At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a "universal listenability" and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao's admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial "production music" and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album's flow, rather than typical "songs" driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao's forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

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2025 repress.

There are certain albums which shake the world immediately upon release, and others which come from far underground and whose shocks and aftershocks rise to the surface gradually over the years, gaining momentum and power. "Ten Dubs That Shook The World" is of the latter type. Since its original vinyl release in 1988, the prescient impact of this Australian homemade dubwise solo massive byAnthony Maher aka Sheriff Lindoh as become ever-more apparent and influential. With its dual island combination of Jamaican dub and UK industrial and post-punk, and the twinning of spaced electronic drums and effects with some very fine, superbly rooted bass lines, the tectonic "Ten Dubs" has proven to be a durable, doubly-solid shaker. This 2025 repress is dedicated to the original producer John Blades, founder of the Endless Recordings label, who along with Maher and Richard Fielding constituted The Loop Orchestra. Available on LP vinyl or CD; the CD version features bonus tracks. EM Records is also pleased to announce that we are preparing Lindo's first release since "Ten Dubs" was launched 37 years ago. From deep underground in Australia, rising, reverberating and resonating across the globe, "Ten Dubs That Shook The World" vibrates on.

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"Summer Jam" is back! A long-awaited repress of this powerful and joyful tune described as "acid pied piper", with new artwork and new flip-side. EM Records is very happy to again bring you our favorite tune from the artist known as Tapes, here in a 10-inch vinyl/download format that, with its good vibes, positivity and major-key delightfulness, will rescue you from any doldrums you are experiencing, whether personal, societal or cosmic. "Summer Jam" is a solo recording from 2019, but it soars over the worries of the year, any year, with an up- lifting rhythmic lilt, a positive tonality, non-annoyingly catchy melodies and some lovely sonic textures. There's something here for fans of bass music, mid-80s-and- beyond electronic music, and pure toe-tapping good times. There's a sweet chord progression and background drift in the title track that are particularly pleasing, and the flip-side is a very satisfying "acid" live version with his ally, 7FO, that will lovingly catapult you to another major-chord heaven. The sun can shine anywhere, anywhen, so enjoy!

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Long awaited reissue of the second release on the legendary Osaka label, Vanity Records, run by the eccentric producer Yuzuru Agi.
24bit/48kHz A/D transfer from the original 1978 master tapes, high-quality cutting.

Comes with Japanese/English liner notes.

A beautiful album re-emerges from realms of mystery! The long-awaited vinyl reissue of a Japanese neoclassical/experimental/new age/electronic music classic, originally released in 1978. ”Crystallization” is a work of unwavering perfection, whose sparkle has become even more brilliant over time, in the midst of the new age music revival that has emerged in recent years and the rediscovery of Japanese environmental music so-called Kankyo-ongaku. This was SAB's first and only solo album, recorded at his home and a studio in Osaka by a 19-year-old musical prodigy who, after the album's release, left Japan for the U.S. to follow the teachings of Bhagwan Shree Rajneesh and has never been heard from again. Two other musicians provide instrumental contributions, but the majority of the album was recorded and produced by SAB himself with multiple recordings & overdubs of various instruments, captured and crystallized on magnetic tape. The arrangements and instrumentation on this album show the influence of Brian Eno and the Obscure label of the time, but SAB's weave of electronics, field recordings and conventional instrumentation simultaneously avoids those influences and sits outside any direct electronic music lineage; it has achieved the status of a new classic for audiences in the 2020s.

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BLADE N is the long-awaited new album from Japanese rapper Karavi Roushi, who appeared on the Japanese hip-hop scene with his debut soloalbum? ? ? ? (Kiyosumi Kurokawa). This, his second solo album, is acollaborative release with Aquadab, the Japanese track maker/sounddesigner who co-producedKiyosumi Kurokawa. The album showcases thepreternatural mind-meld between rapper and track maker.Karavi Roushi came before the public as a member of Nagoya hip-hopcollective Hydro Brain Gang on Nero Imai's albumReturn Of Acid King(2017). He then launched the label Super Lights with Aquadab andreleased his first solo albumKiyosumi Kurokawain 2019 with graphicdesign by Takara Ohashi. Although an unknown newcomer, the albumreached #15 on the iTunes Hip Hop Japan album chart and receivedplaudits not only for its music but also for the artwork by Ohashi. After thealbum, Karavi Roushi dropped his first collaboration tune with Aquadab onS.D.S =Zero=(2020), a compilation of Generation Z Japaneseunderground artists produced during the Covid pandemic. That tune,"Tokyoite", became a favorite of the participating artists.BLADE Nwas created by the three-person team of Karavi Roushi,Aquadab & Ohashi. Consciously developing their musical methodology,they intentionally use instrumental tracks to interrupt the rappers' voicesand flows, something which has traditionally been avoided, and explore thepossibility of creating a style that puts the rapper and track maker on equalfooting in complex, woven tracks. On the album, Karavi Roushi'sparanormal voice, which sometimes sounds like a mutant synthesizer,adds incisiveness, and in the artwork Ohashi visually extracts the storyworld hidden inBLADE N, giving the cover art the same impact as that of"Kiyosumi Kurokawa"

