2LP Excl
backorder
Label:Cosmocities Records
Cat-No:CMSR010
Release-Date:28.07.2023
Configuration:2LP Excl
Barcode:3516628427411
backorder
Last in:03.04.2024
+ Show full info- Close
backorder
Last in:03.04.2024
Label:Cosmocities Records
Cat-No:CMSR010
Release-Date:28.07.2023
Configuration:2LP Excl
Barcode:3516628427411
1
Various Artists (Inner Science, Kaoru In - A1 Kaoru Inoue ‘Em Paz’
2
Various Artists (Inner Science, Kaoru In - A2 Gabby and Lopez ‘Drive From Miracles ‘ (Kaoru Inoue remix)
3
Various Artists (Inner Science, Kaoru In - A3 Inner Science ‘Alight’
4
Various Artists (Inner Science, Kaoru In - B1 Aquarium ‘Rainy Night in Shibuya (...deepspace slow down mix)
5
Various Artists (Inner Science, Kaoru In - B2 Naohito Uchiyama ‘Shugetsu’
6
Various Artists (Inner Science, Kaoru In - B3 Keta Ra ‘Equals’
7
Various Artists (Inner Science, Kaoru In - C1 Yuu Udagawa ‘Infinite Possibility’
8
Various Artists (Inner Science, Kaoru In - C2 Noah ‘Gemini - Mysterious lot ‘
9
Various Artists (Inner Science, Kaoru In - C3 Sauce81 ‘Sign Of Secret Love’
10
Various Artists (Inner Science, Kaoru In - D1 Waltz ‘Folkesta’
11
Various Artists (Inner Science, Kaoru In - D2 Kuniyuki ‘ Free’
12
Various Artists (Inner Science, Kaoru In - D3 Ken Ishii presents Metropolitan Harmonic Formulas
Territory: WW -FR
A1 Kaoru Inoue ‘Em Paz’
A2 Gabby and Lopez ‘Drive From Miracles ‘ (Kaoru Inoue remix)
A3 Inner Science ‘Alight’
B1 Aquarium ‘Rainy Night in Shibuya (???deepspace slow down mix)
B2 Naohito Uchiyama ‘Shugetsu’
B3 Keta Ra ‘Equals’
C1 Yuu Udagawa ‘Infinite Possibility’
C2 Noah ‘Gemini - Mysterious lot ‘
Written & Produced by Noah, taken from the album ‘Noire’
C3 Sauce81 ‘Sign Of Secret Love’
C4 Keita Sano ‘Tai + Dai’
D1 Waltz ‘Folkesta’
D2 Kuniyuki ‘ Free’
D3 Ken Ishii presents Metropolitan Harmonic Formulas
Can You Feel It (feat. Metropolitan Harmonic Formulas and Naruyoshi Kikuchi)
Written by Larry Heard. Produced by Ken Ishii. Saxophones by Naruyoshi Kikuchi. Mixed by Ken Ishii at Far East Lab and Skywalker Studios. Published by Truelove Music/TAP.
Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.
This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.
Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.
Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.
More
A1 Kaoru Inoue ‘Em Paz’
A2 Gabby and Lopez ‘Drive From Miracles ‘ (Kaoru Inoue remix)
A3 Inner Science ‘Alight’
B1 Aquarium ‘Rainy Night in Shibuya (???deepspace slow down mix)
B2 Naohito Uchiyama ‘Shugetsu’
B3 Keta Ra ‘Equals’
C1 Yuu Udagawa ‘Infinite Possibility’
C2 Noah ‘Gemini - Mysterious lot ‘
Written & Produced by Noah, taken from the album ‘Noire’
C3 Sauce81 ‘Sign Of Secret Love’
C4 Keita Sano ‘Tai + Dai’
D1 Waltz ‘Folkesta’
D2 Kuniyuki ‘ Free’
D3 Ken Ishii presents Metropolitan Harmonic Formulas
Can You Feel It (feat. Metropolitan Harmonic Formulas and Naruyoshi Kikuchi)
Written by Larry Heard. Produced by Ken Ishii. Saxophones by Naruyoshi Kikuchi. Mixed by Ken Ishii at Far East Lab and Skywalker Studios. Published by Truelove Music/TAP.
Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.
This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.
Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.
Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.
More
More records from Cosmocities Records
Label:Cosmocities Records
Cat-No:CMSR017
Release-Date:27.09.2024
Genre:Techno
Configuration:12"
Barcode:
backorder
Last in:-
+ Show full info- Close
backorder
Last in:-
Label:Cosmocities Records
Cat-No:CMSR017
Release-Date:27.09.2024
Genre:Techno
Configuration:12"
Barcode:
1
Prism - Vapour Trails
2
Prism - Vapour Trails (Farmakit Remix)
3
Prism - O.V.N.I.
4
Prism - O.V.N.I. (Bliss Inc. Remix)
Originally released on Robs Records offshoot Pleasure, followed by a repress on Air Trance in 1995 featuring Francesco Farfa & Kiticonti on remix duty, the debut offering from French/UK outfit Prism - aka Pascal Eloy & Grant Wilkinson - ‘Vapour Trails’ EP eventually gets a much needed reissue on Cosmocities this summer, enhanced with a remix from Bliss Inc.
From its initial sortie on the label run by Rob Gretton, former manager of legendary New Wave bands New Order and Joy Division, onto making it to a then en-vogue Italian trance imprint, this record made waves and opened new portals for many lovers of the burgeoning electronic sound, including - years later - Cosmocities head exec himself, holding the special status of being his first ever vinyl record buy. Harder was the path towards that longed-for repress, but with a twist from destiny - after tracking down one half of Prism - Pascal Eloy - to no avail, the label managed to find him through his father, contemporary composer Christian Eloy, plans were set out to release a first EP, ‘Rain’ (2022), and now ‘Vapour Trails’, which comes as the icing on the cake.
A future-facing slice of fast-track trance bound to have ravers melting in XTC thru and thru, the lead single treats us to a deluge of prismatic arps and multi-faceted synthwaves, ushering us into a vivid, mind-expanding kaleidoscope of throbbing colours and propulsive groove; an absolute killer of a tune that’s lost nothing of its frenzied punch. In the hands of Italian duo Farmakit, the track morphs into a further corrosive churner tailored for peak-time rumble in the warehouse with its calibrated mix of acid-drenched bass whorls, hard house bounce and Tangerine Dream vibrations.
Flip sides and here’s ‘O.N.V.I.’ shifting gears towards a more tribal / spiritual kind of uptempo hoodoo, running the gamut wildly from ethereal choirs to warlike drum programming, via sci-fi-indebted cosmicness and proper 303-infused salvos from outer space. New addition to the bunch, the remix from Bliss Inc. treats us to a more focussed parade of jacking house percussions, hi-NRG acid tropes and Afro funk-minded psychedelia, revving up the engines as the room temp rises from hot to sweltering. No surrender More
From its initial sortie on the label run by Rob Gretton, former manager of legendary New Wave bands New Order and Joy Division, onto making it to a then en-vogue Italian trance imprint, this record made waves and opened new portals for many lovers of the burgeoning electronic sound, including - years later - Cosmocities head exec himself, holding the special status of being his first ever vinyl record buy. Harder was the path towards that longed-for repress, but with a twist from destiny - after tracking down one half of Prism - Pascal Eloy - to no avail, the label managed to find him through his father, contemporary composer Christian Eloy, plans were set out to release a first EP, ‘Rain’ (2022), and now ‘Vapour Trails’, which comes as the icing on the cake.
A future-facing slice of fast-track trance bound to have ravers melting in XTC thru and thru, the lead single treats us to a deluge of prismatic arps and multi-faceted synthwaves, ushering us into a vivid, mind-expanding kaleidoscope of throbbing colours and propulsive groove; an absolute killer of a tune that’s lost nothing of its frenzied punch. In the hands of Italian duo Farmakit, the track morphs into a further corrosive churner tailored for peak-time rumble in the warehouse with its calibrated mix of acid-drenched bass whorls, hard house bounce and Tangerine Dream vibrations.
Flip sides and here’s ‘O.N.V.I.’ shifting gears towards a more tribal / spiritual kind of uptempo hoodoo, running the gamut wildly from ethereal choirs to warlike drum programming, via sci-fi-indebted cosmicness and proper 303-infused salvos from outer space. New addition to the bunch, the remix from Bliss Inc. treats us to a more focussed parade of jacking house percussions, hi-NRG acid tropes and Afro funk-minded psychedelia, revving up the engines as the room temp rises from hot to sweltering. No surrender More
12"
backorder
Label:Cosmocities Records
Cat-No:CMSR013
Release-Date:19.01.2024
Genre:House
Configuration:12"
Barcode:
backorder
Last in:23.01.2024
+ Show full info- Close
backorder
Last in:23.01.2024
Label:Cosmocities Records
Cat-No:CMSR013
Release-Date:19.01.2024
Genre:House
Configuration:12"
Barcode:
1
Various Artists - Low Tension (Jimpster remix)
2
Various Artists - Low Tension (Jimpster Beatless reprise)
3
Various Artists - Shanee Feat Erik Van Aro (Shanee (Nick Holder’s In The Six remix)
4
Various Artists - Celestial (KEENE Venao 7am remix)
A collaboration between Cosmocities & Japanese label Unknown Season, fusing some of their biggest releases from the last 10 years on one piece of vinyl.
Remixes come from Jimpster whose Beatless Reprise is exclusive to this release, Nick Holder & KEENE.
Limited Pressing act fast. More
Remixes come from Jimpster whose Beatless Reprise is exclusive to this release, Nick Holder & KEENE.
