1
Monolake - Mobile
2
Monolake - Ice
3
Monolake - Frost
4
Monolake - Static
5
Monolake - Zero Gravity
6
Monolake - Fragile
7
Monolake - Aviation
8
Monolake - Nucleus
Twenty-four years on from its original release, Monolake's seminal Gravity receives its first vinyl pressing courtesy of Field Records. Occupying its own space at the intersection of dub techno, minimal and electronica, it's an ageless album of staggering vision and technological prowess which has matured into an all-time pillar of electronic music. This edition, remastered by the album's key architect Robert Henke, follows on from the recent reissue of Monolake's first album, Hongkong.
Arriving just after the turn of the millennium, Gravity marked a turning point for Monolake. With co-founder Gerhard Behles moving on to other ventures, Henke produced most of the album solo and journeyed deeper into spatial exploration and the dub-informed principles that underpinned their project from the start. Minimalism and negative space run through the whole record, from the keen slithers of percussion pinging through lattices of delay to the hypnotising pulse of subliminal basslines anchoring the tracks. Gravity is a record which hangs on techno's linearity as a form of meditation, but the crystalline clarity of the mix allows every micro-fluctuation in rhythm and sound to cut through.
Compared to a lot of overly sterile digital music released in the early 2000s, Gravity endures thanks to the warmth and texture Henke elicited from his processes — even when leaning into none-more-digital effects like bit reduction. He described the ninth-floor view over Berlin from his studio at night as a key influence on the sound of the record, but the space Gravity shapes out feels thrillingly implacable. Unbound by the standard conventions of time and space, Gravity stands proud as a true original and finally gets the ceremonious vinyl pressing it so richly deserves.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Arriving just after the turn of the millennium, Gravity marked a turning point for Monolake. With co-founder Gerhard Behles moving on to other ventures, Henke produced most of the album solo and journeyed deeper into spatial exploration and the dub-informed principles that underpinned their project from the start. Minimalism and negative space run through the whole record, from the keen slithers of percussion pinging through lattices of delay to the hypnotising pulse of subliminal basslines anchoring the tracks. Gravity is a record which hangs on techno's linearity as a form of meditation, but the crystalline clarity of the mix allows every micro-fluctuation in rhythm and sound to cut through.
Compared to a lot of overly sterile digital music released in the early 2000s, Gravity endures thanks to the warmth and texture Henke elicited from his processes — even when leaning into none-more-digital effects like bit reduction. He described the ninth-floor view over Berlin from his studio at night as a key influence on the sound of the record, but the space Gravity shapes out feels thrillingly implacable. Unbound by the standard conventions of time and space, Gravity stands proud as a true original and finally gets the ceremonious vinyl pressing it so richly deserves.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Monolake
1
Monolake - Cyan
2
Monolake - Index
3
Monolake - Lantau
4
Monolake - Macau
5
Monolake - Arte
6
Monolake - Occam
7
Monolake - Mass Transit Railway
Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
monolake - Arit
2
monolake - Inwards
3
monolake - Crash
4
monolake - Logc
5
monolake - Geometry Engine
6
monolake - Dystopia
7
monolake - Pio
8
monolake - Error
9
monolake - Unit
10
monolake - Nmos
11
monolake - Glypnir
* Robert Henke is back with a new album under his Monolake alias. Instead of simply being a collection of tracks, it has a deeper story. Here it comes:
* In the late 1970s, a series of significant enhancements in technology further accelerated the evolution of the digital age. Graphical interfaces, networked computers and new software tools allowed to design and manufacture integrated circuits with tens of thousands of functions on one chip; a process called Very Large Scale Integration - VLSI. The structures became so complex, that for the first time computers were needed to build the next generation of even faster computers.
* As a result of that evolution, the heart of a computer could now be put onto a single chip - the microprocessor was born. It made possible the move from large mainframe systems to personal computers, allowed teenagers to build systems in garages and become billionaires, gave birth to the game industry, and also enabled the creation of completely new electronic musical instruments: digital sound generators, drum machines, samplers and effects.
* Most of the signature sounds on the VLSI album were programmed using early digital synthesisers; machines built by individuals or small teams of adventurous engineers and music enthusiasts during the 1980s, stretching the imagination of what could be done with a handful of chips and a good idea.
* The VLSI album is sonic archeology. Tiny artefacts of the instruments used have been carefully excavated and brought to new light. What was once perceived as limitation and dirt can now be experienced as character, colour and patina. The interaction with these machines guided a minimalist and structural approach to sound and rhythm, expanded and re-contextualised into a futuristic soundtrack, utilising the recording technology of 2016. The result is inspired by early techno, UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a variety of amazing academic computer music.
* The concept for VLSI emerged during an artist residency at the Center for Research in Music and Acoustics (CCRMA) at Stanford University in 2013, which helped me understand not only some deeper technical aspects of my trade, but also the social and cultural peculiarities of Silicon Valley.
* Thus, the VLSI album is also a reflection of very present social, economic and political topics driven by high tech companies more powerful than governments. The dystopian undercurrent in the music is deliberate.
* Some of the 'historic' instruments used:
* Alesis Quadraverb Dynacord DRP-20 Emu Systems SP-12 Turbo Ensoniq ASR-10R Eventide Eclipse H3000 Lexicon PCM-80 480L Korg DDD-1 Linn Linn Drum NED Synclavier II Oberheim Xpander PPG Wave2.3 Quantec Yardstick SCI Prophet VS Yamaha DX27 DX7
* VLSI marks the endpoint of a series of six EPs, released between 2014 - 2016. The source material from these EPs has been re-arranged and augmented for the album, with additions of previously unreleased pieces.