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** Includes Download

Clan Caimán, led by composer Emilio Haro, is a group from Argentina, but their timeless, organic music transcends nationality. “Pica-Pau” (woodpecker), their third album, is their most abstract and minimal to date, but this is not a cold abstraction nor an austere minimalism; the music here, with its focus on rhythm and texture, is warm and hypnotic, seeming to have existed forever despite the fact that it was recorded in 2023-24. As on their previous albums, all with EM Records, the music is driven by the kalimabafon, Haro’s self-made tuned percussion instrument. The kalimbafon’s patterns weave through waves of reverb-drenched lap steel and guitar, as bass undertow and sans-cymbal percussion allow the music to flow music inexorably forward, like a broad, timeless river. The compositions here have a feeling of being immersed in deep night, surrounded by life, away from the enclosed isolation of the urban environment. As with previous albums, the compositions are instrumental, the exception being the final song, a vocal version of the opening track, sung in a language invented by Haro.

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2023 Repress. Serious math rock/industrial rhythm fire on this ace album from 2018 - repressed! TIP!

The five tracks being compiled from their debut CD “New Games” (2013) and their second album “Rhythm & Sound” (2015). The titles of those releases provide a hint: a sense of joyful play within defined structures, and an emphasis on propulsive pulse and a prioritizing of pure percussive sound over melodic content. With guitar, bass, drums and saxophone, goat create music which is unlike any band, utilizing harmonics outside standard tonality, as well as clever muting, to craft the intricate, driven, forceful compositions of Koshiro Hino, aka YPY.

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https://www.youtube.com/watch?v=PNrZLJdVbB0

Two 80s gems from this sweet duo. Blue vinyl pressed in 2017.

Text lifted from the great Monorail Glasgow here "Classic archive work from Em's micro label Em Custom, offering a glimpse into the world of post-punk folk pop. Fantastic Something's most iconic moment fits very much into Mike Alway's Cherry Red aesthetic of the time. Two good looking Greek guys (brothers) coming on like Simon & Garfunkel fronting Aztec Camera or Maurice Deebank era Felt with sweeter singing. Pre-empting Johnny Marr at his most melodic and also weirdly, Gerard Love's Lightships project (from memory, Norman was a fan). As punk, and the DIY ethic, had changed the landscape, enabling bands to self-release their material, eventually a slew of genres crept out of the woodwork. By the early 80s, there was a reaction against wilder guitar bands, one being a trend of indie, bedsit-folk-pop. 1983 saw the release of this jangly summer single, by Fantastic Something (Alex and Constantin Veis), with an instrumental version on the flip. It was followed by an album two years later for Cherry Red's offshoot, Blanco Y Negro."

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One-sided 7” single on am EM custom.. these won't be around for very long.

A great and rare song, never before reissued, an early 80s electric molam classic produced by Surin Phaksiri. This release celebrates “Classic Productions by Surin Phaksiri 2: Molam Gems from the 1960s-80s”, an upcoming EM Records compilation spotlighting this legendary producer; however, this song will not be available on the compilation, so get the vinyl or DL, and don’t miss this groovily swaying paean to the pick-up truck share taxi, performed by Chabaphrai Namwai and molam queen Banyen Rakkaen. Remastered and lacquer cut by D&M Berlin, with English and Japanese lyrics translations. Hop in and let’s go!

Footnotes:
‘Songthaew’ is a passenger vehicle in Thailand and Laos adapted from a pick-up or a larger truck and used as a share taxi or bus. This molam tune “Lam Phloen Songthaew Fan Club” is about the period in which Songthaew began to appear as a new means of transportation for people in Thailand.

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"Yutai-ridatsu ±", an album from Osaka-based electronic music producer Futoshi Moriyama. Initially released in 2015 as a cassette on the Birdfriend label run by Koshiro Hino (aka YPY), augmented by four unreleased/new tracks which replace other tracks. Beautifully weird home-recorded orchestral music!