Limited Pressing act fast. More
2LP Excl
in stock
Label:Cosmocities Records
Cat-No:CMSR011
Release-Date:28.07.2023
Configuration:2LP Excl
Barcode:3516628427510
in stock
Last in:13.09.2024
+ Show full info- Close
in stock
Last in:13.09.2024
Label:Cosmocities Records
Cat-No:CMSR011
Release-Date:28.07.2023
Configuration:2LP Excl
Barcode:3516628427510
1
Various Artists (Seiji Ono, Uyama Hiroto - A1 Seiji Ono ‘ Celebrate Your Life
2
Various Artists (Seiji Ono, Uyama Hiroto - A2 Uyama Hiroto ‘Compass’
3
Various Artists (Seiji Ono, Uyama Hiroto - A3 J.A.K.A.M ‘Pray’
4
Various Artists (Seiji Ono, Uyama Hiroto - B1 Yuu Udagawa ‘We Float’
5
Various Artists (Seiji Ono, Uyama Hiroto - B2 Jazztronik ‘ Neon Forest’ (vinyl only)
6
Various Artists (Seiji Ono, Uyama Hiroto - B3 BRISA ‘State of Mind’
7
Various Artists (Seiji Ono, Uyama Hiroto - C1 Ryoma Takemasa ‘Deepn’ (The Backwoods remix)
8
Various Artists (Seiji Ono, Uyama Hiroto - C2 The Backwoods ‘Cloud Nine’
9
Various Artists (Seiji Ono, Uyama Hiroto - D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental remix)
10
Various Artists (Seiji Ono, Uyama Hiroto - D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix)
Territory: WW -FR
Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.
This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.
Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.
Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.
A1 Seiji Ono ‘ Celebrate Your Life
A2 Uyama Hiroto ‘Compass’
A3 J.A.K.A.M ‘Pray’
B1 Yuu Udagawa ‘We Float’
B2 Jazztronik ‘ Neon Forest’ (vinyl only)
B3 BRISA ‘State of Mind’
C1 Ryoma Takemasa ‘Deepn’ (The Backwoods remix)
Remix: The Backwoods (DJ Kent of Force Of Nature)
C2 The Backwoods ‘Cloud Nine’
Written & Produced by The Backwoods
Guitar : LOADRUNNER
D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental remix)
D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix) More
Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.
This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.
Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.
Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.
A1 Seiji Ono ‘ Celebrate Your Life
A2 Uyama Hiroto ‘Compass’
A3 J.A.K.A.M ‘Pray’
B1 Yuu Udagawa ‘We Float’
B2 Jazztronik ‘ Neon Forest’ (vinyl only)
B3 BRISA ‘State of Mind’
C1 Ryoma Takemasa ‘Deepn’ (The Backwoods remix)
Remix: The Backwoods (DJ Kent of Force Of Nature)
C2 The Backwoods ‘Cloud Nine’
Written & Produced by The Backwoods
Guitar : LOADRUNNER
D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental remix)
D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix) More
12" Excl
backorder
Label:Cosmocities Records
Cat-No:CMSR008
Release-Date:05.08.2022
Configuration:12" Excl
Barcode:3516628400162
backorder
Last in:24.04.2023
+ Show full info- Close
backorder
Last in:24.04.2023
Label:Cosmocities Records
Cat-No:CMSR008
Release-Date:05.08.2022
Configuration:12" Excl
Barcode:3516628400162
1
Inner Science - A1. Unfold
2
Inner Science - A2. Quiet Track
3
Inner Science - A3. Never Fade Away
4
Inner Science - B1. End of the Beginning (Joe Goddard Remix)
5
Inner Science - B2. Momentary Spread (map.ache Remix)
Territory: WW -FR
Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache. The acid-infused glitter of "Unfold" paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. "Quiet Track 3" follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while "Never Fade Away" blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.
Flip it over and here's Joe Goddard taking "End of the Beginning" for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science's many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling "Momentary Spread", map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it's a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy
Tracklist
A1 Unfold
A2 Quiet Track
A3 Never Fade Away
B1 End of the Beginning (Joe Goddard Remix)
B2 Momentary Spread (map.ache Remix)
More
Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache. The acid-infused glitter of "Unfold" paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. "Quiet Track 3" follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while "Never Fade Away" blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.
Flip it over and here's Joe Goddard taking "End of the Beginning" for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science's many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling "Momentary Spread", map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it's a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy
Tracklist
A1 Unfold
A2 Quiet Track
A3 Never Fade Away
B1 End of the Beginning (Joe Goddard Remix)
B2 Momentary Spread (map.ache Remix)
More
Label:Cosmocities Records
Cat-No:CMSR007
Release-Date:01.07.2022
Genre:Funk
Configuration:LP
Barcode:3516628389610
backorder
Last in:01.12.2022
+ Show full info- Close
backorder
Last in:01.12.2022
Label:Cosmocities Records
Cat-No:CMSR007
Release-Date:01.07.2022
Genre:Funk
Configuration:LP
Barcode:3516628389610
1
Inkswel - Let it Grow (feat. Talib Kweli, Erin Buku & Baba Israel)
2
Inkswel - Everything (feat. Dudley Perkins)
3
Inkswel - Mystical Magic (feat. Lee Scratch Perry)
4
Inkswel - Butterflies (feat. Steve Spacek)
5
Inkswel - New Day (feat. Kylie Auldist)
6
Inkswel - Chasing Infinity (feat. Oliver Night)
7
Inkswel - How I Feel (feat. Amp Fiddler)
8
Inkswel - Cosmic Love Affair (feat. Erik Rico)
9
Inkswel - Intergalactic B-Boy Anthem (feat. Kaidi Tatham)
Adelaide producer & DJ Inkswel introduces his new project 'The Snaglepuss' with 'Chasing Infinity,' a concept LP with a star-studded guest list that takes us on a stylistic journey from hiphop and g-funk to up tempo broken beat, boogie and house. With guests including Talib Kweli, Amp Fiddler, Steve Spacek and Kylie Auldist the album describes a cosmic quest for a new galactic home, searching for a better place and stopping on every dancefloor on the way. Inkswel (aka Jules Habib) has spent much of the last two decades in the Northern Hemisphere DJing every party and club from Rhythm Section in London to Output in New York and released music on BBE, Atjazz, Sonar Kollektiv, Tokyo Dawn and Motor City Wine. He's produced tracks for artists like Pugz Atoms & Georgia Anne Muldrow and remixed artists including Amp Fiddler and Dez Andrez. On the Snaglepuss material, he's taken a more collaborative approach and much of this record was co-created with bassist Stephen Lane, Sloth on horns, UK broken beat royalty Kaidi Tatham and Inkswel's wife and musical partner Erin Buku. Inkswel and the team's genre bending productions draw influence from P Funk, 80s Pop, Boogie Funk, Classic 90s Hip hop and Contemporary Soul stitching it all together into a seamless multicoloured package. The album kicks off with a nod to Inkswel's musical roots, golden era hiphop. 'Let It Grow' features the legendary Talib Kweli, supported by Erin Buku and Baba Israel. Next up, staying in the hiphop lane, is 'Everything' feat. Dudley Perkins, followed by the spacey stylings of 'Mystical Magic' featuring Lee "Scratch" Perry and Elf Tranzporter and 'Butterflies' featuring Steve Spacek. From there the album turns up the tempo and the heat with the bouncy rollerdisco jam 'New Day' featuring Melbourne legends Kylie Auldist and N'fa Jones and the title track which features UK Soul luminary Oliver Night on vocals. Amp Fiddler jumps on organ and vocal duties on 'How I Feel' and Kaidi Tatham steps up on keys for 'Cosmic Love Affair' featuring the princely vibe of Erik Rico and contributes again to the instrumental cut 'Intergalactic Bboy Anthem'. The album is rounded out by remixes from UK legend Mr Scruff, Detroit don DJ Dez Andrez and Adelaide's Funkwig.
More
Label:Cosmocities Records
Cat-No:CMSR006
Release-Date:29.04.2022
Genre:Techno
Configuration:12" Excl
Barcode:3516628379864
backorder
Last in:19.05.2022
+ Show full info- Close
backorder
Last in:19.05.2022
Label:Cosmocities Records
Cat-No:CMSR006
Release-Date:29.04.2022
Genre:Techno
Configuration:12" Excl
Barcode:3516628379864
1
Prism - Refraction
2
Prism - Refraction (SYO remix)
3
Prism - Rain
Tracklist:
A1 - Refraction
B1 - Refraction (SYO remix)
B2 - Rain
Release Info:
Rare trance/ambient house reissue from french label Cosmocities Records - including a remix from S.O.N.S. under his SYO moniker!
Lined up next on Cosmocities is a special delivery and direct nod to our formative years’ loves - in this very case, trance music. Fruit of 90s cross-channel outfit Prism, the collaborative endeavour of French producer Pascal Eloy and UK-based Grant Wilkinson, the three-track EP “CMSR006” mixes unreleased music (Refraction), a 1996-issued goodie (Rain) and an exclusive remix from SYO, better known for his ambitiously retro-futuristic output under the S.O.N.S moniker.
Originally released as part of Planet Dog’s 1996 compilation “Feed Your Head”, “Rain” retains all of its original mystique and soulful use of modern production tools - letting a cascading flow of arpeggiated synths, stealth bass onslaughts and 303-borne trippiness pour down as a fully immersive digital shower for the senses.
An unheard gem from the vault, initially written and recorded in 1995, “Refraction” pulls further dynamic traction from a bubbling drum programming and damp, urban jungle-y atmosphere - beaming us straight back in the rave’s most compelling heyday with its feverish maelstrom of fluttering bleeps, spiralling tribal motifs and faux-organic, Neo-Easternmost harmonics.
Adding his ever innovative spin to the table, SYO cuts into the flesh of the original to deliver a further syncopated and spacious version, flush with complex rhythmic sleights of hand and subtle melodic trickery throughout, bound to keep you on the edge with every bar. 25 years on since it was first designed, Prism’s lasting relevancy shines bright on this all-road, bold-to-the-full trance epic that’s lost nothing of its flair.
