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Last summer Liam Gallagher joined the list of all-time greats (Paul McCartney, Page and Plant, Nirvana and many more) who have filmed a prestigious MTV Unplugged session. Having missed Oasis’s 1996 session through illness, the show at Hull’s City Hall found Liam fulfilling some unfinished business entirely on his own terms.

Now Liam is set to release the ‘MTV Unplugged’ live album of the show on April 24th.

The show’s electrifying atmosphere is palpable from the very beginning with a phenomenal reaction as Liam takes to the stage with ‘Wall of Glass’. Material from Liam’s solo career such as his personal favourite ‘Once’ and the joyous ‘Now That I’ve Found You’ resonates in this stripped-back format, with his vocal shining alongside a trio of backing singers and string arrangements performed by the 24-piece Urban Soul Orchestra.

Oasis guitarist Bonehead features on performances of ‘Some Might Say’, ‘Stand By Me’, ‘Cast No Shadow’ and Liam’s first ever live vocal performance of the ‘Definitely Maybe’ bonus track ‘Sad Song’. The show concludes on a crowd-pleasing high with an emotive take on the classic ‘Champagne Supernova’.

Liam launches the ‘MTV Unplugged’ album by sharing the new version of ‘Gone’, which was one of the strongest performances of the night. Stripped of the force of the studio recording, ‘Gone’ instead reveals new-found bombastic dynamics and an evocative cinematic atmosphere.

The classiest of deep spiritual soul on 45 for the first time. These tracks were previously unreleased until I found Avelino Pitts when working at jazzman a few years back who has since sadly passed away, but we are working with his wife Deborah to keep his wonderful music alive. Ocean of tears was always here to be a vanity project for my love of deep soul and slowys, so when listening to the LP in my car a few months back I was like WTF, why did i never do these on 45? So here we are, two sides of deep and well-produced soul, Rotary Connection comes to mind but it has its own sound. I have done 500 of these only, no repress. End of nighter, warm-up, radio, one to enjoy on your own with a glass of whisky at 2am.




a A1 You Are So Wonderful clip
b B1 Without You clip

WRWTFWW Records is excited to announce the official reissue of Motohiko Hamase’s remarkable ambient/environmental/minimalism project #Notes of Forestry, available for the first time since 1988. The album is sourced from original masters and available on vinyl and CD with liner notes from the artist. This marks the third release from the ESPLANADE SERIES which focuses on the works of Yoshio Ojima, Motohiko Hamase and Satsuki Shibano. One of the most fascinating and peculiar works from the golden era of Japanese ambient, #Notes of Forestry was initially released in 1988 by Newsic, the cult label started by Tokyo’s Wacoal Art Center (also known as Spiral), home, notably, of Yoshio Ojima who co-produced the album. Conceived by Jazz bassist turned experimentalist Motohiko Hamase, the magnum opus offers an enchanting mix of free-form pastoral electronics, otherworldly percussions by Yasunori Yamaguchi, and delightfully allusive piano played by none other than Satsuki Shibano (Sound Process’ Wave Notation 3). Vibrant, sometimes eerie, and absolutely captivating, #Forestry captures Hamase’s quest for musical freedom, he explains: “Inside the body of a musician, music is always transcendentally resonating. More than language, music reigns. When creating music overlaps with the moment my body performs, I strive to be as close as possible to the feeling of musical freedom. I feel that this notion lies at the foundation of this album". Musical freedom, here, provides an essential escape, extending the path uncovered by pivotal releases such as Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, and Yutaka Hiros’s Nova. #Notes of Forestry is reissued in conjunction with Motohiko Hamase’s Technodrome and Anecdote albums,

If you’ve visited Ibiza in the last few years, there’s a fair chance you’ll have encountered DJ Pippi and Willie Graff. The experienced duo has been DJing together on the White Isle for years, finding time between sundown sets to make music together in Italian veteran Pippi’s home studio. The pair’s first collaborative EP dropped on Drumpoet Community way back in 2007, with the belated follow-up appearing a decade later on Compost Disco. Here they make their bow on Leng with the “Lunares EP”, a typically warm and woozy collection of cuts named after the Spanish word for “polka dots” (a fashionable item in Spain and the Balearic islands throughout the 1980s).