Track Listing:
01 Arit * 02 Inwards 03 Crash 04 LogC * 05 Geometry Engine 06 Dystopia 07 Pio * 08 Error 07 Unit * 10 Nmos * 11 Glypnir
Total running time: 70:00
* previously unreleased new works.
Produced by Robert Henke 2014-2016. Pio co-produced by Electric Indigo. Mixed by Mark Ernestus and Robert Henke. Design by Snc. Graphics adapted from 'Introduction to VLSI Systems' by Mead Carver and Lynn Convey, 1979.
Monolake will perform the material live as a surround show. The usual suspects will write reviews.
Album website link: http://www.roberthenke.com/releases/ml-032.html
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
* In the late 1970s, a series of significant enhancements in technology further accelerated the evolution of the digital age. Graphical interfaces, networked computers and new software tools allowed to design and manufacture integrated circuits with tens of thousands of functions on one chip; a process called Very Large Scale Integration - VLSI. The structures became so complex, that for the first time computers were needed to build the next generation of even faster computers.
* As a result of that evolution, the heart of a computer could now be put onto a single chip - the microprocessor was born. It made possible the move from large mainframe systems to personal computers, allowed teenagers to build systems in garages and become billionaires, gave birth to the game industry, and also enabled the creation of completely new electronic musical instruments: digital sound generators, drum machines, samplers and effects.
* Most of the signature sounds on the VLSI album were programmed using early digital synthesisers; machines built by individuals or small teams of adventurous engineers and music enthusiasts during the 1980s, stretching the imagination of what could be done with a handful of chips and a good idea.
* The VLSI album is sonic archeology. Tiny artefacts of the instruments used have been carefully excavated and brought to new light. What was once perceived as limitation and dirt can now be experienced as character, colour and patina. The interaction with these machines guided a minimalist and structural approach to sound and rhythm, expanded and re-contextualised into a futuristic soundtrack, utilising the recording technology of 2016. The result is inspired by early techno, UK breakbeat and dubstep, african dance rhythms, future glitch, ambient and a variety of amazing academic computer music.
* The concept for VLSI emerged during an artist residency at the Center for Research in Music and Acoustics (CCRMA) at Stanford University in 2013, which helped me understand not only some deeper technical aspects of my trade, but also the social and cultural peculiarities of Silicon Valley.
* Thus, the VLSI album is also a reflection of very present social, economic and political topics driven by high tech companies more powerful than governments. The dystopian undercurrent in the music is deliberate.
* Some of the 'historic' instruments used:
* Alesis Quadraverb Dynacord DRP-20 Emu Systems SP-12 Turbo Ensoniq ASR-10R Eventide Eclipse H3000 Lexicon PCM-80 480L Korg DDD-1 Linn Linn Drum NED Synclavier II Oberheim Xpander PPG Wave2.3 Quantec Yardstick SCI Prophet VS Yamaha DX27 DX7
* VLSI marks the endpoint of a series of six EPs, released between 2014 - 2016. The source material from these EPs has been re-arranged and augmented for the album, with additions of previously unreleased pieces.
Track Listing:
01 Arit * 02 Inwards 03 Crash 04 LogC * 05 Geometry Engine 06 Dystopia 07 Pio * 08 Error 07 Unit * 10 Nmos * 11 Glypnir
Total running time: 70:00
* previously unreleased new works.
Produced by Robert Henke 2014-2016. Pio co-produced by Electric Indigo. Mixed by Mark Ernestus and Robert Henke. Design by Snc. Graphics adapted from 'Introduction to VLSI Systems' by Mead Carver and Lynn Convey, 1979.
Monolake will perform the material live as a surround show. The usual suspects will write reviews.
Album website link: http://www.roberthenke.com/releases/ml-032.html
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Field Records
1
Celer - Slightly Apart, Almost Touching (Remastered)
2
Celer - Distressing Sensations (Remastered)
3
Celer - Ultra-terrestrial Yearning (Remastered)
4
Celer - Absolute Receptivity Of All The Nerves (Remastered)
Field Records takes a look into the vast catalogue of Celer, the prolific ambient project from Tokyo-based artist Will Long. Perfectly Beneath Us was originally released in 2012 as a CD-R on Still*Sleep, and now it’s being presented as a vinyl release remastered by Stephan Mathieu.
Celer began in California as a collaborative project in 2005 between Long and Danielle Baquet, resulting in reams of self-released work up until Baquet passed away in 2009. Long opted to keep their project going, and Celer has continued to grow as an expansive exploration of purest ambient. Meanwhile Long’s solo work under his own name has been equally accomplished, with scores of releases on DJ Sprinkles’ Comatonse Recordings and respected Norwegian leftfield label Smalltown Supersound.
With such a sizable library of sounds to explore, the reissue of Perfectly Beneath Us serves as an ideal entry point into the Celer catalogue, presenting four pieces of sustained, glacial movement wreaking profound emotional impact from the subtlest methods. Long exercises the utmost patience from the shorter ‘Distressing Sensations’ and ‘Ultra-terrestrial Yearning’ through to the 10-minutes-plus stretches of ‘Slightly Apart, Almost Touching’ and ‘Absolute Receptivity Of All The Senses’.