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Here is a portal to a vast and relatively unknown world, the Japanese cyber-occult underground media scene of the early 1990s; our guide is the late Henry Kawahara, a media artist and electronic music producer whose expansive and visionary conception of digital technology merged with a desire to break free of the constraints of mere rationality. This collection, the first-ever archival release of his work, is drawn from recordings released during the period 1991-1996, an exceptionally fertile time for Kawahara. Originally released on CD by a few Japanese independent labels including Hachiman Publishing, a cyber-occult / new-age / shinto book specialist, the releases were available mainly in book stores, so this sumptuous and prescient music has remained relatively unknown. The original titles and tag lines of the CDs give clues about Kawahara’s interests and the music itself: Digital Mushroom, Subtropical Illusion, Never-ending Asia, and so on. This 15-track gateway compilation is available on double 12” vinyl and DL; the CD version has two extra discs featuring sound from two art installations entitled "Dysteleology - a" and "Dysteleolog - ß" from the 1990s. All formats feature extensive English liner notes.

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Springing up from the Osaka underground club music scene in 2006, Hino is a rhythm master, intimately examining and extending pulses and grooves in his various projects. YPY is Hino's long-running rhythmic solo DNA lab, in which he investigates impulsion and propulsion, using drum machines and synthesizers in an organic and vital manner to create living and evolving percussive biosystems which are more than electronic music etudes.
With a strong sense of structure and space, development and dynamics, these pieces have an infectious warmth and humor. YPY utilizes and transcends the technical limitations of his chosen recording medium of cassette tape, and the quirks of relatively primitive drum machines and synthesizers, turning weakness into strength. The seven pieces here were recorded over a number of years and chosen, from a library of over seventy works, in collaboration with renowned Yosuke Yukimatsu. Available on CD and double 12-inch 45 RPM vinyl. With the title punningly referring to the slippery fragmentation of the music, "Zurhyrethm" is an enjoyable and intriguing debut.

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Alicia Bay Laurel is well known as the writer and illustrator of one of the classic books of the back-to-the-earth movement, the 1970 Living On The Earth, a hand-written guide to living the good life, but she is also a very accomplished singer, songwriter and guitarist, the latter skill honed by studying with John Fahey. The songs on Music From Living On The Earth were composed concurrently with the writing of the book, permeated by the sun and soil of the commune life, bright and earthy paeans to the natural world, featuring ABL's pure, strong and uplifting voice atop her fluid, confident and deft steel-string acoustic guitar fingerpicking, her style showing that she learned well from Fahey. She also collaborated with San Francisco Tape Music Center co-founder Ramon Sender Barayon, who contributes the 40-voice choral arrangement for the closing track. Although these songs were written as the sixties became the seventies, Music From Living On The Earth was actually recorded in 2000 and first issued as a self-produced CD, then later issued in Japan on EM Records and is now out of print. This 15th anniversary first-time vinyl version, with new liner notes by the artist as well as English and Japanese lyrics, allows listeners to again hear ABL's blues, jazz and Indian music influences meld with folk roots to glorious effect.

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The Aachen Jazz Files

A collection of essential jazz from the NABEL record label (1980-1994), compiled by miche & Rainer Truby.

The Aachen Jazz Files celebrates the pioneering spirit of NABEL Records—one of Germany’s most underrated yet influential independent jazz labels. Founded in 1980 by Rainer Wiedensohler, NABEL became a home for innovative musicians blending classic acoustic jazz with fusion, Brazilian rhythms, and avant-garde flourishes.

This compilation collects some of the label’s finest moments, including the soulful and Latin-tinged brilliance of Monika Linges Quartet (whose album *Floating* was reissued last year by PANORAMA Records for RSD Black Friday), the cosmic jazz explorations of John Thomas & Lifeforce, the deep jazz-funk grooves of Hipsters In The Zone, and the stunning, expressive vocals of Maria João’s quintet.

Nestled in the far west of Germany, near the Dutch and Belgian borders, Aachen has long been a hidden gem for jazz lovers. Its vibrant scene, fueled by music schools and the legendary Malteserkeller jazz club, cultivated a unique sound that resonated far beyond its city limits. In fact, the city didn’t just birth a jazz movement—it also lays claim to opening Germany’s first discotheque in 1959.

From London to Tokyo, NABEL’s releases became secret weapons for jazz DJs seeking deep, danceable cuts. The label’s trademark blend of acoustic jazz, fusion, and Brazilian influences made its way onto turntables in underground clubs and festival stages worldwide.

