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Puerto Rican-born Jose Feliciano had already been a major star in
Latin America for several years with his Spanish-language
recordings when he spectacularly broke into the US mainstream in
1968 with an acoustic reworking of Light My Fire. A million seller
that reached No. 3 on the Billboard Hot 100 chart, the Doors cover
introduced Feliciano to an entire new audience in the States and
around the world. Also a UK Top 10 hit, it showcased not only his
virtuoso guitar playing and extraordinary voice but also his gift for
reimagining other artists’ songs. This compilation firmly puts the
spotlight on Feliciano the interpreter, although there is also room to
showcase his own great songwriting

Shifted offers the latest distillation of his trademark sound.

Following on from the recent release of “The Dirt On Our Hands” – Guy Brewer’s fourth studio album and the first to arrive on his own Avian imprint, “Constant Blue Light” – another full length, explores new avenues in caustic minimalism.

Eschewing the booming effervescence of his own more plosive dance floor material – Shifted takes a no less nuanced, but decidedly more introspective angle on this new LP. At the centre of Brewer’s practice as an artist, there has always been a sense of dedication to the refinement of a singular idea. In some ways “Constant Blue Light” represents a move closer to the apex of this approach.

Opener “Slowly Counting Backwards” creates the framework for the record – reduced and meditative, owing somewhat to previous work, but still crisper and more precise. “Natural Elevation” riffs on airy patches that hiss and bend while “The Weight of It” transmits an unsettling hysteria with flanging leads and untethered rhythmic components. On the B side, the ominous dirge of “Soft Palate” brings a kind of uncanny energy to proceedings before “Into Your Ocean” utilises exquisite FM tones to create a captivating sonic montage. “Several Instances” hinges on dense low end and scattering white noise, before giving way to the machinations of “Clotting Time”. Closing piece “This I Know” offers a stunning, crystalline finish to the LP – upping the ante in its final minutes before giving way to a hiss of delay trails.

A continued exploration from a focused and diligent artist that provides yet another fully formed and beautifully articulated component to his own discography and that of the Avian label.

Ohne Übertreibung kann man SKYEYE aus Slowenien als DAS Heavy-Metal-Wunderkind bezeichnen.
Gegründet im Jahr 2014 von Gitarrist Grega Stalowsky, Bassist Primož Lovšin und Sänger Jan Leščanec
überzeugt die Band durch einzigartiger und kraftvoller Gesang, kombiniert mit rauen und melodischen
Gitarrenriffs, die der Band ihren charakteristischen Heavy-Metal-Sound verleihen. Damit müssen sie sich
vor den großen Vertretern des Genres, wie Iron Maiden, Saxon oder Judas Priest, nicht verstecken. Die
Band hatte ihren ersten Auftritt im Juni 2017 und brachte nur vier Monate später ihre erste EP unter
dem Titel ”Run for Your Life” heraus. Die überwältigend positive Resonanz und der starke Support bei
ihren Auftritten trieb SkyEye zurück ins Studio, um ihr Debütalbum ”Digital God” aufzunehmen, das am
9. November 2018 veröffentlicht wurde.
Durch den Auftritt beim EMFA-Streaming-Festival im Sommer 2020 sorgte die Band erstmals auf internationaler Bühne für Aufsehen und galt für viele Besucher als DIE Entdeckung des Festivals. Daraus
resultierte der erste Plattenvertrag mit Reaper Entertainment und die nun weltweite Veröffentlichung ihres
zweiten Studioalbums ”Soldiers Of Light”. Das Album steckt voller wahrer Heavy Metal Hymnen, nach
denen man sich bereits jahrelang gesehnt hatte

* A welcome reissue of this long-deleted classic digital dub album from The Bush Chemists.
* Originally surfacing on the Dubhead label in 1999, `Light Up Your Chalice was the follow up to `Light Up Your Spliff’.
* 10 slabs of smokey heavy-weight bass pressure from the Bush Chemists crew.
* Limited to 500 copies only.

Cult UK producer Iglew returns with his highly anticipated sophomore record after a six year hiatus, finding a perfect home on Facta and K-LONE’s label, Wisdom Teeth. Iglew first burst through during the instrumental grime boom of the mid-‘10s, debuting on Mr Mitch’s Gobstopper imprint with the now-verified classic ‘Urban Myth’ EP. A run of massive edits, remixes, radio rips, plus a feature on legendary label Boxed followed - andthen he went into hiding. Six years on, his follow-up EP expands and consolidates his sound into something truly unique and distinct. His central talents - glacial synth work, timeless melodies, pristine sound design - are all on show here in abundance, but twisted to fit new, refreshed patterns and structures.