It’s truly immersive, captivating drone music that rewards the attentive listener as much as it soothes the casual drifter. Originally limited to just 100 copies in 2012, it’s now beautifully framed on a carefully considered reissue which adds to Field’s own repertoire of evocative, subliminal electronics.
About Field Records Field Records has been publishing versatile electronic music from a string of high-principled artists since 2008. Firmly rooted in minimalism and modesty, the label gained a reputation for its versatile and atmospheric output - which includes works from the likes of Artefakt, ENA, Imaginary Softwoods, Monolake and SUGAI KEN.
Limited to 300 copies.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Celer began in California as a collaborative project in 2005 between Long and Danielle Baquet, resulting in reams of self-released work up until Baquet passed away in 2009. Long opted to keep their project going, and Celer has continued to grow as an expansive exploration of purest ambient. Meanwhile Long’s solo work under his own name has been equally accomplished, with scores of releases on DJ Sprinkles’ Comatonse Recordings and respected Norwegian leftfield label Smalltown Supersound.
With such a sizable library of sounds to explore, the reissue of Perfectly Beneath Us serves as an ideal entry point into the Celer catalogue, presenting four pieces of sustained, glacial movement wreaking profound emotional impact from the subtlest methods. Long exercises the utmost patience from the shorter ‘Distressing Sensations’ and ‘Ultra-terrestrial Yearning’ through to the 10-minutes-plus stretches of ‘Slightly Apart, Almost Touching’ and ‘Absolute Receptivity Of All The Senses’.
It’s truly immersive, captivating drone music that rewards the attentive listener as much as it soothes the casual drifter. Originally limited to just 100 copies in 2012, it’s now beautifully framed on a carefully considered reissue which adds to Field’s own repertoire of evocative, subliminal electronics.
About Field Records Field Records has been publishing versatile electronic music from a string of high-principled artists since 2008. Firmly rooted in minimalism and modesty, the label gained a reputation for its versatile and atmospheric output - which includes works from the likes of Artefakt, ENA, Imaginary Softwoods, Monolake and SUGAI KEN.
Limited to 300 copies.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Mike Parker - Triceratops
2
Mike Parker - Amalgamated (Synchronous Mix)
3
Mike Parker - Copper Variations: cv1 (Alternate Take)
4
Mike Parker - Reduction
5
Mike Parker - Copper Variations: cv3
6
Mike Parker - Drain Hum
7
Mike Parker - Amalgamated (Extension Mix)
8
Mike Parker - Blue Equals Black
9
Mike Parker - Voiceprint: Voice One
10
Mike Parker - Voiceprint: Voice Two
11
Mike Parker - Voiceprint: Voice Three
12
Mike Parker - Dissolution 99
Twenty-three years on from its original release, the debut album of American artist Mike Parker stands proud as a blueprint for deep, hypnotic techno in the new millennium. Originally published as a CD-only edition on Parker’s own Geophone label, Field Records are now giving Dispatches the full vinyl release it so richly deserves - spread across six sides and reproducing Parker’s distinctive artwork at scale.
Charting the course of Parker’s career reads like the evolution of deep techno itself - moving from early collaborations with Donato Dozzy to appearances on seminal labels such as Prologue, Semantica and Spazio Disponibile. The essence of his approach was forged early on, honing techno’s propulsion into a raw essence without losing any of the weight. It’s an exercise in minimalism, but the sound is still monolithic and engulfing, crystal clear in its intention and devoted to the power of subtle pressure. When the decay on a reverb opens up a fraction, Parker’s music leaves enough space for you to notice. Incremental shifts become monumental in his hands and his commitment to subliminal layering reveals hidden depths the further you submit to his hypnotic sound.
This definitive edition of Dispatches looks at the vinyl singles which accompanied the album’s original release and creates a more complete picture of the area that Parker was exploring at the time. It’s the first time that the alternate take of icy depth charge ‘Copper Variations: CV1’ appears on wax, as goes for the pneumatic tension of ‘Reduction’ and evocative miniature sound sculpture ‘Blue Equals Black’. Expanding the album beyond its original CD form, epic rarity ‘Dissolution 99’ presides over the final side, while the standout Voiceprint release is now represented in full with the inclusion of heavyweight stepped techno workout ‘Voiceprint: Voice Two’.
Able to sustain his own creative vision without cowing to the trends or expectations of any scene or clique, Parker’s music has progressed on its own terms. What this reissue demonstrates is how fully formed his vision was - even at a relatively early stage. In an era where the deep techno scene is thriving, Dispatches feels all the more relevant, undiluted by time and still unmatched in its immersive perfection.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Charting the course of Parker’s career reads like the evolution of deep techno itself - moving from early collaborations with Donato Dozzy to appearances on seminal labels such as Prologue, Semantica and Spazio Disponibile. The essence of his approach was forged early on, honing techno’s propulsion into a raw essence without losing any of the weight. It’s an exercise in minimalism, but the sound is still monolithic and engulfing, crystal clear in its intention and devoted to the power of subtle pressure. When the decay on a reverb opens up a fraction, Parker’s music leaves enough space for you to notice. Incremental shifts become monumental in his hands and his commitment to subliminal layering reveals hidden depths the further you submit to his hypnotic sound.
