1
Takao - Long
2
Takao - Mar
3
Takao - Music Room (feat. Yumea Horiike)
4
Takao - ARP
5
Takao - SPE
6
Takao - Images
7
Takao - Fall (feat. Cristel Bere)
8
Takao - CF
9
Takao - Main Theme (feat. Atsuo Fujimoto)
10
Takao - The End of the Brim
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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More records from EM Records
1
Roland P. Young - Crystal Motions
2
Roland P. Young - Flutter Fly Flounce
3
Roland P. Young - Row Land
4
Roland P. Young - Loveliness
5
Roland P. Young - Velvet Dream
Reissue of the legendary 5-track first LP from horn wizard & original underground FM radio DJ Young, featuring soprano sax, clarinet, and electronically-processed bass clarinet. An enjoyable outing from a neglected musician. Cosmic afro mimimal electronic winds recorded in late 1970s San Francisco. Thankfully, Isophonic Boogie Woogie is as weird and as wacked as all the above business would lead you to believe. Originally released in 1980, Isophonic Boogie Woogie was the first realization of Young's unique version of free jazz music, which he referred to as "Afro spiritual minimal electronic space music" which on closer listening is WAY more spot on… Some of the coolest, weirdest, most far out free jazz we've heard for sure (Aquarius Records from the U.S)
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1
Sheriff Lindo and The Hammer - Dub House of Horrors
2
Sheriff Lindo and The Hammer - ! (Dub Version)
3
Sheriff Lindo and The Hammer - Grossly Overweight Dub
4
Sheriff Lindo and The Hammer - Fatal Dub
5
Sheriff Lindo and The Hammer - Dub Express
6
Sheriff Lindo and The Hammer - Dread-ging the River (feat. Annette)
7
Sheriff Lindo and The Hammer - And on the Seventh Day...Dub (feat. Annette)
8
Sheriff Lindo and The Hammer - Eastern Bloc (feat. Annette)
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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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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1
Tapes - Summer Jam
2
Tapes - Summer Jam (Live Acid Mix) [feat. 7FO]
"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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1
SAB - Yume-No-Ishi
2
SAB - Marble
3
SAB - Menou
4
SAB - Agate
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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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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1
7FO - Hou
2
7FO - Ten
3
7FO - Mi
4
7FO - Sou
5
7FO - Ryu no Nukegara
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1
Karavi Roushi & Aquadab - BLADE N
2
Karavi Roushi & Aquadab - Cheese In Hamburger (feat. Kuroyagi)
3
Karavi Roushi & Aquadab - Another Story
4
Karavi Roushi & Aquadab - New War
5
Karavi Roushi & Aquadab - Brother (feat. Aquadab)
6
Karavi Roushi & Aquadab - Melodic Stripes
7
Karavi Roushi & Aquadab - Eternal
8
Karavi Roushi & Aquadab - DRiLLA tO the mOOn (feat. ORIVA)
9
Karavi Roushi & Aquadab - K2 Retro (feat. CJ CAL)
10
Karavi Roushi & Aquadab - Serial
11
Karavi Roushi & Aquadab - Point
12
Karavi Roushi & Aquadab - Lamp
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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1
Clan Caiman - Tulipan
2
Clan Caiman - Pica-Pau
3
Clan Caiman - Take3 Tripa
4
Clan Caiman - Take3 Andanza
5
Clan Caiman - Laika
6
Clan Caiman - El Pantano
7
Clan Caiman - Duelo
8
Clan Caiman - Tulipan Song
** 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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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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1
goat - New Games
2
goat - STD
3
goat - Solid Eye
4
goat - Ghosts (Part 1)
5
goat - On Fire
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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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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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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1
Chabaphrai Namwai & Banyen Rakkaen - Lam Phloen Songthaew Fanclub
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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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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1
Futoshi Moriyama - Introduction
2
Futoshi Moriyama - Nico electro
3
Futoshi Moriyama - Question
4
Futoshi Moriyama - Kikkake
5
Futoshi Moriyama - Yu¯tai-Ridatsu
6
Futoshi Moriyama - Time Limit
7
Futoshi Moriyama - Yakkaina-Kioku
8
Futoshi Moriyama - Taco Percent OK (Yu¯tai-Ridatsu MIX)
9
Futoshi Moriyama - Kuro
"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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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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Label:Avenue 66
Cat-No:AVE66-20.1
Release-Date:26.09.2025
Genre:Electronic, Electronica
Configuration:12" Excl
Label:Avenue 66
Cat-No:AVE66-20.1
Release-Date:26.09.2025
Genre:Electronic, Electronica
Configuration:12" Excl
1
Jonquera - Cause & Utility
2
Jonquera - Tales Of Decay
3
Tolouse Low Trax - Amp
4
Tolouse Low Trax - Solid Rock
Tracklist
A1. Jonquera – Cause & Utility
A2. Jonquera – Tales Of Decay
B1. Tolouse Low Trax – Amp
B2. Tolouse Low Trax – Solid Rock
Info:
Avenue 66 opens Series 33 with a Düsseldorf–Lyon connection.