They begin with the slow-burn sunrise bliss of “Lunares”, a shuffling and glassy-eyed affair in which evocative, emotion-rich strings, heady vocal samples, echoing sitars and lilting guitars slowly rise above a thickset backing track rich in dubby bass, swelling pads, starry electronics and snappy drums. Capable of tugging at the heartstrings, it’s a sublime slab of mood-enhancing bliss perfect for both weary dancing and sofa-bound relaxation. “Saxolicious” lives up to the premise of the title, with Pippi and Willie wrapping snaking, effects-laden saxophone solos around a languid, slow motion groove bristling with hazy intent. Expect chiming electric piano chords, dreamy pads, rolling grooves and another fine bassline that will worm its way into your subconscious, spark up a spliff and stay there for days.

The EP’s final musical moment is, if anything, even more spaced-out and intoxicating. Employing extra-slow beats and a prominent jazzy bass guitar part, the pair invites us to get locked in to a chuggy rhythm. Throw in druggy synth lines, tactile electric piano stabs and some suitably cosmic effects and you have a hallucinatory treat that would no doubt have gained the approval of the late, great Andrew Weatherall.

4 elements mystical project... Solid first. Of course, earthians dancefloor. Banger tellurik force ! Second comes with the Liquid/air element, a tribal invocation ! The flip opens with an aerian sound, clouds of infectious gaz witch turns more and more threatening till it double-kick ! Finally... the erruption... the pure fire... that one moving under... kickless. The glass becomes liquid... an acid fire inside !

Dark industrial ritual doom techno sound... Intercontinental darknesses.

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

transparant blue marbled vinyl

Ekman is no stranger to Shipwrec. With three EPs and an album, the dutchman's brand of fire and brimstone has seared a serious impression on the Nijmegen imprint. The fourth 12" comes with a marked difference. That burning smouldering intensity that has characterised the acid soaked electro and stained techno of past records is present, however it is now sheathed. Beats are still sharp edged, as in "Verdraaide Logica", yet keys have softened and taken on an introspection. "Kronkel" is cast in a similar mould. From a fearsome kick blooms an incredibly layered and thoughtful track where melodies bob and weave while rhythms rail. Even amidst the sinister sidling synthlines of "Anker Punten", with its piercing and punishing percussion, there are understated pads to mellow. The glass and steel of "Vast/Los" ends the EP. Angular lines permeate the piece, reflection and refractions arc and bend in this science fiction finale. Depth mixed devilment from start to finish.

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

LP SKY BLUE VINYL/LOSER-EDITION

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

We instantly fell in love with Razen the first time we saw them live in September 2018. It was during a unique Sunday morning mass at the Friedenskirche (which translates literally to mean ‘the church of peace’), as part of the Meakusma Festival. Slightly sleep deprived and still euphorically intoxicated from the night before, their performance in front of a full mass of devotees had a biblical aura to it from the first note they played. They delivered a stunning set which was somehow, paradoxically, both relaxing and formidably tense.

Two years later and the group are now bringing their talent for restraint and slow tension-building to the fore on “Robot Brujo”. Each of the six improvisations on this double LP is made up of the barest of materials, with the three musicians relying on a limited combination of tones. They lay their focus on small variations in timbre, timing, articulation and vibration, which creates a narrowing of consciousness, and feels something a bit like staring meditatively at the minute changes of leaves blowing in the wind.

Recorded over two sessions, in what Razen themselves refer to as their detached playing style, "Robot Brujo" stands as an auditory magnifying glass of concentration, in all its uncanny and minimal glory.

It is yet another new step up from the deep listening ensemble from Brussels, after 10 years exploring music together.

The third in the releases where label favourites are represented for today and backed with a remix / version by a contemporary producer of repute, presents 80s leftfield pop-rock band In Embrace. Appearing here are two versions of The Living Daylights, the original long version and a re-recorded live take, plus additional versions by Timothy J Fairplay.

Coming out of the midlands Post Punk / fanzine scene Gary Knight and friends formed the original incarnation of In Embrace in 1981. Picked up by Glass Records, the early, edgy live recording were re-proposed as Knight developed his 'non-musicianship' with an interest in the possibilities of the studio.

The original "Uncut" version takes it's anti-war themed vocal and lays it over a Jah Wobble inspired bassline and tense electronic rhythm. As it builds, the pressure mounts a visceral sense of oblivion of 9+ minutes of deep dubbing and repeating refrain.

Next to this the "Live In Studio" version sees the later 3 piece band replay it out in an energetic raw form that makes a worth addition. Handing the versions, plus backing tracks to Timothy J Fairplay offered a radical departure. His brooding Redub and Bonus mixes take the track to a darker place, drawing out the induced, relentless madness Knight always intended.

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".