This definitive edition of Dispatches looks at the vinyl singles which accompanied the album’s original release and creates a more complete picture of the area that Parker was exploring at the time. It’s the first time that the alternate take of icy depth charge ‘Copper Variations: CV1’ appears on wax, as goes for the pneumatic tension of ‘Reduction’ and evocative miniature sound sculpture ‘Blue Equals Black’. Expanding the album beyond its original CD form, epic rarity ‘Dissolution 99’ presides over the final side, while the standout Voiceprint release is now represented in full with the inclusion of heavyweight stepped techno workout ‘Voiceprint: Voice Two’.
Able to sustain his own creative vision without cowing to the trends or expectations of any scene or clique, Parker’s music has progressed on its own terms. What this reissue demonstrates is how fully formed his vision was - even at a relatively early stage. In an era where the deep techno scene is thriving, Dispatches feels all the more relevant, undiluted by time and still unmatched in its immersive perfection.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Chihei Hatakeyama - By The Pond
2
Chihei Hatakeyama - Water And Birds
3
Chihei Hatakeyama - Lakeside
4
Chihei Hatakeyama - Distant View
5
Chihei Hatakeyama - Pier
6
Chihei Hatakeyama - Twilight
7
Chihei Hatakeyama - Fish Flying In The River
8
Chihei Hatakeyama - Lake Swaying In The Wind
9
Chihei Hatakeyama - Insects Chirping At Night
Matching expansive ambience with environmental sound, Chihei Hatakeyama’s new album continues Field Records’ exploration of Japan and the Netherland’s shared approach to water management. As with Sugai Ken’s 2020 album Tone River, a specific project becomes Hatakeyama’s area of focus - in this case the Hachirogata Lake in Akita Prefecture.
Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirogata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirogata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.
Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.
From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirogata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirogata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirogata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.
Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.
From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirogata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Monolake - Cyan
2
Monolake - Index
3
Monolake - Lantau
4
Monolake - Macau
5
Monolake - Arte
6
Monolake - Occam
7
Monolake - Mass Transit Railway
Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Imaginary Softwoods - Daylight Cascades For The Living
2
Imaginary Softwoods - Parterre
3
Imaginary Softwoods - North Of Roswell
4
Imaginary Softwoods - Diagram Of The Universe
5
Imaginary Softwoods - Chalked Outlines Of A Polybius Square
6
Imaginary Softwoods - Glass Rain Springs Channel
7
Imaginary Softwoods - Portable Void
8
Imaginary Softwoods - Almond Branch
9
Imaginary Softwoods - Mr. Big Volume
10
Imaginary Softwoods - Air Statue
11
Imaginary Softwoods - Bronze Lamp
Time bends for Imaginary Softwoods, the solo guise of producer, songwriter, and synthesist John Elliott. Though he’s working on new recordings daily, Elliott’s process for the construction of his albums moves at a much different interval, stretching out over months of considerate listening, revision, and waiting patiently for the right combinations and clashes of elemental forces to materialise on their own. The Notional Pastures of Imaginary Softwoods continues Elliott’s practice of zeroing in on what he wants to say with an album over the course of countless sessions that span multiple years, this time paying even more attention to locating the emotional through-line that connects the various pieces.The eleven-piece album vibrates at a low, unbroken cycle through all of its articulations. The bubbling neon dots of “North of Roswell,” double vision stumble of “Mr. Big Volume,” underwater music box trickle of “Portable Void,” and clear headed Arctic daybreak drones of “Diagram of the Universe” are all linked by a gentle, fluid hum. The brief moments of anxiety and long stretches of calm both feed back into the same center of gravity, becoming conjoined reflections of one another as they cycle through. After bending to find this specific universal frequency, time evaporates altogether, and longer zones like the glimmering “Almond Branch” become indistinguishable from Elliott’s signature miniatures, some of which stick around for less than a minute. The Notional Pastures of Imaginary Softwoods is a document of the universe as we comprehend it, designed to vanish as soon as it is felt.
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Field Records is to release a 2CD compilation and 3 vinyl samplers of music from the label's artists old and new entitled simply, Collection. The imprint keeps up the Dutch tradition of releasing deep, Detroit-inspired electronic music with high-class contributions from various artists. Built on minimalism and modesty, the boutique label has expanded into a consortium for quality since first emerging in 2008. The final part of this three part sampler series calls upon Artefakt, Iori and Szare for three more tracks of minimal techno that are stuffed with evocative imagery. Producer duo Artefakt's 'Narcosis' is first and is a tunnelling bit of rich, soft edged minimal techno with subtle celestial pads, Iori gets much more aggressive and textured on his warehouse wig out that is 'Inject' and finally Szare's 'All Over' (which is exclusive to the vinyl sampler of Collection) is a kinetic, tightly programmed bit of playfully rhythmic techno with raw claps and plenty of thick sub bass. Last but not least in the series, this final sampler offers a third techno perspective and closes out what is an essential collection over all.