Jonquera first encountered Tolouse Low Trax a decade ago in a small Lyon club. That night, his hypnotic slow-motion set was cut short, yet it left a lasting imprint. The Düsseldorf artist’s mechanical psychedelia, and the influence of the Salon collective have been a constant touchstone for
Jonquera, even inspiring playful “Düsselcore” edits in his Tera Octe days.
After several LPs, Jonquera returns to the EP format with Cause & Utility / Tales of Decay. Built from improvised drum, bass, and vocal recordings, the tracks are reworked through heavy looping and acoustic treatment, a method inspired by his recent live shows. Cause & Utility revolves around the
abstract idea of two dogs as concepts, enriched by the earthy drone of a hurdy-gurdy. Tales of Decay paints a surreal image of a house losing its rooms like a body shedding parts.
The MPC sorcerer Tolouse Low Trax, aka Detlef Weinrich, brings his Düsseldorf circuitry and autobahn funk with two tracks of pure rhythm apparition. Amp is a quintessential Tolouse Low Trax cut, built on concealed rhythmic structures, swampy bass lines, and fragments of radio and voice
samples. The piece extends his exploration of how art can mirror the flow of inner-city traffic; drifting without a clear climax. Solid Rock echoes this idea, first conceived as a variation on Amp where particles repeat themselves. The result is distinct yet conceptually linked, evoking the
density of a crowded neighboring city: beginning in apparent disarray before locking into an abstract, hypnotic funk.
Series 33 begins with the convergence of Jonquera’s looping experiments and Tolouse Low Trax’s mechanical psychedelia, a dialogue between Lyon and Düsseldorf.
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
A1. Jonquera – Cause & Utility
A2. Jonquera – Tales Of Decay
B1. Tolouse Low Trax – Amp
B2. Tolouse Low Trax – Solid Rock
Info:
Avenue 66 opens Series 33 with a Düsseldorf–Lyon connection.
Jonquera first encountered Tolouse Low Trax a decade ago in a small Lyon club. That night, his hypnotic slow-motion set was cut short, yet it left a lasting imprint. The Düsseldorf artist’s mechanical psychedelia, and the influence of the Salon collective have been a constant touchstone for
Jonquera, even inspiring playful “Düsselcore” edits in his Tera Octe days.
After several LPs, Jonquera returns to the EP format with Cause & Utility / Tales of Decay. Built from improvised drum, bass, and vocal recordings, the tracks are reworked through heavy looping and acoustic treatment, a method inspired by his recent live shows. Cause & Utility revolves around the
abstract idea of two dogs as concepts, enriched by the earthy drone of a hurdy-gurdy. Tales of Decay paints a surreal image of a house losing its rooms like a body shedding parts.
The MPC sorcerer Tolouse Low Trax, aka Detlef Weinrich, brings his Düsseldorf circuitry and autobahn funk with two tracks of pure rhythm apparition. Amp is a quintessential Tolouse Low Trax cut, built on concealed rhythmic structures, swampy bass lines, and fragments of radio and voice
samples. The piece extends his exploration of how art can mirror the flow of inner-city traffic; drifting without a clear climax. Solid Rock echoes this idea, first conceived as a variation on Amp where particles repeat themselves. The result is distinct yet conceptually linked, evoking the
density of a crowded neighboring city: beginning in apparent disarray before locking into an abstract, hypnotic funk.