More
A1 - Refraction
B1 - Refraction (SYO remix)
B2 - Rain
Release Info:
Rare trance/ambient house reissue from french label Cosmocities Records - including a remix from S.O.N.S. under his SYO moniker!
Lined up next on Cosmocities is a special delivery and direct nod to our formative years’ loves - in this very case, trance music. Fruit of 90s cross-channel outfit Prism, the collaborative endeavour of French producer Pascal Eloy and UK-based Grant Wilkinson, the three-track EP “CMSR006” mixes unreleased music (Refraction), a 1996-issued goodie (Rain) and an exclusive remix from SYO, better known for his ambitiously retro-futuristic output under the S.O.N.S moniker.
Originally released as part of Planet Dog’s 1996 compilation “Feed Your Head”, “Rain” retains all of its original mystique and soulful use of modern production tools - letting a cascading flow of arpeggiated synths, stealth bass onslaughts and 303-borne trippiness pour down as a fully immersive digital shower for the senses.
An unheard gem from the vault, initially written and recorded in 1995, “Refraction” pulls further dynamic traction from a bubbling drum programming and damp, urban jungle-y atmosphere - beaming us straight back in the rave’s most compelling heyday with its feverish maelstrom of fluttering bleeps, spiralling tribal motifs and faux-organic, Neo-Easternmost harmonics.
Adding his ever innovative spin to the table, SYO cuts into the flesh of the original to deliver a further syncopated and spacious version, flush with complex rhythmic sleights of hand and subtle melodic trickery throughout, bound to keep you on the edge with every bar. 25 years on since it was first designed, Prism’s lasting relevancy shines bright on this all-road, bold-to-the-full trance epic that’s lost nothing of its flair.
More
12"
backorder
Label:Cosmocities Records
Cat-No:CMSR005
Release-Date:15.10.2021
Genre:House
Configuration:12"
Barcode:
backorder
Last in:25.01.2022
+ Show full info- Close
backorder
Last in:25.01.2022
Label:Cosmocities Records
Cat-No:CMSR005
Release-Date:15.10.2021
Genre:House
Configuration:12"
Barcode:
1
Fabrizio Fattore - Lyle
2
Fabrizio Fattore - Island Goddess
3
Fabrizio Fattore - Lyle (Vince Watson Reshape)
4
Fabrizio Fattore - Lyle (Vince Watson Balearic Mix)
Pure product of the Neapolitan scene, Fabrizio Fattore turns up on Cosmocities Records with his third solo effort. Comprised of two originals on the A-side, and two bespoke revamps from Vince Watson on the flip, this new EP from Fattore draws a direct bridge betwixt the idyllic coastal flow of Italian boogie and straight out pulsating alien disco, sure to keep galaxies bouncing in good order.
Clocking in first is the vibey, otherworldly 'Lyle' - a cross-pollinated ode to the healing power of laid-back, 80s-informed house, bristling with shimmering Casio synthlines and Cuban jazz-friendly pianos and drums. Heliotropic by nature, Fattore's sound sits half-way loungey summer atmospherics and trailblazing post-kosmische jaunts. Then comes 'Island Goddess', casting more of a Sino-Caribbean flavoured spin on the dance floor with its obsessive miss-mash of processed chimes and prismatic webwork of steel pans.
On the B-side dwell two versions of 'Lyle' by true house legend Vince Watson, each of which deliver in their own right. If you’re after a proper classy, straightforward roller, bound to take dancers into a ravishingly deep but rousing trip, then the 'Watson Reshape' fits the bill like a glove, whereas the 'Balearic mix' does exactly what's written on the tin - ushering you into a sense-soothing haven, where keyboard-laden escapism and Afro-style rhythms meet the elegance of muted chamber music. More
Clocking in first is the vibey, otherworldly 'Lyle' - a cross-pollinated ode to the healing power of laid-back, 80s-informed house, bristling with shimmering Casio synthlines and Cuban jazz-friendly pianos and drums. Heliotropic by nature, Fattore's sound sits half-way loungey summer atmospherics and trailblazing post-kosmische jaunts. Then comes 'Island Goddess', casting more of a Sino-Caribbean flavoured spin on the dance floor with its obsessive miss-mash of processed chimes and prismatic webwork of steel pans.
On the B-side dwell two versions of 'Lyle' by true house legend Vince Watson, each of which deliver in their own right. If you’re after a proper classy, straightforward roller, bound to take dancers into a ravishingly deep but rousing trip, then the 'Watson Reshape' fits the bill like a glove, whereas the 'Balearic mix' does exactly what's written on the tin - ushering you into a sense-soothing haven, where keyboard-laden escapism and Afro-style rhythms meet the elegance of muted chamber music. More
Label:Cosmocities Records
Cat-No:CMSR004
Release-Date:07.05.2021
Genre:Dope Beat/Hip Hop
Configuration:12"
Barcode:
backorder
Last in:10.06.2021
+ Show full info- Close
backorder
Last in:10.06.2021
Label:Cosmocities Records
Cat-No:CMSR004
Release-Date:07.05.2021
Genre:Dope Beat/Hip Hop
Configuration:12"
Barcode:
1
Inkswel - Say Goodbye (Original Mix)
2
Inkswel - Say Goodbye (Instrumental)
3
Inkswel - Say Goodbye (Kid Sublime Remix)
4
Inkswel - Say Goodbye (Beyond June Remix)
Threading their way across house, hip-hop and downtempo electronic landscapes since 2019, French imprint Cosmocities re-emerge with their fourth studio iteration “Say Goodbye” by Aussie-born / Berlin based vibist Inkswel featuring Phat Kat and Jitwam, supported by a choice pair of reworks courtesy of Adelaide's Beyond June and Amsterdam’s Jacob Otten, alias Kid Sublime.
Presented in both vocal and instrumental form, Inkswel’s hydroponic new single “Say Goodbye” blends the finest of sun-baked hip-hop and hazy R&B into a fine-grained slice of ethereal Cali-funk, as masterly provided by Phat Kat’s raw, choppy verses and Jitwam’s velvet-like timbre. Weaving a silky-smooth narrative out of retro string samples, intricate drum-programming and vaporous envelopes, Inkswel’s newest is poetry in motion, making the most of the self-balancing, therapeutical power of music.
Up on remix duty we find OZ talent Beyond June, laying down a playfully oneiric revamp, halfway cosmic abstraction and down-to-earth urban character. Transcending both spheres with non-conformist dash, the track reaches for uncharted galactic recesses. For his part, Kid Sublime takes on the cut with more of a fevered boogie approach, pulling out the infectious Rhodes stabs and athletic bass moves to keep every dancer on their toes as the drum beats a steadily sensual tempo. More
Presented in both vocal and instrumental form, Inkswel’s hydroponic new single “Say Goodbye” blends the finest of sun-baked hip-hop and hazy R&B into a fine-grained slice of ethereal Cali-funk, as masterly provided by Phat Kat’s raw, choppy verses and Jitwam’s velvet-like timbre. Weaving a silky-smooth narrative out of retro string samples, intricate drum-programming and vaporous envelopes, Inkswel’s newest is poetry in motion, making the most of the self-balancing, therapeutical power of music.
Up on remix duty we find OZ talent Beyond June, laying down a playfully oneiric revamp, halfway cosmic abstraction and down-to-earth urban character. Transcending both spheres with non-conformist dash, the track reaches for uncharted galactic recesses. For his part, Kid Sublime takes on the cut with more of a fevered boogie approach, pulling out the infectious Rhodes stabs and athletic bass moves to keep every dancer on their toes as the drum beats a steadily sensual tempo. More
Label:Cosmocities Records
Cat-No:CMSR003
Release-Date:19.02.2021
Genre:House
Configuration:12"
Barcode:
backorder
Last in:11.06.2021
+ Show full info- Close
backorder
Last in:11.06.2021
Label:Cosmocities Records
Cat-No:CMSR003
Release-Date:19.02.2021
Genre:House
Configuration:12"
Barcode:
1
Billy Lo - It's The Life
2
Billy Lo - Do U Play Around
3
Billy Lo - It's The Life (Kai Alcé Interpretation)
4
Billy Lo - Is It The Music
Cosmocities is a French label established in 2019 by Matthieu Soulié-Strougar. Based in Dijon, a city with a culture and history for churning out very decent electronica. In the nineties club l’An-fer was a pioneer for that culture, with Laurent Garnier as resident there for some years.
Cosmocities releases have included artists like Leif, Segue, Jitwam, Jaime Read, Inner Science and Inkswel, with a remix from broken beat legend Agent K Kaidi Tatham. There’s even a Delano Smith release in the pipeline.
Following on with this quality A&R run, Cosmocities presents the ‘It’s the Life EP’. It’s by Billy Lo, a trio of underground producers hailing from the motor city of Detroit, consisting of Bill Beaver, Darryl Tiggs and Darren Abrams.
As a vocalist, Beaver (aka Billy Love) has collaborated on Sound Signature, Still Music and Moodymann’s Mahogani Music. Darren Abrams composed the Detroit House classic ‘Loose Piano’ on ‘Detroit Beatdown Volume One’ on Third Ear Recordings. This crew have a deep and credible history.
The ‘It’s the Life EP’ contains a repress of a Detroit forgotten Classic originally released on Universal Frequency Modulations Recordings in 2002, currently changing hands on Discogs for a fair few quid. This time it gets repackaged with a remix from NDATL’s front man Kai Alce. The EP is completed with two additional originals. More
Cosmocities releases have included artists like Leif, Segue, Jitwam, Jaime Read, Inner Science and Inkswel, with a remix from broken beat legend Agent K Kaidi Tatham. There’s even a Delano Smith release in the pipeline.