Expect elegant samba jazz, spiritual grooves, and modal masterpieces that capture the essence of NABEL’s golden years. Monika Linges’ contributions shine with her rich harmonies and heartfelt compositions, while John Thomas & Lifeforce deliver a perfect storm of fiery instrumentation and deep soul. Maria João’s early recordings showcase her extraordinary vocal range, and Hipsters In The Zone bring a forward-thinking, acid jazz-infused perspective to the NABEL sound.

As co-compiler Rainer Truby puts it:

'NABEL Records always had this special ‘Aachen sound’—a jazz flavor that carried its own energy, somewhere between the cool sophistication of fusion and the warmth of Brazilian music. It’s a pleasure to finally bring together some of these classics in one essential collection.'

Compiled by miche & Rainer Truby.

PANORAMA Records is a London-based label dedicated to unearthing and reintroducing rare and essential music to new generations. With a focus on jazz, funk, and global grooves, the label has built a reputation for high-quality reissues that capture the spirit of the originals while providing fresh context for today’s listeners. Their past releases have garnered support from tastemakers like Gilles Peterson, Patrick Forge, and Mr Bongo DJs.

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After a critically praised debut in 2023 and numerous tours across Europe, Yalla Miku returns with “2”, a new record that further asserts their unique identity. Still based in Geneva, the band moves forward with a reimagined lineup — not as a departure, but as the natural continuation of a project envisioned from the start as a space for encounters, movement, and musical reinvention.

https://soundcloud.com/bongojoerecordshop/sets/yallamiku2/s-8wXtpMdAeo5?si=f9c94fa7be864aa6919d89816d700147&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Tracklist
1.1Al Sayf
1.2Alemuye
1.3Maximum Self-Care
1.4Le Palais de Bachar
1.5Embeyto
1.6Il fait trop cuit
1.7Scarlett Chien
1.8Post-Aventures
1.9Al 3Mal
1.10La Tour Eiffel

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Italian jazz trio Collettivo Immaginario announces the release of their second full-length album, 'Oltreoceano'.
Known for their slick sound and energetic live performances, their style is firmly rooted in the jazz tradition of collective improvisation, through which they have developed an agile, kaleidoscopic sound. The trio’s unique fusion of funk, jazz, and 70's electronica continues in the trio’s latest release, forging connections across oceans through the universal language of music.
Consisting of founder Tommaso Cappellato on drums and percussion, Nicolò Masetto on electric bass, and Alberto Lincetto on rhodes, piano, and synths, Collettivo Immaginario have become rising stars in the Italian festival scene, from the streets of their hometown in Italy to the diverse audiences in Los Angeles, London and Milan.
Subtly paying homage to genre-bending giants like Azymuth, Lonnie Liston Smith, Herbie Hancock, and Hermeto Pascoal—alongside Italian film music legends Piero Piccioni and Piero Umiliani—their sound moves effortlessly between the heat of the club and the cinematic allure of evocative film scores, infused with touches of spiritual jazz.


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Black Vinyl! Repress!


Orbits, the sophomore LP from The Circling Sun, channels the cosmic energy of '70s spiritual jazz, filtered through synths, layered percussion, and ethereal choirs. The Aotearoa collective expand their sonic universe with nods to Rahsaan Roland Kirk, Azymuth, and ambient jazz — offering deep listening for jazz heads and newcomers alike.

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Sabor de Amor is the fourth album from Brazilian soulman Hyldon, singer and instrumentalist, who formed, alongside Tim Maia and Cassiano, the legendary triad of Brazilian soul music in the 1970s. Sabor de Amor (Continental, 1981) is perhaps his most consistent work. On it, Hyldon is back once again by his trusted buddies Azymuth with a stellar lineup of musicians, including Alexandre Malheiros (bass), Ivan "Mamao" Conti (drums), Sérgio Carvalho (Hammond organ and Fender piano), Zé Roberto Bertrami (synthesizers), Antonio Adolfo (Yamaha piano), Marcio Montarroyos (flugelhorn), Renato Piau (guitar), Mario Monteiro "Picolé" (drums) and the Grupo Alma Brasileira (percussion).

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Over the course of 2025 IARC will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.

TRACKLIST
Side A
1. Visit Croatia
2. What’s Missing
3. Song of the Foundling
4. Whisky Story Time
5. Not Now Jesus
6. If You’re Sure You Want To
Side B
7. The Lucky Ones (feat. Danalogue)
8. Why, Buzzardman Why
9. Not My Ask
10. Turpentine
11. I Hope


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Superkilen, the new album from Danish duo Svaneborg Kardyb, Nikolaj Svaneborg (keyboards) and Jonas Kardyb (drums), is named after a public park in the ethnically diverse Nørrebro district of Copenhagen.