Series 33 begins with the convergence of Jonquera’s looping experiments and Tolouse Low Trax’s mechanical psychedelia, a dialogue between Lyon and Düsseldorf.
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
Jo Bubbles - Can You Dream
2
Jo Bubbles - Compass Point
3
Jo Bubbles - Floating In The Dancehall
4
Jo Bubbles - Tu Cariño
GENRE/S: Techouse
TRACKLIST:
[Vinyl]
A1. Can You Dream
A2. Compass Point
B1. Floating In The Dancehall
B2. Tu Cariño
SHORT INFO:
Swedish underground maestro Jo Bubbles (a.k.a. Jonas Dahlström) boasts an impressive streak of hot dance 12’’ releases in recent years, for illustrous labels like Parkway Records, The Transient Nature of The Disco Business and Västkransen. Ever intent on lifting homegrown talent and presenting it to its
worldwide audience, Studio Barnhus proudly unveils Mr. Bubble’s first outing on the label: a compilation of four distinct, yet equally striking dance tracks, each showcasing meticulously curated sound palettes paired with undeniably rock solid grooves.
From the electroid stomp of Compass Point to the Balearic-leaning grandeur of closing track Tu Cariño, these are cuts that would have gone down a storm during the early morning hours at Hägring, the infamous, now-defunct disco rave Jonas helped steer for over a decade. We’re thrilled to release these babies into the wild, for all to enjoy. Tu Cariño is out on vinyl and digital formats on October 10.
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
TRACKLIST:
[Vinyl]
A1. Can You Dream
A2. Compass Point
B1. Floating In The Dancehall
B2. Tu Cariño
SHORT INFO:
Swedish underground maestro Jo Bubbles (a.k.a. Jonas Dahlström) boasts an impressive streak of hot dance 12’’ releases in recent years, for illustrous labels like Parkway Records, The Transient Nature of The Disco Business and Västkransen. Ever intent on lifting homegrown talent and presenting it to its
worldwide audience, Studio Barnhus proudly unveils Mr. Bubble’s first outing on the label: a compilation of four distinct, yet equally striking dance tracks, each showcasing meticulously curated sound palettes paired with undeniably rock solid grooves.
From the electroid stomp of Compass Point to the Balearic-leaning grandeur of closing track Tu Cariño, these are cuts that would have gone down a storm during the early morning hours at Hägring, the infamous, now-defunct disco rave Jonas helped steer for over a decade. We’re thrilled to release these babies into the wild, for all to enjoy. Tu Cariño is out on vinyl and digital formats on October 10.
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
Damiano Von Erckert - The Second Chance
2
Damiano Von Erckert - Good To You
3
Damiano Von Erckert - Good To You (Roman Flügel Remix)
4
Damiano Von Erckert - The Second Chance (Pascal Moscheni Remix)
GENRE/S: Electronic, House, Techno, Electro
TRACKLISTS:
Damiano Von Erckert - The Second Chance
Damiano Von Erckert - Good To You
Damiano Von Erckert - Good To You (Roman Flügel Remix)
Damiano von Erckert - The Second Chance (Pascal Moscheni Remix)
SHORT INFO:
At the crossroads of tradition and experimentation, Damiano von Erckert's sonic identity is forged in the fertile space between house and techno - a spectrum he navigates with instinct and intention. On Magnolia, his debut for Polifonic Records, von Erckert distills his musical ethos into a concise, emotionally rich release that bridges soulful euphoria and rhythmic introspection.