Following on with this quality A&R run, Cosmocities presents the ‘It’s the Life EP’. It’s by Billy Lo, a trio of underground producers hailing from the motor city of Detroit, consisting of Bill Beaver, Darryl Tiggs and Darren Abrams.
As a vocalist, Beaver (aka Billy Love) has collaborated on Sound Signature, Still Music and Moodymann’s Mahogani Music. Darren Abrams composed the Detroit House classic ‘Loose Piano’ on ‘Detroit Beatdown Volume One’ on Third Ear Recordings. This crew have a deep and credible history.
The ‘It’s the Life EP’ contains a repress of a Detroit forgotten Classic originally released on Universal Frequency Modulations Recordings in 2002, currently changing hands on Discogs for a fair few quid. This time it gets repackaged with a remix from NDATL’s front man Kai Alce. The EP is completed with two additional originals. More
Customers who bought this also bought this
Label:Be With Records
Cat-No:bewith076LP
Release-Date:28.02.2020
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251648414209
in stock
Last in:01.03.2022
+ Show full info- Close
in stock
Last in:01.03.2022
Label:Be With Records
Cat-No:bewith076LP
Release-Date:28.02.2020
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251648414209
1
Victor Cavini - Pictures Of Japan (3:41)
2
Victor Cavini - Pictures Of Japan II (1:00)
3
Victor Cavini - Pictures Of Japan III (1:08)
4
Victor Cavini - Pictures Of Japan IV (2:28)
5
Victor Cavini - Pictures Of Japan V (1:52)
6
Victor Cavini - Pictures Of Japan VI (1:52)
7
Victor Cavini - Pictures Of Japan VII (2:59)
8
Victor Cavini - Pictures Of Japan VIII (1:33)
9
Victor Cavini - Pictures Of Japan IX (1:57)
10
Victor Cavini - Pictures Of Japan X (3:18)
11
Victor Cavini - Pictures Of Japan XI (1:50)
12
Victor Cavini - Pictures Of Japan XII (2:05)
13
Victor Cavini - Pictures Of Japan XIII (2:46)
14
Victor Cavini - Pictures Of Japan XIV (2:44)
Territories:
Worldwide no restrictions
Track List:
A1 : Pictures Of Japan (3:41)
A2 : Pictures Of Japan II (1:00)
A3 : Pictures Of Japan III (1:08)
A4 : Pictures Of Japan IV (2:28)
A5 : Pictures Of Japan V (1:52)
A6 : Pictures Of Japan VI (1:52)
A7 : Pictures Of Japan VII (2:59)
B1 : Pictures Of Japan VIII (1:33)
B2 : Pictures Of Japan IX (1:57)
B3 : Pictures Of Japan X (3:18)
B4 : Pictures Of Japan XI (1:50)
B5 : Pictures Of Japan XII (2:05)
B6 : Pictures Of Japan XIII (2:46)
B7 : Pictures Of Japan XIV (2:44)
Release Notes:
The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand Japan from Victor Cavini, originally released in 1983.
Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!
Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.
These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.
And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.
This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.
Recalling both Rino de Filippi’s Oriente Oggi and Giancarlo Barigozzi’s Oriente, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.
The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.
More
Worldwide no restrictions
Track List:
A1 : Pictures Of Japan (3:41)
A2 : Pictures Of Japan II (1:00)
A3 : Pictures Of Japan III (1:08)
A4 : Pictures Of Japan IV (2:28)
A5 : Pictures Of Japan V (1:52)
A6 : Pictures Of Japan VI (1:52)
A7 : Pictures Of Japan VII (2:59)
B1 : Pictures Of Japan VIII (1:33)
B2 : Pictures Of Japan IX (1:57)
B3 : Pictures Of Japan X (3:18)
B4 : Pictures Of Japan XI (1:50)
B5 : Pictures Of Japan XII (2:05)
B6 : Pictures Of Japan XIII (2:46)
B7 : Pictures Of Japan XIV (2:44)
Release Notes:
The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand Japan from Victor Cavini, originally released in 1983.
Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!
Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.
These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.
And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.
This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.
Recalling both Rino de Filippi’s Oriente Oggi and Giancarlo Barigozzi’s Oriente, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.
The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.
More
Label:InFiné
Cat-No:iF1048LP
Release-Date:18.08.2023
Configuration:LP Excl
Barcode:3700398719313
in stock
Last in:27.06.2023
+ Show full info- Close
in stock
Last in:27.06.2023
Label:InFiné
Cat-No:iF1048LP
Release-Date:18.08.2023
Configuration:LP Excl
Barcode:3700398719313
1
Deena Abdelwahed - 01- Saratan - 03:42
2
Deena Abdelwahed - 02- Ababab - 05:40
3
Deena Abdelwahed - 03- Tawa - 03:53
4
Deena Abdelwahed - 04- Fdhiha - 05:51
5
Deena Abdelwahed - 05- Ken Skett… - 05:12
6
Deena Abdelwahed - 06- Al Hobb Al Mouharreb - 05:37
7
Deena Abdelwahed - 07- 5/5 - 04:40
8
Deena Abdelwahed - 08- A Scream In The Consciousness - 07:01
9
Deena Abdelwahed - 09- Rabbouni - 02:45
2023 Re Issue
Territories : World excl. FR
TRACKLISTING LP
01- Saratan - 03:42
02- Ababab - 05:40
03- Tawa - 03:53
04- Fdhiha - 05:51
05- Ken Skett… - 05:12
06- Al Hobb Al Mouharreb - 05:37
07- 5/5 - 04:40
08- A Scream In The Consciousness - 07:01
09- Rabbouni - 02:45
Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: "Khonnar" will be released on November 16, 2018 by InFiné.
Pronounced "Ronnar" (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.
Throughout the 45 minutes of "Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.
About Deena Abdelwahed
A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective. Her hybridized DJ sets, on the outer reaches of sub-cultures, and especially the one she performed at Sonar 2017 (one of the edition's Top 10 according to the New York Times), propelled the young artist into the clubbing universe's most demanding spheres (Boiler Room, Concrete, Room for Resistance, Säule/Berghain…). As a producer, she was the creator of an acclaimed performance at the CTM Berlin Festival ("All Hail Mother Internet"). Her first EP "Klabb", released in early 2017 on InFiné, was met with critical acclaim from the blogosphere and electronic media. That same year, she collaborated on the tracks "Plunge" and "An Itch" from Fever Ray's second album.
Mask and photography by London based artist Judas Companion, whose work is about transformation of human identity. She makes masks and masked portraits to create different layers of the human being.
More
Territories : World excl. FR
TRACKLISTING LP
01- Saratan - 03:42
02- Ababab - 05:40
03- Tawa - 03:53
04- Fdhiha - 05:51
05- Ken Skett… - 05:12
06- Al Hobb Al Mouharreb - 05:37
07- 5/5 - 04:40
08- A Scream In The Consciousness - 07:01
09- Rabbouni - 02:45
Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: "Khonnar" will be released on November 16, 2018 by InFiné.
Pronounced "Ronnar" (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.
Throughout the 45 minutes of "Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.
About Deena Abdelwahed
A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective. Her hybridized DJ sets, on the outer reaches of sub-cultures, and especially the one she performed at Sonar 2017 (one of the edition's Top 10 according to the New York Times), propelled the young artist into the clubbing universe's most demanding spheres (Boiler Room, Concrete, Room for Resistance, Säule/Berghain…). As a producer, she was the creator of an acclaimed performance at the CTM Berlin Festival ("All Hail Mother Internet"). Her first EP "Klabb", released in early 2017 on InFiné, was met with critical acclaim from the blogosphere and electronic media. That same year, she collaborated on the tracks "Plunge" and "An Itch" from Fever Ray's second album.
Mask and photography by London based artist Judas Companion, whose work is about transformation of human identity. She makes masks and masked portraits to create different layers of the human being.