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Ø [Phase] - Ghost Coder
2
Ø [Phase] - Base-Chain
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Ø [Phase] - Proto-City
4
Ø [Phase] - Proof Of Real
5
Ø [Phase] - You Are Not The Zeitgeist
6
Ø [Phase] - Shadow Banned
7
Ø [Phase] - Change Agent
8
Ø [Phase] - Obsolete Elites
Tracklisting
A1 Ø [Phase] - Ghost Coder
A2 Ø [Phase] - Base-Chain
B1 Ø [Phase] - Proto-City
B2 Ø [Phase] - Proof Of Real
C1 Ø [Phase] - You Are Not The Zeitgeist
C2 Ø [Phase] - Shadow Banned
D1 Ø [Phase] - Change Agent
D2 Ø [Phase] - Obsolete Elites
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Germany
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A1 Ø [Phase] - Ghost Coder
A2 Ø [Phase] - Base-Chain
B1 Ø [Phase] - Proto-City
B2 Ø [Phase] - Proof Of Real
C1 Ø [Phase] - You Are Not The Zeitgeist
C2 Ø [Phase] - Shadow Banned
D1 Ø [Phase] - Change Agent
D2 Ø [Phase] - Obsolete Elites
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Keith Hudson & Soul Syndicate - Even Those Dreadful Words
2
Keith Hudson & Soul Syndicate - Nuh Skin Up
3
Keith Hudson & Soul Syndicate - Mercy
4
Keith Hudson & Soul Syndicate - Bad Things
5
Keith Hudson & Soul Syndicate - Keeping Us Togther
6
Keith Hudson & Soul Syndicate - Ire Ire
7
Keith Hudson & Soul Syndicate - Desiree
8
Keith Hudson & Soul Syndicate - Troubles
9
Keith Hudson & Soul Syndicate - No Commitment
Keith Hudson’s Nuh Skin Up Dub is a deep, heavyweight dub album that stands as one of the most potent statements in the genre’s history. Released in 1979, this sonic masterpiece showcases Hudson’s signature dark, almost mystical production style, where heavy basslines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like "Nuh Skin Up" and "Felt We Felt the Strain" pulse with an eerie, almost menacing energy, while Hudson’s masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Often referred to as the “Dark Prince of Reggae,” Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling, and Nuh Skin Up Dub is a prime example of his genius. It's a record that rewards deep listening—every spin reveals new layers of sonic detail, hidden textures, and dub wizardry. For fans of heavy, atmospheric dub, Nuh Skin Up Dub is an essential listen, a landmark recording that solidifies Keith Hudson’s status as one of the most visionary figures in reggae history.
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1
Beppu - Treble Control
2
Beppu - Bass Control
3
Beppu - Playback Amplifier
4
Beppu - Speed Tolerance
5
Beppu - Monitoring
6
Beppu - Transistors
7
Beppu - Consumption
8
Beppu - Reel Size
9
Beppu - Standard Model
10
Beppu - Erase & Bias + Signal/Tape Noise
11
Beppu - Tape Speeds
12
Beppu - Frequency Response
13
Beppu - Play Head
14
Beppu - Mains Voltage
15
Beppu - Record Level
16
Demdike Stare - Process Ion (Part1 - Remix)
17
Demdike Stare - Religious Dub (Part2 - Remix)
Organic Analogue returns with a rediscovery of Beppu's rare dubbed-out electronica and circuit-bent techno. Andrew Hargreaves is the Manchester-based producer behind this alias which was first making waves back in the late-2000s. Back then it was three limited CDr EPs in 2009, which came with just 50 copies each, that made a stir and still stand up today. As such, the sought-after recordings receive a proper vinyl pressing and have been mastered by Miles Whittaker. Two distinct remixes from Demdike Stare also add further quality and contemporary context to the origins, which blend dub techno and braindance with textured noise. IPOP continues Organic Analogue's tradition of spotlighting overlooked talent having already done so with names like DJ Guy and Jean-Louis Huhta.
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Germany
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1
Black Eyes - Gerry The Fish Whisperer
2
Black Eyes - Valley Of Sharks
3
Black Eyes - Soul Fish
4
Black Eyes - The People Want Hydro
Black Eyes on Norm Talley's Upstairs Asylum Records
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Germany
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Germany
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1
Recondite - Shun (5:43)
2
Recondite - Tide (6:05)
3
Recondite - Dust (Album Version) (5:13)
4
Recondite - Karat (5:25)
5
Recondite - Vait (5:30)
6
Recondite - Introsepct (5:35)
7
Recondite - Atma (Album Version) (4:59)
8
Recondite - Uvanet with Chris Avantgarde (6:08)
9
Recondite - Cut (Album Version) (5:12)
10
Recondite - Falling (Album Version) (3:37)
GENRE/S: Techno, Ambient Techno, Melodic Techno
Exclusive artwork design by Deutsche & Japaner
TRACKLIST:
A1. Recondite – Shun (5:43)
A2. Recondite – Tide (6:05)
B1. Recondite – Dust (Album Version) (5:13)
B2. Recondite – Karat (5:25)
C1. Recondite – Vait (5:30)
C2. Recondite – Introsepct (5:35)
C3. Recondite – Atma (Album Version) (4:59)
D1. Recondite – Uvanet with Chris Avantgarde (6:08)
D2. Recondite – Cut (Album Version) (5:12)
D3. Recondite – Falling (Album Version) (3:37)
INFO:
Feeling the deep and the hi simultaneously. Not craving for the extreme - finding balance instead. Indifference.
The word reflects what I often felt in recent times. Not just a feeling but a desire for things less pointed. It seems to be a general zeitgeist phenomenon but as I am part of the electronic music scene, I reflect a lot
about what is happening within this genre. There has been an urge for the either really hard, driving, fast and aggressive, or the extreme opposite.
Catchy vocals with a pop music feel, very direct and relatable melodies, soft grooves, piano chords. Either way - it feels like it has to be very distinctive - aggressive or soft - as long as it is extreme. It seems to be a moment in time where in whatever you do - it HAS to be in the face. All of this is fine of course - but never was my nature or personality. There is a reason why I chose to the adjective "Recondite" as an artist name because I could identify with the meaning of it. "hidden, obscure, not in the obvious”.