‘Caffeine Dream’ is mutant UK techno that offsets distorted bass and glitching synths against warm chords and a noodling melody. ‘Gold’ is cool and stepping, sitting somewhere between early Night Slugs and the refracteddeep house of DJ Python. Title track ‘Light Armour’ is the EP’s understated climax - a lowlit and psychedelic take on modern pop, sounding something like a Charli XCX record A&R’d by the Freerotation crew. To close, ‘Microfunk Lament’ and ‘Hakwsworth Woods’ lean into microhouse and Reich-school minimalism, putting Iglew’s immense knack for melody and soul on full display.

Having already explored the archives of a number of overlooked Greek composers, Into The Light is now turning its attention to the uncharted territory of Greek film soundtracks of the 70s and 80s - a boom period for mystical, transcendental arthouse cinema in Greece.

GOST: A Spiritual Exploration into Greek Soundtracks (1975-1989) is a passion project from the Greek filmmaker and composer Yannis Veslemes, that took years of engagement, exhaustive research and persistence. The collection features a mixture of rare, hard-to-find and previously unreleased material from musicians and composers including Yannis Kostidakis, Thesia, Dimitris Papadimitriou, Michalis Christodoulides, Stamatis Spanoudakis, Haris Xanthoudakis, Vangelis Katsoulis and Charlotte Van Gelder . All material is accompanied by detailed linear notes from the curator Veslemes, explaining the stories behind the tracks and the movies they first featured on.

The compilation celebrates the inventiveness and experimentation of Greek soundtrack composers in the ‘70s and ‘80s, by presenting a surprising mixture of musical hybrids that bridge the worlds of electronic and acoustic music, and compositions that bring together Western and Eastern musical traditions, in uniquely idiosyncratic ways.

2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities.

Two years have passed since their previous Inflict LP and we don’t really know how what recently happened impacted on the band’s mastermind Michael but what’s sure is that Veil Of Light are now a fully grown-up band.

Landslide is their fifth full-length (and their third on Avant!) and it’s definitely their most elaborated album.

Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it’s still clear where the Swiss duo draws their influences from, right in between New Order’s moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever.

The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of.

This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there’s much to discover.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble

Erster Release der Light In The Attic Re-Issue Serie zu Ehren von LEE HAZLEWOOD mit Stücken von so essentiellen Alben wie ,Cowboy In Sweden". Mit Duetts mit Suzi Jane Hokom, Ann Margret und Nina Lizell. Extensive Linernotes und bisher ungesehene Photos. Mit seinem Schnurrbart und dem klingenden Bariton war LEE HAZLEWOOD einer der Stars der späten 60er Jahre. Obwohl er wahrscheinlich am bekanntesten wegen seiner Arbeit mit NANCY SINATRA ist (er schrieb ihren Megahit ,These Boots Are Made For Walking"), leistete HAZLEWOOD auch fernab dieser besonderen Glamourkönigin beachtliche Arbeit und fand später große Fans in BECK, SONIC YOUTH und JARVIS COCKER. Für den Record Store Day 2012 präsentiert Light In The Attic den Startpunkt einer Anthologie mit ,Singles, Nudes&Backsides", die LEEs beste Solosongs und Duetts seines Lee Hazlewood Industries Sublabels (LHI) versammelt. Die Serie wird sich Material von LHI widmen (das hier zum ersten Mal von den analogen Originaltapes neu gemastert wurde), zusammen mit LEEs Output bei anderen Labels, Raritäten, unveröffentlichten Schätzen und den Filmen von Torbjörn Axelman. Man muss nur das Cover anschauen: umringt von nackten Mädchen, die alle einen unechten Schnurrbart tragen, spielt HAZLEWOOD im Anzug leicht unsouverän den Playboy. Exakt wie dieses Photo zeigen auch die Songs einen gespaltenen Mann: er ist der zärtliche Romantiker, der gebrochene Loser und der zerfurchte Cowboy zugleich.

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson, one of the world's leading collectors and DJs of gospel music, has assembled a collection of some of the rarest Gospel funk records for “Greg Belson’s Devine Funk.”