More
2LP
backorder
Label:Cease and Desist
Cat-No:C&D002
Release-Date:01.07.2022
Configuration:2LP
Barcode:
backorder
Last in:07.10.2024
+ Show full info- Close
backorder
Last in:07.10.2024
Label:Cease and Desist
Cat-No:C&D002
Release-Date:01.07.2022
Configuration:2LP
Barcode:
1
World Standard - - Fellini & Rota
2
Masumi Hara - - Your Dream
3
Normal Brain - - M.U.S.I.C
4
Hiroyuki Namba - - Who Done It? (Part 2)
5
Yasuaki Shimizu - - Crow
6
Hiroyuki Namba - - Tropical Exposition
7
Imitation - - Exotic Dance
8
Pecker - - Sha La La
9
EP-4 - - Db
10
Earthling - - You Go On Natural
11
Masumi Hara - - Camera
12
Geinoh Yamashirogumi - - Rinne Kohkyogaku Meikei
13
D-Day - - Ki·Ra·I
14
Ryuichi Sakamoto - - A Wongga Dance Song
Ever since he made his first trip to Japan to DJ, Optimo Music founder JD Twitch has been bewitched by Japanese music, and particularly the vibrant, imaginative, and often far-sighted sounds which emerged from the island nation during the 1980s. Now he’s put years of digging in Japanese record shops to good use on Polyphonic Cosmos, the latest release on his compilation-focused Cease & Desist imprint. Subtitled ‘A Beginners Guide to Japan In The ‘80s’, the collection offers a personal selection of Japanese gems recorded and released between 1981 and ’86 – a period when advances in recording and musical technology offered the nation’s artists and producers a whole new tool kit to employ. When combined with the unique musical culture of Japan, where local traditions are frequently fused with Western styles to create timeless, off-kilter aural fusions, this embrace of locally pioneered music technology had spectacular, often unusual results. Eight years in the making, Polyphonic Cosmos provides an endlessly entertaining musical snapshot of Japanese music of the early-to-mid ‘80s with all of the open-minded eclecticism and sonic twists that you would expect from the Glasgow-based DJ. Compare and contrast, for example, the gently breezy, morning-fresh folk-plus-electronics bliss of ‘???? Baranikyoku (Fellini&Rota)’ by World Standard – the most familiar alias of long-serving musician/producer Sohichiro Suzuki – and the hallucinatory, slow-motion tribal rhythms, post-punk rhythms and tape delay-laden electronics of Imitation’s ‘Exotic Dance’. Or, for that matter, the tipsy mid-‘80s electronic reggae of Pecker’s ‘Sha La La’, the grungy but melodic post-punk strut of ‘You Go On Natural’ by Earthling (a track Twitch accurately describes as “sheer unrelenting groove”), and the unearthly, swirling sonics, new age instrumentation and flotation tank vocals of prolific (and seemingly mysterious) act Geinoh Yamashirogumi’s ‘Rimme Kohkyogaku Meiki’. It’s a credit to JD Twitch’s curatorial skills that the quality never dips, and sonic surprises lurk around every corner. Consider for a moment the hard to describe, far-sighted audio immersion of D-Day’s ‘Ki-Ra’ – all languid post-pop guitar, enveloping chords, spoken word vocals, shuffling 808 beats and marimba melodies – and the two contributions from video games soundtrack specialist (and driving instrumental synth-pop specialist) Hiroyuki Namba. The collection naturally includes some selections that have long been favourites in Twitch’s DJ sets – see Masumi Hara’s ‘Your Dream’ – as well as a handful of tracks from artists who may be more recognisable to those with only rudimentary knowledge of Japanese musical culture. The great Yasuaki Shimizu, whose work as Mariah has become far better known in recent years thanks to reissues of some of his most magical albums, is represented via ‘The Crow’, a picturesque chunk of horizontal, hard-to-define jazz-not-jazz smokiness, while the collection fittingly concludes with a sublimely funky, oddball electronic workout from Yellow Magic Orchestra legend Ryuichi Sakamoto (the frankly incredible ‘Wongga Dance Song’).
More
2LP Excl
backorder
Label:Vde-Gallo
Cat-No:VDE30-1501
Release-Date:08.03.2019
Configuration:2LP Excl
Barcode:7619918150115
backorder
Last in:02.07.2020
+ Show full info- Close
backorder
Last in:02.07.2020
Label:Vde-Gallo
Cat-No:VDE30-1501
Release-Date:08.03.2019
Configuration:2LP Excl
Barcode:7619918150115
No Sales to Benelux, France, Japan, Hong-Kong/China/Taiwan
Special remarks : 2LP Gatefold 2LP Vinyl 180g + Booklet
Ambient/Traditional Flute Music from Japanese Shakuhachi Master Teruhisa Fukuda
The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a bevelled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm.
For this CD, 2LP Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of zenBuddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of zen.
Teruhisa Fukuda
Born in 1949, Teruhisa Fukuda is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.
Tracklist LP:
LP 1
Face A/Side A
1. Ajikan
2. Echigo-sanya
Face B/Side B
3. Kokû
LP 2
Face C/Side C
4. Reibo
5. Tamuke
Face D/Side D
6. Saji
7. Takiotoshi
Short Info:
- "Coup de coeur" of the Academie Charles Cros 2018
- "Selection 2018" of Le Monde
More
Special remarks : 2LP Gatefold 2LP Vinyl 180g + Booklet
Ambient/Traditional Flute Music from Japanese Shakuhachi Master Teruhisa Fukuda
The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a bevelled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm.
For this CD, 2LP Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of zenBuddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of zen.
Teruhisa Fukuda
Born in 1949, Teruhisa Fukuda is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.
Tracklist LP:
LP 1
Face A/Side A
1. Ajikan
2. Echigo-sanya
Face B/Side B
3. Kokû
LP 2
Face C/Side C
4. Reibo
5. Tamuke
Face D/Side D
6. Saji
7. Takiotoshi
Short Info:
- "Coup de coeur" of the Academie Charles Cros 2018
- "Selection 2018" of Le Monde
More
2LP Excl
in stock
Label:Cosmocities Records
Cat-No:CMSR011
Release-Date:28.07.2023
Configuration:2LP Excl
Barcode:3516628427510
in stock
Last in:13.09.2024
+ Show full info- Close
in stock
Last in:13.09.2024
Label:Cosmocities Records
Cat-No:CMSR011
Release-Date:28.07.2023
Configuration:2LP Excl
Barcode:3516628427510
1
Various Artists (Seiji Ono, Uyama Hiroto - A1 Seiji Ono ‘ Celebrate Your Life
2
Various Artists (Seiji Ono, Uyama Hiroto - A2 Uyama Hiroto ‘Compass’
3
Various Artists (Seiji Ono, Uyama Hiroto - A3 J.A.K.A.M ‘Pray’
4
Various Artists (Seiji Ono, Uyama Hiroto - B1 Yuu Udagawa ‘We Float’
5
Various Artists (Seiji Ono, Uyama Hiroto - B2 Jazztronik ‘ Neon Forest’ (vinyl only)
6
Various Artists (Seiji Ono, Uyama Hiroto - B3 BRISA ‘State of Mind’
7
Various Artists (Seiji Ono, Uyama Hiroto - C1 Ryoma Takemasa ‘Deepn’ (The Backwoods remix)
8
Various Artists (Seiji Ono, Uyama Hiroto - C2 The Backwoods ‘Cloud Nine’
9
Various Artists (Seiji Ono, Uyama Hiroto - D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental remix)
10
Various Artists (Seiji Ono, Uyama Hiroto - D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix)
Territory: WW -FR
Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.
This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.
Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.
Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.
A1 Seiji Ono ‘ Celebrate Your Life
A2 Uyama Hiroto ‘Compass’
A3 J.A.K.A.M ‘Pray’
B1 Yuu Udagawa ‘We Float’
B2 Jazztronik ‘ Neon Forest’ (vinyl only)
B3 BRISA ‘State of Mind’
C1 Ryoma Takemasa ‘Deepn’ (The Backwoods remix)
Remix: The Backwoods (DJ Kent of Force Of Nature)
C2 The Backwoods ‘Cloud Nine’
Written & Produced by The Backwoods
Guitar : LOADRUNNER
D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental remix)
D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix) More
Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.
This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.
Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.
Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.
A1 Seiji Ono ‘ Celebrate Your Life
A2 Uyama Hiroto ‘Compass’
A3 J.A.K.A.M ‘Pray’
B1 Yuu Udagawa ‘We Float’
B2 Jazztronik ‘ Neon Forest’ (vinyl only)
B3 BRISA ‘State of Mind’
C1 Ryoma Takemasa ‘Deepn’ (The Backwoods remix)
Remix: The Backwoods (DJ Kent of Force Of Nature)
C2 The Backwoods ‘Cloud Nine’
Written & Produced by The Backwoods
Guitar : LOADRUNNER
D1 909 State ‘RaTaTaTam’ (Hiroshi Watanabe Instrumental remix)
D2 Tomi Chair ‘Remorse’ (Satoshi Fumi Mix) More
Label:Time Capsule
Cat-No:tc007
Release-Date:10.07.2020
Configuration:LP
Barcode:
backorder
Last in:26.10.2021
+ Show full info- Close
backorder
Last in:26.10.2021
Label:Time Capsule
Cat-No:tc007
Release-Date:10.07.2020
Configuration:LP
Barcode:
Offering a unique window into modern Japanese music, Time Capsule's latest release presents a group of artists who refuse to be bound by genre - mixing jazz, dance, reggae, psych, afrobeat, and indigenous styles into distinctly tropical fusions
More
2LP
backorder
Label:World Famous
Cat-No:WF007JPVDLP
Release-Date:17.11.2023
Configuration:2LP
Barcode:
backorder
Last in:28.11.2023
+ Show full info- Close
backorder
Last in:28.11.2023
Label:World Famous
Cat-No:WF007JPVDLP
Release-Date:17.11.2023
Configuration:2LP
Barcode:
1
Haruomi Hosono - Ambient Meditation #3
2
Silent Poets - Meaning In The Tone (’95 Space & Oriental)
3
Mind Design - Sun
4
Quadra - Phantom
5
Yasuaki Shimizu - Tamare-Tamare
6
Ryuichi Sakamoto - Tibetan Dance (Version)
7
T.P.O. - Hiroshi’s Dub (Tokyo Club Mix)
8
Okihide - Biskatta
9
Mondo Grosso - Vibe PM (Jazzy Mixed Roots) (Remixed By Yoshihiro Okino)
10
Prism - Velvet Nymph
11
C.T. Scan - Cold Sleep (The Door Into Summer)
Tokyo DJ’s sonic memoir spanning two decades of life and music in Japan - Japan Vibrations Vol. 1 will transport listeners in time to energetic nights at Japan’s legendary club venues and delight with a spirited journey of musical discovery and reflection.
Dive into the exhilarating era of Japan’s electronic dance music scene from the mid ’80s to the mid ’90s with Japan Vibrations Vol. 1. The hand-picked collection by DJ and musical storyteller Alex from Tokyo pays homage to the trailblazers and innovators who shaped the landscape.
Set for release this autumn, the compilation serves as a time capsule recording a vibrant point in Japan’s modern music history. Likewise, a love letter from someone who lived it.
11 newly remastered tracks spanning ambient, downtempo, dub, world beats, deep house, new jazz, and techno. Together they showcase the creative ingenuity and energy of a paradisiac era marked by a symbiotic fusion of international sounds with distinctively Japanese influences. Experience the vibrations of pioneers Haruomi Hosono, Ryuichi Sakamoto, and Yasuaki Shimizu. Culture-shaping forces Hiroshi Fujiwara, Kan Takagi, Susumu Yokota, Silent Poets, Mondo Grosso and Kyoto Jazz Massive. And new- generation artists Jun CMJK Kitagawa (C.T. Scan), Mind Design, Okihide, and Hiroshi Watanabe. The evolution of a scene, a moment, presented with the progression of a DJ set.