“Indifferent” is opposing this Zeitgeist and is representing driving techno with minimalistic melodic atmospheres, deep, haunting vibes, reserved yet strong and decisive within its own language, floating between melancholic desperation and hopefulness - music that lives right in between the hard and the soft... the aggressive and the neat... not black or white.
Not separated but INDIFFERENT.
SHORT VERSION:
“Indifferent” is opposing this Zeitgeist and is representing driving techno with minimalistic melodic atmospheres, deep, haunting vibes, reserved yet strong and decisive within its own language, floating between melancholic desperation and hopefulness - music that lives right in between the hard and the soft... the aggressive and the neat... not black or white.
Not separated but INDIFFERENT.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Exclusive artwork design by Deutsche & Japaner
TRACKLIST:
A1. Recondite – Shun (5:43)
A2. Recondite – Tide (6:05)
B1. Recondite – Dust (Album Version) (5:13)
B2. Recondite – Karat (5:25)
C1. Recondite – Vait (5:30)
C2. Recondite – Introsepct (5:35)
C3. Recondite – Atma (Album Version) (4:59)
D1. Recondite – Uvanet with Chris Avantgarde (6:08)
D2. Recondite – Cut (Album Version) (5:12)
D3. Recondite – Falling (Album Version) (3:37)
INFO:
Feeling the deep and the hi simultaneously. Not craving for the extreme - finding balance instead. Indifference.
The word reflects what I often felt in recent times. Not just a feeling but a desire for things less pointed. It seems to be a general zeitgeist phenomenon but as I am part of the electronic music scene, I reflect a lot
about what is happening within this genre. There has been an urge for the either really hard, driving, fast and aggressive, or the extreme opposite.
Catchy vocals with a pop music feel, very direct and relatable melodies, soft grooves, piano chords. Either way - it feels like it has to be very distinctive - aggressive or soft - as long as it is extreme. It seems to be a moment in time where in whatever you do - it HAS to be in the face. All of this is fine of course - but never was my nature or personality. There is a reason why I chose to the adjective "Recondite" as an artist name because I could identify with the meaning of it. "hidden, obscure, not in the obvious”.
“Indifferent” is opposing this Zeitgeist and is representing driving techno with minimalistic melodic atmospheres, deep, haunting vibes, reserved yet strong and decisive within its own language, floating between melancholic desperation and hopefulness - music that lives right in between the hard and the soft... the aggressive and the neat... not black or white.
Not separated but INDIFFERENT.
SHORT VERSION:
“Indifferent” is opposing this Zeitgeist and is representing driving techno with minimalistic melodic atmospheres, deep, haunting vibes, reserved yet strong and decisive within its own language, floating between melancholic desperation and hopefulness - music that lives right in between the hard and the soft... the aggressive and the neat... not black or white.
Not separated but INDIFFERENT.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
DJ Deep - Fica (Open Your Eyes)
2
Traumer - Turn It Up
3
DJ Deep - Insss
4
Traumer - Close Your Eyes
DJ Deep and Traumer have created a new joint venture called “Get-Rooted” by merging their label names (Deeply Rooted and get—traum).
The concept behind get—rooted centers around sharing their musical expressions while offering their own interpretations of tracks.
For example, on “Fica Open Your Eyes” / “Close Your Eyes,” DJ Deep takes a more raw, hypnotic groove-centered approach, while Traumer opts for a more refined direction with lush production. Traumer’s “Turn It Up” features his deep and energetic signature style, while DJ Deep’s “Insss” incorporates a beloved vocal sample revisited around a drum-focused track.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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The concept behind get—rooted centers around sharing their musical expressions while offering their own interpretations of tracks.
For example, on “Fica Open Your Eyes” / “Close Your Eyes,” DJ Deep takes a more raw, hypnotic groove-centered approach, while Traumer opts for a more refined direction with lush production. Traumer’s “Turn It Up” features his deep and energetic signature style, while DJ Deep’s “Insss” incorporates a beloved vocal sample revisited around a drum-focused track.
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DE - 22113 Hamburg
Germany
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1
Civilistjävel! - XIII
2
Civilistjävel! - XIV
3
Civilistjävel! - XV
4
Civilistjävel! - XVI
5
Civilistjävel! - XVII
6
Civilistjävel! - XVIII
7
Civilistjävel! - XIX (Ft. Thomas Bush)
FELT welcomes back Civilistjävel! with Följd, the follow up to last year’s Brödföda. 7 tracks further chronicling his melancholic murk, ever drifting towards that faint dub glow. Features a collaboration with Thomas Bush [Jolly Discs].
Uncanny are the nocturnal sounds that ebb patiently from Tomas Bodén and his machines. His music continues to uncover equal parts beauty and dread from isolation, a purposeful slow pace guiding those gentle noises through the arctic air surrounding its author. No matter the weather, these expressions as Civilistjävel! continue to find a loving home on Fergus Jones’s FELT imprint.
On Följd, he naturally develops on the inclinations found on Brödföda. XIII’s unsettling warble melts into the dusky spurts of XIV. Further on, the dew-glowed ambience of XV precedes XVI’s dub trudge which casts a hypnotic grey shadow. XVII’s wind-swept acid redux then quietly transitions into the stunning introspective drone of XVIII before closer XIX comes into view, its positive dawn enacted through Thomas Bush’s croons lilting amongst organs, guitars and tempered sound design.