In addition to the full-length, available on CD and LP, choice selections from the compilation will be released on 7 inch singles in limited quantities. Fourth in the Devine Funk 7 inch series, includes socially-on-point take of the Gospel classic ‘This Little Light Of Mine’ by the
Gospel Ambassadors

Deluxe 3LP mit 34 neu gemasterten Tracks und einem 60-seitigen Buch mit ausführlichen Linernotes, Interviews, bisher ungesehenen Archivphotos und den Texten (samt Übersetzung) in einem ,Tip On"-Schuber und drei ,Tip On"-Sleeves. Linernotes von Kevin ,Sipreano" Howes. Bisher fast nicht an die Öffentlichkeit gedrungen, kaum dokumentiert, aber im Kern ungeheuer revolutionär, nehmen die Aufnahmen verschiedenster Gemeinden amerikanischer Ureinwohner endlich in Form von ,Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985" den Platz ein, den sie verdienen. Eine Anthologie von Musik, die einst fast ausgestorben, aber nun für alle zu hören, ist ohne Frage eins der ambitioniertesten Projekte in der 12-järhigen Geschichte von Light In The Attic. ,Native Norht America (Vol. 1)" versammelt Musik der eingeborenen Völker Kanadas und der nördlichen USA, die in den turbulenten Jahrzehnten zwischen 1966 und 1985 aufgenommen wurde. Die Musik spiegelt die Zusammenführung globaler Popkultur und die Neuerweckung der eingeborenen Spiritualität und Ausdruckskraft wider. Der größte Teil dieses Materials war über Jahrzehnte lang durch fehlende Distributionskanäle und wenig Präsenz in den Massenmedien in Vergessenheit geraten - bis jetzt! Hier versammelt sich Garage Rock vom Polarkreis aus der Nunavik Region des nördlichen Quebec, melancholischer Yup'ik Folk aus Alaska und flüsternder Country Blues aus dem Wagmatcook First Nation Reservat in Nova Scotia. Man vernimmt Echos von NEIL YOUNG, VELVET UNDERGROUND, LEONARD COHEN, CREEDENCE CLEARWATER REVIVAL, JOHNNY CASH und anderen in den Songs, die jedoch mit eingeborenem Bewusstsein, Erzählkultur, Poesie, Geschichte und Zeremonie angereichert werden. Die Compilation ist gewidmet dem legendären Métis Singer/Songwriter und Dichter WILLIE DUNN, der auf der Anthologie auftritt, während der Zusammenstellung des Albums jedoch verstarb. ,Native North America (Vol. 1)" ist nur der Anfang; eine Zusammenstellung von Folk, Rock und Country aus den südlichen 48 Staaten der USA und Mexiko wird momentan in der Light In The Attic Goldmine ausgegraben.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble. 2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities. Two years have passed since their previous Inflict LP and we don't really know how what recently happened impacted on the band's mastermind Michael but what's sure is that Veil Of Light are now a fully grown-up band. Landslide is their fifth full-length (and their third on Avant!) and it's definitely their most elaborated album. Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it's still clear where the Swiss duo draws their influences from, right in between New Order's moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever. The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of. This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there's much to discover.

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

Outer Space, the 6-piece band from Barcelona is back with two original tracks, totally fresh and raw from the depths of the galaxy.

Dead Planet is a slow burnin' theme featuring Catalan guest singer Gemma Humet. A stunning young voice with an already extensive career that will transport you to the streets of Addis Abeba. On the flipside, Not Even Light, another original song where you can taste the distinctive flavour of Mulatu Astatke with extra added soulful grooves. On both tracks special guest percussionist Jesús Campos joins them with his fiery hands.

Once again, Outer Space bring you their characteristic approach to Ethiojazz that will strip paint off the walls.

Nachpressung! Der Name FRIERSON mag dem ein oder anderen bekannt vorkommen. Es war der Nachname von WENDY RENE, deren Werk 2012 von Light In The Attic zur Compilation ,After Laughter Comes Tears" zusammengetragen wurde. Und tatsächlich ist JOHNNIE FRIERSON ihr Bruder, ein weiteres Mitglied des Mittsechziger-Stax-Quartetts THE DRAPELS. Doch ,Have You Been Good To Yourself" wird für jeden, der den eher treibenden R&B von JOHNNIE und seinen Geschwistern erwartet, eine Überraschung sein. Die ultrararen Home Recordings sind eine Mischung aus Spoken Word, Folk und Gospel, die direkt auf Kassette aufgenommen wurden und von FRIERSONs religiöser Kindheit und seiner Karriere im Musikbusiness beeinflusst sind, die 1970 jäh unterbrochen wurde, als er als Soldat nach Vietnam gesendet wurde. Der Schatzsucher Jameson Sweiger fand ,Have You Been Good To Yourself" auf einer Zusammenstellung mit dem Titel ,Real Education" und unter dem Namen KHAFELE OJORE AJANAKU in einem Secondhandladen in Memphis, doch offensichtlich stammte die Aufnahme von FRIERSON. Die Tapes waren nicht weit gekommen: ursprünglich wurden sie in Eckläden und auf Musikfesten in der Umgebung von Memphis verkauft, wo FRIERSON weiterhin auftrat und eine Gospel-Radiosendung moderierte, während er hauptberuflich als Mechaniker, Hilfsarbeiter und Lehrer arbeitete. Die sieben Songs auf ,Have You Been Good To Yourself" sind offenkundig religiös; einige, so wie ,Out Here On Our World", sind durchdringend und eindringlich; andere, wie das selbstkritische ,Have You Been Good To Yourself" sind eher meditativ. Sie spiegeln die schwierige Situation wider, in der sich FRIERSON zur Zeit der Aufnahmen befand, verstört durch seine Zeit beim Militär und in tiefster Trauer um den frühzeitigen Tod seines Sohnes. ,Er war wirklich auf der Suche nach einer Antwort für sich", erinnert sich FRIERSONs Tochter Keesha in Andria Lisles Liner Notes. ,Und komponieren und Musik spielen waren seine Lösung". Remastert und zum ersten Mal professionell veröffentlicht, bleibt die Botschaft FRIERSONs, der 2010 verstarb, ungetrübt.