Hi-fidelity remastering by sound engineer Isao Kumano (PHONON). License coordination by Ken Hidaka, album artwork by Takehiko Kitahara.
Photography by Meisa Fujishiro and Beezer, and from Alex and friends’ personal collections.
Pressed by Mother Tongue Records. Distribution by Rush Hour.
Track info:
1. Haruomi Hosono — Ambient Meditation #3
The compilation opens with an invitation to tea in the dream layer. The tranquil track, dedicated to new age legend Laraaji and ambient great Brian Eno, features Hosono on the Prophet 5 synthesizer and the American multi-instrumentalist Laraaji plucking a glittering zither. Hosono released it in 1993 as the closing track of his Medicine Compilation From The Quiet Lodge. True to its title, the album charts the early ‘90s contemplative turn of one of Japan’s most influential musical artists. Recorded in the tea-room modelled RACOON studio in Yutenji, Tokyo, the album weaves together house, techno, and ambient elements with Hosono’s signature eclectic-exotica touch. The result is a divine elixir, and this track is especially captivating.
2. Silent Poets — Meaning In The Tone (’95 Space & Oriental)
The bubbling dub is impossibly vibey on this remix of “Meaning In The Tone” by Japanese electronic duo (turned solo) project Silent Poets. The original track by Michiharu Shimoda and Takehiro Haruno appeared on their 1993 sophomore album, Potential Meeting. This ethereal, downtempo reworking came out in 1995 for the compilation album New Chapter for DJ/artist Nobukazu Takemura’s newly launched label idyllic records. Silent Poets went on to garner international acclaim for its catching sound palette—spanning dub, trip hop, acid jazz, and downtempo like this track—and holistic approach to art fusing music, design, and culture. Shimoda’s original music and brand Poet Meets Dubwise continues to capture the meaning in the tones.
3. Mind Design — Sun
Soft and resonant with a cinematic build up, “Sun” by techno unit Mind Design (Tomonori Sawada and Koji Sakurai) feels like daybreak at Mount Fuji. Sawada and Sakurai made the track (and all their music at the time) using a sequencer to run synths and rhythm machines, and a DAT recorder to capture everything in a single shot. In 1993, Mind Design signed to Transonic (predecessor of Trigger Label), Kazunao Nagata’s underground electronic music label, after the muiltitalented DJ, musician, mastering engineer, and producer saw the duo perform live at a Tokyo techno party. Mind Design’s first and only album View From The Edge followed in 1994, paralleling Sakurai and Sawada’s rising careers as sound composers and designers in the video game industry, where they remain active today.
4. Quadra — Phantom
A rare downtempo gem by Hiroshi Watanabe under his Quadra alias featured on his debut album Sketch From A Moment. With its gently swaying synths and confident percussive stride, “Phantom” is a total vibe. Watanabe, a prolific and versatile artist, is a man of many aliases (Quadra, Kaito, Hiroshi W, Tread [with Takehiko Kitahara], 32 project), label homes (Nite grooves, Kompakt, Third Ear Recordings, Ibadan, Transmat Records), and sound profiles (deep slow house, uptempo, melodic techno, to name a few). The mid ‘90s found Watanabe hard at it, studying composition at Berklee College of Music in Boston, spreading from New York the deep house gospel with EPs released on Japanese label Frogman, spinning hard house and techno at NYC clubs like the legendary “Save The Robots,” and more. “Phantom” captures the spaces between—a mid-album track with a subtle, unrushed flow. Nothing dramatic, everything chill and beautiful.
5. Yasuaki Shimizu — Tamare-Tamare
Few artists create a vibe as timeless, innovative, and totally fun as Yasuaki Shimizu. Singing and sax-ing (he does both on this track), connecting dots across the world, tinkering with scales and studio techniques—Yasuaki’s organic and highly experimental flickering about is an artform itself. Enter “Tamare Tamare,” an electro, world-fusion dance-floor killer featuring renowned Senegalese singer and musician Wasis Diop. Recorded in Paris’ ADS-Colour studio with Martin Meissonier, worldbeat and ethnic music producer extraordinaire (think Fela Kuti, King Sunny Ade, Salif Keita, and Manu Dibango) and released on Shimizu’s 1987 Subliminal, the track shines like the sun. “Tamare Tamare,” as the maestro himself says, is a potent spell in sound form.
6. Ryuichi Sakamoto — Tibetan Dance (Version)
A groovy collage of deep slaps, snappy beats, feathery strums, ethereal windings, rolling keys, and plenty of experimental tweaks, the track feels like a joyful gathering of friends. And it should—Sakamoto invited his YMO colleagues and collaborators Haruomi Hosono (bass), Yukihiro Takahashi (drums), Kenji Omura (electric guitar) and string instrument master Ayuo Takahashi on the Japanese zither instrument the koto into the studio to make “Tibetan Dance”. The revolutionary Fairlight CMI synthesizer joined the party, too, providing the perfect foil for an epically funky, buoyant tune. This slightly stripped down, club-oriented version first saw the light of day in 2015 with the Japan-only re-issue of Sakamoto’s 1984 Ongaku Zukan, remastered in high-resolution format (DSD) by Seigen Ono. Our “professor" Ryuichi Sakamoto, prodigious (and pioneering) musician and beautiful human, passed away in March 2023. His astonishing body of work - some 25 solo albums, 41 albums with YMO, 14 live albums, 19 collaboration albums, and 40 EPs and singles - will enliven and inspire for generations to come!
7. T.P.O. — Hiroshi’s Dub (Tokyo Club Mix)
Thunderclaps and a driving downpour of beats—we’re deep in the club now, Japan vibrations at max amplitude. This atmospheric club classic tells a story of scenes and genres—whole worlds—merging at the close of the ‘80s in Japan. An early release by the powerhouse hip-hop label and posse Major Force, the track is a remix twice over. It started with the uptempo “Punk Inc.” by Tiny Panx Organization” (T.P.O.), brainchild of Hiroshi Fujiwara, Kan Takagi, and K.U.D.O. Next came the dub take by Hiroshi, supreme music and culture tastemaker. And here we have the Paradise Garage-inspired deep-house reworking by Sapporo-hailing DJ Heyta. Got that? Now imagine taking it in at the tiny basement club Aoyama MIX during one of DJ Heyta’s wildly popular Wednesday nights back in the day. Lights out!
8. Okihide — Biskatta
Cycling through sugar cane fields in Okinawa, intense sun overhead and a glistening ocean stretching out into infinity. That’s a sweet memory Okihide Sawaki was recalling when he made this track in his Kyoto “Sleepy Room” home studio. Okihide, a sound otaku since childhood (proud owner of a Korg Mono/Poly at age 12!), caught the attention of Fukuoka’s top DJ and producer Ken Inaoka in 1994 when he was playing live under the moniker Tanzmuzik at Shibuya On Air in Tokyo. Inaoka signed the young artist, now going just by Okihide, to his just-launched techno label “Syzygy Records,” and in 1996 A boy in picca season came out. This smooth, uplifting, Detroit-inspired jam from his eclectic, “intelligent” debut album is full of feeling.
9. Mondo Grosso — Vibe PM (Jazzy Mixed Roots) (Remixed by Yoshihiro Okino)
Peppy, elegant, and massively jazzy bops from 1994 that feel so familiar and fresh. The Kyoto-based acid-jazz collective Mondo Grosso roared to life in the early 90s, led by the multitalented Shinichi Osawa. “Vibe.P.M” (Jazzy Mixed Roots) appeared on the compilation Kyoto Jazz Massive (For Life Records), the brainchild and handiwork of Shuya Okino who, along with his brother Yoshihiro, formed the eponymous musical project (Shuya had been managing Mondo Grosso while working at the Kyoto club “Container”). Yoshihiro’s remix presented here is a slice of Japanese crossover jazz that “makes me feel so alive,” just like American vocalist Brenda Kay Pierce beautifully sings on the track. Thirty years on, Kyoto Jazz Massive and Mondo Grosso, together and as individual artists, continue to evangelize good vibes and heady crossover dance music.
10. Prism — Velvet Nymph
A masterful straight-up deep-house track by one of the masters of Japanese electronic music, the late Susumu Yokota. Working under the pseudonym Prism, and fittingly so, Susumu refracted and refined the Detroit techno sounds he loved into Metronome Melody, released in 1995 on the newly formed Japanese label Sublime Records ran by Yamazaki Manabu. The track and album came on the heels of several pioneering moments for Yokota and, by extension, the Japanese electronic music scene. First, he created a storm in December 1993 performing live at club Yellow as the opening act for Underground Resistance (their first appearance in Japan!). Then, in June 1994, Yokota rocked his unique acid-techno sound at Berlin’s Love Parade to huge fanfare (the first Japanese performer at the legendary technoparade!). The dearly missed Susumu Yokota left us with an amazing, eclectic body of work—some 70 albums and singles over 2 decades.