Civilistjävel! continues to emote a great deal with very little, a reliable abstract practitioner that posits Följd as an arresting audio tale within his celebrated oeuvre.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Uncanny are the nocturnal sounds that ebb patiently from Tomas Bodén and his machines. His music continues to uncover equal parts beauty and dread from isolation, a purposeful slow pace guiding those gentle noises through the arctic air surrounding its author. No matter the weather, these expressions as Civilistjävel! continue to find a loving home on Fergus Jones’s FELT imprint.
On Följd, he naturally develops on the inclinations found on Brödföda. XIII’s unsettling warble melts into the dusky spurts of XIV. Further on, the dew-glowed ambience of XV precedes XVI’s dub trudge which casts a hypnotic grey shadow. XVII’s wind-swept acid redux then quietly transitions into the stunning introspective drone of XVIII before closer XIX comes into view, its positive dawn enacted through Thomas Bush’s croons lilting amongst organs, guitars and tempered sound design.
Civilistjävel! continues to emote a great deal with very little, a reliable abstract practitioner that posits Följd as an arresting audio tale within his celebrated oeuvre.
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DE - 22113 Hamburg
Germany
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1
Khen - My Pure Soul
2
Khen - Lyup
3
Khen - Uchi Mata
Khen has landed on All Day I Dream with his new My Pure Soul EP, a sentimental three-track collection that marks his first release on the beloved electronic label. Written in dedication to his father, My Pure Soul explores themes of introspection and transcendence, blending organic percussion with lush synth work to create an emotive sonic journey. Offering a robust medley of dynamic rhythms and mesmerizing melodies, Khen’s hypnotic house grooves envelop listeners as the EP progresses from the titular track through its accompaniments ‘Lyup’ and ‘Uchi Mata’. A wondrous debut from Khen, My Pure Soul embodies the entrancing soundscapes synonymous with the label’s curation for more than a decade.
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Germany
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DE - 22113 Hamburg
Germany
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1
Joakuim - Soul Jazz
2
Joakuim - Chrysalism
3
Joakuim - Back and Forth
4
Joakuim - Sunday Smooth
5
Joakuim - Tequila Sunset
6
Joakuim - Jungle Retro Classics
7
Joakuim - Canyon Dub
8
Joakuim - Sunday Lounge
Tracklisting
A1 Joakuim - Soul Jazz
A2 Joakuim - Chrysalism
A3 Joakuim - Back and Forth
A4 Joakuim - Sunday Smooth
B1 Joakuim - Tequila Sunset
B2 Joakuim - Jungle Retro Classics
B3 Joakuim - Canyon Dub
B4 Joakuim - Sunday Lounge
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A1 Joakuim - Soul Jazz
A2 Joakuim - Chrysalism
A3 Joakuim - Back and Forth
A4 Joakuim - Sunday Smooth
B1 Joakuim - Tequila Sunset
B2 Joakuim - Jungle Retro Classics
B3 Joakuim - Canyon Dub
B4 Joakuim - Sunday Lounge
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Germany
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1
Milo Raad - Bushido
2
Milo Raad - Flash Point
3
Milo Raad - Yawara
4
Milo Raad - Detour
Tracklisting
A1 Milo Raad - Bushido
A2 Milo Raad - Flash Point
B1 Milo Raad - Yawara
B2 Milo Raad - Detour
Sales Note
***
A death fog veil
covered the masks
I left behind
My breath was iced,
blind.
***
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A1 Milo Raad - Bushido
A2 Milo Raad - Flash Point
B1 Milo Raad - Yawara
B2 Milo Raad - Detour
Sales Note
***
A death fog veil
covered the masks
I left behind
My breath was iced,
blind.
***
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1
Korogi ‘73 - Fushigi Song
2
Yas-Kaz - Hei (Theme of Shikioni)
3
Yoichiro Yoshikawa - Tassili N'Ajjer
4
Norihiro Tsuru - Farsighted Person
5
Geinoh Yamashirogumi - Theme of Kaneda
6
Yoichiro Yoshikawa - Fiesta Del Fuego
7
Columbia Orchestra - Heart Beats / Theme for Andrew Glesgow
8
Kan Ogasawara - Gishin Anki
The percussive new age soundtracks of '80s and early '90s Japanese TV, anime and manga built alternative worlds and pushed boundaries in the process.
When Japanese composer Yas-Kaz left Tokyo for Bali in the mid 1970s he had little idea of how influential his trip would become. In studying the storied art of gamelan, the jazz and avant-garde percussionist opened a door to a world of sound and rhythm left behind by the West. The music he and his contemporaries made would become known as new age. It also happened to soundtrack the golden era of anime.
Awash with money and with the prerogative to entertain the burgeoning middle classes, anime in the 1980s experienced a creative and commercial boom. Not constricted by generic expectations, production houses such as the now renowned Studio Ghibli were able to experiment liberally with both form and content. And with it came the space for composers to be similarly adventurous.
TV, Anime & Manga New Age Soundtracks 1984-1993 charts this moment across eight tracks spanning classics of the genre and previously unknown rarities. The collection brings together music that found kinship in electronic and acoustic instrumentation, often combining spiritual or environmental themes with percussive, varied and highly refined syncopations of non-Western musical traditions.
Among them is ‘Kaneda’ by Geinoh Yamashirogumi, the shape-shifting group of self-styled musicians, anthropologists and computer scientists that masterminded the soundtrack to game-changing dystopian anime Akira - and with whom the sound, tuning and breakneck speed of Balinese gamelan has become indelibly entwined.