Tracklist
1.1Superkilen
1.2Cycles
1.3St. Pancras
1.4Vakler
1.5Balancen
1.6Tvillinger
1.7Tide
1.8Udsigten
1.9Arendal

Listen: https://on.soundcloud.com/ZsWDx7n6FTUYt9DG7

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Repress!

“‘Ocean’ is a treasure of an album. Populated by the calibre of musicianship that people dream of but more than that, and more importantly, the music communicated speaks directly to your soul.“
Magazine Sixty

Having built an impressive following on the back of live performances and social media, Berlin’s Moses Yoofee Trio shared OCEAN, their impatiently awaited debut mini-album, in November 2023. In early 2025, they followed up with the release of their acclaimed first full-length ‘MYT’. Since then the trio’s boundary-pushing fusion of jazz, soul, RnB and hip hop has been turning heads far beyond their hometown.?

OCEAN's tunes – written during sessions in mid-2022 at Berlin’s Brewery Studios and swiftly recorded by house engineer Erik Breuer, then mixed by Tytus Lesczcynski – reflect the spontaneity, inspiration and instinctive refinement of their performances. The deliciously frantic title track and increasingly ecstatic MINOR ISSUES stand in stark contrast to AT EASE’s restrained complexity, while FRAGILE’s hypnotic rhythm betrays their love of hip-hop and the lush RICHMOND is driven by a deliciously low-strung groove before shifting up a gear for its climax. “Everybody loves fusion,” the band agree, “even if they don’t admit it,” but that’s only one element of the trio’s sophisticated style, with Moses’ exceptional keyboard skills illuminated by Roman’s fluid bass lines and Noah’s eloquent drum patterns.

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Mythical soul/boogie record recorded in Louisiana by Nigerian multi instrumentalist Rick Asikpo when he was studying in Houston.

Rick Asikpo started his musical career while studying in Houston, joining local Black Artist collective The People’s Workshop, before returning to Nigeria and releasing a run of successful albums throughout the 80s.

“Got To Be Me” was recorded at River City Studio in Baton Rouge in 1981 but was only released back in Nigeria and sold little at the time, with original copies vanishingly hard to find.

Layers of synths wash over drawn out, Earth, Wind and Fire inspired grooves, moving from the uptempo “Disco Life” and “Jam” to the languid boogie and two step soul of “Love” and Donny Hathaway-esque “Let’s Get High”. The album is shot through a Texan/Nigerian filter that stands as a missing link between the dancefloor experiments of Houston and Lagos

As featured on Soundway’s seminal “Doing It In Lagos” compilation

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New compilation by Coco María on her own new founded imprint Club Coco. Comes with a 4 page folded insert.

There are albums that aren’t just listened to—they’re lived in. Club Coco – New Dimensions in Latin Music is one of them. This compilation, curated by Coco María, marks the first release on her own label and serves as a sonic portrait of what Latin music can become when it’s guided by intuition rather than labels. Eleven tracks open the windows and cross continents as effortlessly as changing a song. Here, Neapolitan synthesizers coexist with digital cumbias, voices whisper from within the groove, and rhythms invite movement—without urgency or pretense.

This selection isn’t defined by a genre but by a feeling: that of someone dancing with an open heart and keen ears. Each track is a postcard from a corner of the world, and also a love letter to rhythm and the emotions it stirs. From Bogotá to Naples, passing through Lima, Amsterdam, and New York, this compilation offers a journey where past and future brush against each other in the present moment. Club Coco doesn’t aim to define a sonic truth, but to invite listeners to discover new ways of hearing and feeling.

The party has already started. Come on in.

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While music traditions are often defined by established and protected sets of characteristics, popular music in South Africa betrays a willingness to adapt homegrown styles and an enthusiasm to adopt new influences. Musical currents like marabi, goema and mbaqanga help define what makes indigenous jazz unique, but it’s the eclecticism and hybridisation found in South African crates that keeps vinyl archaeologists like Fred “Voom Voom” Spider digging deeper. If we consider jazz to be a global musical dish, it follows that South Africa brings a distinct sonic salsa to the table. Spider calls it “Chakalaka Jazz” after the local tomato, onion and chilli relish that frequently accompanies South African meals. It’s the essential ingredient that unites and spices this diverse selection of tracks spanning the years 1969 through 2003. Featuring locals, exiles and expats with a reverent nod to the golden years of the 1970’s, these rare musical treasures are held together by that magical South African flavour.

Compiled by Fred Spider, Notes by Calum MacNaughton, Executive Producer: Franck Descollonges for Heavenly Sweetness

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