11. C.T. Scan — Cold Sleep (The Door Into Summer)
The compilation closes with an epic techno gem that spins the story of an era: Frogman Record’s 15-year history as a key incubator of Japanese techno music. Among those discovering techno music in the early ‘90s in Japan was a crew of club-going music writers and industry workers that included Kengo Watanabe, Tsutomu Noda, Dai Sato, and Masakazu Hiroishi who would all in different ways influence and innovate the whole scene. Watanabe and Noda launched the groundbreaking electronic music magazine ele-king. Moved by the Berlin techno scene and spurred on by German-Japanese techno ambassador DJ Toby Izui (aka Tobynation), Watanabe and Dai created the techno label Frogman. They tapped C.T. Scan (better known as synthpop artist and producer CMJK of J-pop fame) for the label’s first and final releases. This version of “Cold Sleep (The Door Into Summer)” appeared on Frogman’s 2008 entering-into-hibernation compilation, Fine – The Best of Frogman. Inspired by Robert A. Heinlein’s sci-fi tale about traveling back in time to find oneself, the track is reflective, floating, and gently futuristic. Looking back to create the future, the highest Japan Vibration. More
Dive into the exhilarating era of Japan’s electronic dance music scene from the mid ’80s to the mid ’90s with Japan Vibrations Vol. 1. The hand-picked collection by DJ and musical storyteller Alex from Tokyo pays homage to the trailblazers and innovators who shaped the landscape.
Set for release this autumn, the compilation serves as a time capsule recording a vibrant point in Japan’s modern music history. Likewise, a love letter from someone who lived it.
11 newly remastered tracks spanning ambient, downtempo, dub, world beats, deep house, new jazz, and techno. Together they showcase the creative ingenuity and energy of a paradisiac era marked by a symbiotic fusion of international sounds with distinctively Japanese influences. Experience the vibrations of pioneers Haruomi Hosono, Ryuichi Sakamoto, and Yasuaki Shimizu. Culture-shaping forces Hiroshi Fujiwara, Kan Takagi, Susumu Yokota, Silent Poets, Mondo Grosso and Kyoto Jazz Massive. And new- generation artists Jun CMJK Kitagawa (C.T. Scan), Mind Design, Okihide, and Hiroshi Watanabe. The evolution of a scene, a moment, presented with the progression of a DJ set.
Hi-fidelity remastering by sound engineer Isao Kumano (PHONON). License coordination by Ken Hidaka, album artwork by Takehiko Kitahara.
Photography by Meisa Fujishiro and Beezer, and from Alex and friends’ personal collections.
Pressed by Mother Tongue Records. Distribution by Rush Hour.
Track info:
1. Haruomi Hosono — Ambient Meditation #3
The compilation opens with an invitation to tea in the dream layer. The tranquil track, dedicated to new age legend Laraaji and ambient great Brian Eno, features Hosono on the Prophet 5 synthesizer and the American multi-instrumentalist Laraaji plucking a glittering zither. Hosono released it in 1993 as the closing track of his Medicine Compilation From The Quiet Lodge. True to its title, the album charts the early ‘90s contemplative turn of one of Japan’s most influential musical artists. Recorded in the tea-room modelled RACOON studio in Yutenji, Tokyo, the album weaves together house, techno, and ambient elements with Hosono’s signature eclectic-exotica touch. The result is a divine elixir, and this track is especially captivating.
2. Silent Poets — Meaning In The Tone (’95 Space & Oriental)
The bubbling dub is impossibly vibey on this remix of “Meaning In The Tone” by Japanese electronic duo (turned solo) project Silent Poets. The original track by Michiharu Shimoda and Takehiro Haruno appeared on their 1993 sophomore album, Potential Meeting. This ethereal, downtempo reworking came out in 1995 for the compilation album New Chapter for DJ/artist Nobukazu Takemura’s newly launched label idyllic records. Silent Poets went on to garner international acclaim for its catching sound palette—spanning dub, trip hop, acid jazz, and downtempo like this track—and holistic approach to art fusing music, design, and culture. Shimoda’s original music and brand Poet Meets Dubwise continues to capture the meaning in the tones.
3. Mind Design — Sun
Soft and resonant with a cinematic build up, “Sun” by techno unit Mind Design (Tomonori Sawada and Koji Sakurai) feels like daybreak at Mount Fuji. Sawada and Sakurai made the track (and all their music at the time) using a sequencer to run synths and rhythm machines, and a DAT recorder to capture everything in a single shot. In 1993, Mind Design signed to Transonic (predecessor of Trigger Label), Kazunao Nagata’s underground electronic music label, after the muiltitalented DJ, musician, mastering engineer, and producer saw the duo perform live at a Tokyo techno party. Mind Design’s first and only album View From The Edge followed in 1994, paralleling Sakurai and Sawada’s rising careers as sound composers and designers in the video game industry, where they remain active today.
4. Quadra — Phantom
A rare downtempo gem by Hiroshi Watanabe under his Quadra alias featured on his debut album Sketch From A Moment. With its gently swaying synths and confident percussive stride, “Phantom” is a total vibe. Watanabe, a prolific and versatile artist, is a man of many aliases (Quadra, Kaito, Hiroshi W, Tread [with Takehiko Kitahara], 32 project), label homes (Nite grooves, Kompakt, Third Ear Recordings, Ibadan, Transmat Records), and sound profiles (deep slow house, uptempo, melodic techno, to name a few). The mid ‘90s found Watanabe hard at it, studying composition at Berklee College of Music in Boston, spreading from New York the deep house gospel with EPs released on Japanese label Frogman, spinning hard house and techno at NYC clubs like the legendary “Save The Robots,” and more. “Phantom” captures the spaces between—a mid-album track with a subtle, unrushed flow. Nothing dramatic, everything chill and beautiful.
5. Yasuaki Shimizu — Tamare-Tamare
Few artists create a vibe as timeless, innovative, and totally fun as Yasuaki Shimizu. Singing and sax-ing (he does both on this track), connecting dots across the world, tinkering with scales and studio techniques—Yasuaki’s organic and highly experimental flickering about is an artform itself. Enter “Tamare Tamare,” an electro, world-fusion dance-floor killer featuring renowned Senegalese singer and musician Wasis Diop. Recorded in Paris’ ADS-Colour studio with Martin Meissonier, worldbeat and ethnic music producer extraordinaire (think Fela Kuti, King Sunny Ade, Salif Keita, and Manu Dibango) and released on Shimizu’s 1987 Subliminal, the track shines like the sun. “Tamare Tamare,” as the maestro himself says, is a potent spell in sound form.
6. Ryuichi Sakamoto — Tibetan Dance (Version)
A groovy collage of deep slaps, snappy beats, feathery strums, ethereal windings, rolling keys, and plenty of experimental tweaks, the track feels like a joyful gathering of friends. And it should—Sakamoto invited his YMO colleagues and collaborators Haruomi Hosono (bass), Yukihiro Takahashi (drums), Kenji Omura (electric guitar) and string instrument master Ayuo Takahashi on the Japanese zither instrument the koto into the studio to make “Tibetan Dance”. The revolutionary Fairlight CMI synthesizer joined the party, too, providing the perfect foil for an epically funky, buoyant tune. This slightly stripped down, club-oriented version first saw the light of day in 2015 with the Japan-only re-issue of Sakamoto’s 1984 Ongaku Zukan, remastered in high-resolution format (DSD) by Seigen Ono. Our “professor" Ryuichi Sakamoto, prodigious (and pioneering) musician and beautiful human, passed away in March 2023. His astonishing body of work - some 25 solo albums, 41 albums with YMO, 14 live albums, 19 collaboration albums, and 40 EPs and singles - will enliven and inspire for generations to come!
7. T.P.O. — Hiroshi’s Dub (Tokyo Club Mix)
Thunderclaps and a driving downpour of beats—we’re deep in the club now, Japan vibrations at max amplitude. This atmospheric club classic tells a story of scenes and genres—whole worlds—merging at the close of the ‘80s in Japan. An early release by the powerhouse hip-hop label and posse Major Force, the track is a remix twice over. It started with the uptempo “Punk Inc.” by Tiny Panx Organization” (T.P.O.), brainchild of Hiroshi Fujiwara, Kan Takagi, and K.U.D.O. Next came the dub take by Hiroshi, supreme music and culture tastemaker. And here we have the Paradise Garage-inspired deep-house reworking by Sapporo-hailing DJ Heyta. Got that? Now imagine taking it in at the tiny basement club Aoyama MIX during one of DJ Heyta’s wildly popular Wednesday nights back in the day. Lights out!
8. Okihide — Biskatta
Cycling through sugar cane fields in Okinawa, intense sun overhead and a glistening ocean stretching out into infinity. That’s a sweet memory Okihide Sawaki was recalling when he made this track in his Kyoto “Sleepy Room” home studio. Okihide, a sound otaku since childhood (proud owner of a Korg Mono/Poly at age 12!), caught the attention of Fukuoka’s top DJ and producer Ken Inaoka in 1994 when he was playing live under the moniker Tanzmuzik at Shibuya On Air in Tokyo. Inaoka signed the young artist, now going just by Okihide, to his just-launched techno label “Syzygy Records,” and in 1996 A boy in picca season came out. This smooth, uplifting, Detroit-inspired jam from his eclectic, “intelligent” debut album is full of feeling.
9. Mondo Grosso — Vibe PM (Jazzy Mixed Roots) (Remixed by Yoshihiro Okino)
Peppy, elegant, and massively jazzy bops from 1994 that feel so familiar and fresh. The Kyoto-based acid-jazz collective Mondo Grosso roared to life in the early 90s, led by the multitalented Shinichi Osawa. “Vibe.P.M” (Jazzy Mixed Roots) appeared on the compilation Kyoto Jazz Massive (For Life Records), the brainchild and handiwork of Shuya Okino who, along with his brother Yoshihiro, formed the eponymous musical project (Shuya had been managing Mondo Grosso while working at the Kyoto club “Container”). Yoshihiro’s remix presented here is a slice of Japanese crossover jazz that “makes me feel so alive,” just like American vocalist Brenda Kay Pierce beautifully sings on the track. Thirty years on, Kyoto Jazz Massive and Mondo Grosso, together and as individual artists, continue to evangelize good vibes and heady crossover dance music.