Reflecting the desires of the era to reach beyond Japan’s borders, many of the soundtracks featured were commissioned for narratives set in distant lands or alternative worlds. There’s violinist and composer Norihiro Tsuru’s ‘Farsighted Person’, written for The Heroic Legend of Arslan, set in ancient Persia; Yas-Kaz’s own ‘Hei (Theme of Shikioni)’, for period sci-fi manga & anime series Peacock King - Spirit Warrior; and two tracks - Tassili N’Ajjer and Fiesta Del Fuego - from Yoichiro Yoshikawa’s soundtrack to NHK’s proto-Planet Earth series The Miracle Planet.
Such was the variety and quality of the music produced, if there is a guiding principle to the tracks collected here it is a sense of escapism and adventure that came with the confluence of modern electronic instruments and a fascination with percussive traditions.
Elsewhere, pioneering children’s TV composer Chumei Watanabe’s ‘Fushigi Song’ (performed by a vocal group Korogi ‘72) offers a trippy and infectious groove with sonic similarities to Don Cherry’s ‘Brown Rice’; little-known jazz-funk library group Columbia Orchestra showcase the best of Tokyo’s session musicians on ‘Hearts Beats - Theme for Andrew Glasgow’; before lawyer-turned-composer Kan Ogasawara closes out the compilation with a dramatic flourish on ‘Gishin Anki’.
Following on from Time Capsule’s acclaimed deep-dive into the world of manga & anime synth-pop in 2022, this vinyl only collection is set to broaden and diversify an understanding of how soundtracks shaped the sound of new age music in Japan for a generation.
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Germany
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When Japanese composer Yas-Kaz left Tokyo for Bali in the mid 1970s he had little idea of how influential his trip would become. In studying the storied art of gamelan, the jazz and avant-garde percussionist opened a door to a world of sound and rhythm left behind by the West. The music he and his contemporaries made would become known as new age. It also happened to soundtrack the golden era of anime.
Awash with money and with the prerogative to entertain the burgeoning middle classes, anime in the 1980s experienced a creative and commercial boom. Not constricted by generic expectations, production houses such as the now renowned Studio Ghibli were able to experiment liberally with both form and content. And with it came the space for composers to be similarly adventurous.
TV, Anime & Manga New Age Soundtracks 1984-1993 charts this moment across eight tracks spanning classics of the genre and previously unknown rarities. The collection brings together music that found kinship in electronic and acoustic instrumentation, often combining spiritual or environmental themes with percussive, varied and highly refined syncopations of non-Western musical traditions.
Among them is ‘Kaneda’ by Geinoh Yamashirogumi, the shape-shifting group of self-styled musicians, anthropologists and computer scientists that masterminded the soundtrack to game-changing dystopian anime Akira - and with whom the sound, tuning and breakneck speed of Balinese gamelan has become indelibly entwined.
Reflecting the desires of the era to reach beyond Japan’s borders, many of the soundtracks featured were commissioned for narratives set in distant lands or alternative worlds. There’s violinist and composer Norihiro Tsuru’s ‘Farsighted Person’, written for The Heroic Legend of Arslan, set in ancient Persia; Yas-Kaz’s own ‘Hei (Theme of Shikioni)’, for period sci-fi manga & anime series Peacock King - Spirit Warrior; and two tracks - Tassili N’Ajjer and Fiesta Del Fuego - from Yoichiro Yoshikawa’s soundtrack to NHK’s proto-Planet Earth series The Miracle Planet.
Such was the variety and quality of the music produced, if there is a guiding principle to the tracks collected here it is a sense of escapism and adventure that came with the confluence of modern electronic instruments and a fascination with percussive traditions.
Elsewhere, pioneering children’s TV composer Chumei Watanabe’s ‘Fushigi Song’ (performed by a vocal group Korogi ‘72) offers a trippy and infectious groove with sonic similarities to Don Cherry’s ‘Brown Rice’; little-known jazz-funk library group Columbia Orchestra showcase the best of Tokyo’s session musicians on ‘Hearts Beats - Theme for Andrew Glasgow’; before lawyer-turned-composer Kan Ogasawara closes out the compilation with a dramatic flourish on ‘Gishin Anki’.
Following on from Time Capsule’s acclaimed deep-dive into the world of manga & anime synth-pop in 2022, this vinyl only collection is set to broaden and diversify an understanding of how soundtracks shaped the sound of new age music in Japan for a generation.
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Collecting Orders for Repress!!
Limited edition yellow vinyl pressing of this 50th birthday celebration for an influential slice of soul. A 7” remastered, reissue of Minnie Riperton’s iconic, majestic and much sampled ‘Les Fleur’.
Favoured by the likes of Jurassic 5, Damu The Fudgemunk & Cut Chemist, famously covered by Dego and backed with the equally serene ‘Oh By The Way’.
With original copies selling for upwards of £60+ here’s a chance to own this slice of soul perfection at a fraction of the price.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Limited edition yellow vinyl pressing of this 50th birthday celebration for an influential slice of soul. A 7” remastered, reissue of Minnie Riperton’s iconic, majestic and much sampled ‘Les Fleur’.
Favoured by the likes of Jurassic 5, Damu The Fudgemunk & Cut Chemist, famously covered by Dego and backed with the equally serene ‘Oh By The Way’.
With original copies selling for upwards of £60+ here’s a chance to own this slice of soul perfection at a fraction of the price.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More