Nachpressung! Der Name FRIERSON mag dem ein oder anderen bekannt vorkommen. Es war der Nachname von WENDY RENE, deren Werk 2012 von Light In The Attic zur Compilation ,After Laughter Comes Tears" zusammengetragen wurde. Und tatsächlich ist JOHNNIE FRIERSON ihr Bruder, ein weiteres Mitglied des Mittsechziger-Stax-Quartetts THE DRAPELS. Doch ,Have You Been Good To Yourself" wird für jeden, der den eher treibenden R&B von JOHNNIE und seinen Geschwistern erwartet, eine Überraschung sein. Die ultrararen Home Recordings sind eine Mischung aus Spoken Word, Folk und Gospel, die direkt auf Kassette aufgenommen wurden und von FRIERSONs religiöser Kindheit und seiner Karriere im Musikbusiness beeinflusst sind, die 1970 jäh unterbrochen wurde, als er als Soldat nach Vietnam gesendet wurde. Der Schatzsucher Jameson Sweiger fand ,Have You Been Good To Yourself" auf einer Zusammenstellung mit dem Titel ,Real Education" und unter dem Namen KHAFELE OJORE AJANAKU in einem Secondhandladen in Memphis, doch offensichtlich stammte die Aufnahme von FRIERSON. Die Tapes waren nicht weit gekommen: ursprünglich wurden sie in Eckläden und auf Musikfesten in der Umgebung von Memphis verkauft, wo FRIERSON weiterhin auftrat und eine Gospel-Radiosendung moderierte, während er hauptberuflich als Mechaniker, Hilfsarbeiter und Lehrer arbeitete. Die sieben Songs auf ,Have You Been Good To Yourself" sind offenkundig religiös; einige, so wie ,Out Here On Our World", sind durchdringend und eindringlich; andere, wie das selbstkritische ,Have You Been Good To Yourself" sind eher meditativ. Sie spiegeln die schwierige Situation wider, in der sich FRIERSON zur Zeit der Aufnahmen befand, verstört durch seine Zeit beim Militär und in tiefster Trauer um den frühzeitigen Tod seines Sohnes. ,Er war wirklich auf der Suche nach einer Antwort für sich", erinnert sich FRIERSONs Tochter Keesha in Andria Lisles Liner Notes. ,Und komponieren und Musik spielen waren seine Lösung". Remastert und zum ersten Mal professionell veröffentlicht, bleibt die Botschaft FRIERSONs, der 2010 verstarb, ungetrübt.

The variety of Kühn’s pianism in this collection is
quite remarkable.
The listener is first welcomed into the inviting,
comforting and regular pulse of Mal Waldron’s
‘Warm Canto’. And yet later, by complete contrast,
Kühn’s own composition ‘Sintra’ gives a
masterclass in freedom, delay and the alchemical
art of keeping the listener waiting on tenterhooks.
Prince’s ‘Purple Rain’ is achingly soulful, whereas
Kühn found the encouragement to revisit Bill
Evans’ ‘Peace Piece’ from the dignity and restraint
of classical pianist Igor Levit’s version.
LP pressed on 180g vinyl.

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

THE LAST EXIT is the fifth studio album from Still Corners. With the shimmering desert noir sound the band has become known for, THE LAST EXIT takes you on a hypnotic journey, one filled with dilapidated towns, mysterious shapes on the horizon, and long trips that blur the line between what's there and not there. Greg says, "We found something out there in the desert - something in the vast landscapes that went on forever." THE LAST EXIT consists of eleven beautifully crafted songs with organic instrumentation, clean-toned guitar, spacious drums and the smoky croon of Tessa Murray. Album highlights include "The Last Exit", "White Sands" and "Shifting Dunes" all of which evoke the vast space of the desert and rolling unconcerned skies.