10. Prism — Velvet Nymph
A masterful straight-up deep-house track by one of the masters of Japanese electronic music, the late Susumu Yokota. Working under the pseudonym Prism, and fittingly so, Susumu refracted and refined the Detroit techno sounds he loved into Metronome Melody, released in 1995 on the newly formed Japanese label Sublime Records ran by Yamazaki Manabu. The track and album came on the heels of several pioneering moments for Yokota and, by extension, the Japanese electronic music scene. First, he created a storm in December 1993 performing live at club Yellow as the opening act for Underground Resistance (their first appearance in Japan!). Then, in June 1994, Yokota rocked his unique acid-techno sound at Berlin’s Love Parade to huge fanfare (the first Japanese performer at the legendary technoparade!). The dearly missed Susumu Yokota left us with an amazing, eclectic body of work—some 70 albums and singles over 2 decades.
11. C.T. Scan — Cold Sleep (The Door Into Summer)
The compilation closes with an epic techno gem that spins the story of an era: Frogman Record’s 15-year history as a key incubator of Japanese techno music. Among those discovering techno music in the early ‘90s in Japan was a crew of club-going music writers and industry workers that included Kengo Watanabe, Tsutomu Noda, Dai Sato, and Masakazu Hiroishi who would all in different ways influence and innovate the whole scene. Watanabe and Noda launched the groundbreaking electronic music magazine ele-king. Moved by the Berlin techno scene and spurred on by German-Japanese techno ambassador DJ Toby Izui (aka Tobynation), Watanabe and Dai created the techno label Frogman. They tapped C.T. Scan (better known as synthpop artist and producer CMJK of J-pop fame) for the label’s first and final releases. This version of “Cold Sleep (The Door Into Summer)” appeared on Frogman’s 2008 entering-into-hibernation compilation, Fine – The Best of Frogman. Inspired by Robert A. Heinlein’s sci-fi tale about traveling back in time to find oneself, the track is reflective, floating, and gently futuristic. Looking back to create the future, the highest Japan Vibration. More
3LP Excl
in stock
Cat-No:MMDS24004LP
Release-Date:06.09.2024
Genre:Acid House
Configuration:3LP Excl
Barcode:4251804181709
in stock
Last in:29.10.2024
+ Show full info- Close
in stock
Last in:29.10.2024
Cat-No:MMDS24004LP
Release-Date:06.09.2024
Genre:Acid House
Configuration:3LP Excl
Barcode:4251804181709
1
Susumu Yokota - A1. Zenmai (2024 Remaster)
2
Susumu Yokota - A2. Kinoko (2024 Remaster)
3
Susumu Yokota - A3. Meijijingu (2024 Remaster)
4
Susumu Yokota - B1. Saboten (2024 Remaster)
5
Susumu Yokota - B2. Oh My God (2024 Remaster)
6
Susumu Yokota - B3. Tambarin (2024 Remaster)
7
Susumu Yokota - C1. Oponchi (2024 Remaster)
8
Susumu Yokota - C2. Ao-oni (2024 Remaster)
9
Susumu Yokota - C3.3. Akafuji (2024 Remaster)
10
Susumu Yokota - D1. Alphaville (2024 Remaster)
11
Susumu Yokota - D2. Tanuki (2024 Remaster)
12
Susumu Yokota - E1. Floating G (2024 Remaster)**
13
Susumu Yokota - E2. H (2024 Remaster)**
14
Susumu Yokota - E3. B (2024 Remaster)**
15
Susumu Yokota - F1. F (2024 Remaster)**
16
Susumu Yokota - F2. 2 H (2024 Remaster)**
Triple gatefold heavyweight 180g vinyl, Remastered original LP , Incl. 5 unreleased tracks released for the 1st time on vinyl`see tracklist below for details!
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
More
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
More
LP Excl
backorder
Label:We Release Jazz
Cat-No:WRJ001-REG
Release-Date:19.10.2018
Genre:Electronic
Configuration:LP Excl
Barcode:4260544825095
backorder
Last in:11.09.2024
+ Show full info- Close
backorder
Last in:11.09.2024
Label:We Release Jazz
Cat-No:WRJ001-REG
Release-Date:19.10.2018
Genre:Electronic
Configuration:LP Excl
Barcode:4260544825095
1
Ryo Fukui - It Could Happen To You
2
Ryo Fukui - I Want To Talk About You
3
Ryo Fukui - Early Summer
4
Ryo Fukui - Willow Weep For Me
5
Ryo Fukui - Autumn Leaves
6
Ryo Fukui - Scenery
The Standard Edition - Territory - NO Sales to Japan
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery
More
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery
More
Label:WRWTFWW
Cat-No:wrwtfww019/pf06
Release-Date:17.03.2017
Configuration:LP Excl
Barcode:7640153367198
in stock
Last in:18.10.2024
+ Show full info- Close
in stock
Last in:18.10.2024
Label:WRWTFWW
Cat-No:wrwtfww019/pf06
Release-Date:17.03.2017
Configuration:LP Excl
Barcode:7640153367198
1
Midori Takada - Mr. Henri Rousseau's Dream
2
Midori Takada - Crossing
3
Midori Takada - Trompe-l'œil
4
Midori Takada - Catastrophe ?
- Beautiful 1 LP 33rpm Cut Re-Edition
- 33 rpm LP mastercut by Emil Berliner
*** TERRITORY RESTRICTION - NO SALES TO JAPAN ***
Tracklisting:
1. Mr. Henri Rousseau's Dream
2. Crossing
3. Trompe-l'œil
4. Catastrophe E
Info
WRWTFWW & Palto Flats Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.
Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.
The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.
Bio
Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. She will tour Europe this year.
Midori released two solo albums: "Through The Looking Glass" and "Tree Of Life" and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments.
She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad.
In the 1980s Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh.
In the past 20 years, Midori Takada spent more time in theaters than in concert halls - composing and performing live music for theater. She regularly works with Tadashi Suzuki and his Suzuki Company of Toga on their adaptations of "Electra" and "King Lear".
Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality.
Every live performance Midori Takada gives is unique and prepared especially for that occasion.
More
- 33 rpm LP mastercut by Emil Berliner
*** TERRITORY RESTRICTION - NO SALES TO JAPAN ***
Tracklisting:
1. Mr. Henri Rousseau's Dream
2. Crossing
3. Trompe-l'œil
4. Catastrophe E
Info
WRWTFWW & Palto Flats Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.
Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.
The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.
Bio
Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. She will tour Europe this year.
Midori released two solo albums: "Through The Looking Glass" and "Tree Of Life" and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments.
She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad.
In the 1980s Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh.
In the past 20 years, Midori Takada spent more time in theaters than in concert halls - composing and performing live music for theater. She regularly works with Tadashi Suzuki and his Suzuki Company of Toga on their adaptations of "Electra" and "King Lear".
Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality.
Every live performance Midori Takada gives is unique and prepared especially for that occasion.
More
3LP
backorder
Label:Lapsus
Cat-No:LPS-PS13
Release-Date:14.07.2023
Genre:Electronic
Configuration:3LP
Barcode:4062548058758
backorder
Last in:17.08.2023
+ Show full info- Close
backorder
Last in:17.08.2023
Label:Lapsus
Cat-No:LPS-PS13
Release-Date:14.07.2023
Genre:Electronic
Configuration:3LP
Barcode:4062548058758
1
Swayzak - Speedboat (2023 Edit)
2
Swayzak - Low Res Skyline (2023 Edit)
3
Swayzak - Blocks (2023 Edit)
4
Swayzak - Burma Heights (2023 Edit)
5
Swayzak - Skin Diving (2023 Edit)
6
Swayzak - Fukumachi (2023 Edit)
7
Swayzak - l.o.9.v.e. (2023 Edit)
8
Swayzak - Cone (Mix 2)
9
Swayzak - Bueno (2023 Edit)
10
Swayzak - French Dub (2023 Edit)
11
Swayzak - Evild Dub (2023 Edit)
12
Swayzak - Blufarm (Abbey Road 2023 Edit)
13
Swayzak - Unknown Mind
14
Swayzak - Bueno (Ambient Mix)
15
Swayzak - Speedboat (96 Demo)
16
Swayzak - l.o.9.v.e. (Boat Mix, 2023 Edit)
17
Swayzak - Redfarm (Abbey Road 2023 Edit)
Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made.
But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.
The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.
That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.
On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then,
after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.
A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.
Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after
its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working
off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.
The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.
A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.
Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars. More
But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.
The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.
That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.
On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then,
after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.
A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.
Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after
its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working
off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.
The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.
A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.
Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars. More
12" Excl
backorder
Label:Be With Records
Cat-No:bewith023twelve
Release-Date:30.08.2024
Configuration:12" Excl
Barcode:4251804181266
backorder
Last in:05.07.2024
+ Show full info- Close
backorder
Last in:05.07.2024
Label:Be With Records
Cat-No:bewith023twelve
Release-Date:30.08.2024
Configuration:12" Excl
Barcode:4251804181266
1
Arthur Russell - IN THE LIGHT OF THE MIRACLE
2
Arthur Russell - IN THE LIGHT OF THE MIRACLE - PONYTAIL CLUB MIX (PARTS 1 & 2)
Format Notes: 2024 first-time 12" single release of previously white label only tracks, 140g vinyl, mastered by Simon Francis
Track List:
A1 IN THE LIGHT OF THE MIRACLE (13:26 min)
B1 IN THE LIGHT OF THE MIRACLE - PONYTAIL CLUB MIX (PARTS 1 & 2) (14:10 min)
Release Notes:
FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.
These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.
The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".
Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.
These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.
The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.
These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.
Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.
More
Track List:
A1 IN THE LIGHT OF THE MIRACLE (13:26 min)
B1 IN THE LIGHT OF THE MIRACLE - PONYTAIL CLUB MIX (PARTS 1 & 2) (14:10 min)
Release Notes:
FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.
These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.
The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".
Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.
These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.
The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.
These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.
Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.
More