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
TRACKLISTS:
Damiano Von Erckert - The Second Chance
Damiano Von Erckert - Good To You
Damiano Von Erckert - Good To You (Roman Flügel Remix)
Damiano von Erckert - The Second Chance (Pascal Moscheni Remix)
SHORT INFO:
At the crossroads of tradition and experimentation, Damiano von Erckert's sonic identity is forged in the fertile space between house and techno - a spectrum he navigates with instinct and intention. On Magnolia, his debut for Polifonic Records, von Erckert distills his musical ethos into a concise, emotionally rich release that bridges soulful euphoria and rhythmic introspection.
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
Simon Popp - Hain
2
Simon Popp - OiOOiOiiOi
3
Simon Popp - High High Low
4
Simon Popp - Birkenschlag
5
Simon Popp - Awen
6
Simon Popp - Wallride
7
Simon Popp - Powidl
8
Simon Popp - Nonnegative
9
Simon Popp - Eggplant
10
Simon Popp - Derecho
11
Simon Popp - Before All Else
LP
Special remarks: 180g, Limited Golden Vinyl
Tracklist:
A1) Hain 00:03:42
A2) OiOOiOiiOi 00:03:21
A3) High High Low 00:02:20
A4) Birkenschlag 00:03:53
A5) Awen 00:02:33
B1) Wallride 00:02:07
B2) Powidl 00:03:07
B3) Nonnegative 00:03:47
B4) Eggplant 00:02:51
B5) Derecho 00:03:52
B6) Before All Else 00:04:18
Info:
Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.
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
Special remarks: 180g, Limited Golden Vinyl
Tracklist:
A1) Hain 00:03:42
A2) OiOOiOiiOi 00:03:21
A3) High High Low 00:02:20
A4) Birkenschlag 00:03:53
A5) Awen 00:02:33
B1) Wallride 00:02:07
B2) Powidl 00:03:07
B3) Nonnegative 00:03:47
B4) Eggplant 00:02:51
B5) Derecho 00:03:52
B6) Before All Else 00:04:18
Info:
Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.
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
Ken Ishii - A1. Into The Inside (2024 Remaster)
2
Ken Ishii - A2. Fading Sky (2024 Remaster)
3
Ken Ishii - A3. Non Essential (2024 Remaster)
4
Ken Ishii - B1. Finite Time (2024 Remaster)
5
Ken Ishii - B2. Interjection (2024 Remaster)
6
Ken Ishii - B3. Scene One (2024 Remaster)
LP 180g Heavyweight vinyl, Remastered, with original track-list available on vinyl for the first time
"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily
"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)
GENRE: Techno, Ambient
Tracklist:
1. Into The Inside (2024 Remaster)
2. Fading Sky (2024 Remaster)
3. Non Essential (2024 Remaster)
Side B
1. Finite Time (2024 Remaster)
2. Interjection (2024 Remaster)
3. Scene One (2024 Remaster)
New liner notes by Martyn Pepperell
The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today.
Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.
Born 1970 in Sapporo, Ishii was introduced to electronic music at a young age through arcade games, and Japanese and German pioneers like Yellow Magic Orchestra, Isao Tomita and Kraftwerk. During his teens, he absorbed new wave, synth-pop, EBM and industrial, before making a life-changing discovery of Detroit techno in the late 80s.
As the 1990s dawned, so did his introduction to Black Dog Productions and Warp Records' Artificial Intelligence compilations. Blown away by the emerging British and American IDM, braindance, and ambient techno movements, he quickly folded their influence into his still-developing but cultivated aesthetic.
A futuristic confluence of unplaceable ambient atmospheres, space age techno, IDM and minimalist composition, 'Reference To Difference' unfolds as an effortless series of exercises in pristine synth textures, robust man/machine rhythm and understated melodies. It teleports the listener back to a golden moment in the mid-1990s, when a dedicated generation rose out of Tokyo's storied clubs and took the innovation, energy, and creativity of Japan's unique techno culture to the world.
Opened in 1993, Maniac Love was a new nightclub where Manabu Yamazaki aka DJ Yama promoted the Sublime parties, which soon became a crucial hub within the burgeoning Tokyo underground. It was here where Yamazaki rubbed shoulders with peers including Ishii and Susumu Yokota, and the trio's future became intertwined.
Much like Ishii, the late Susumu Yokota began his musical career by reaching out to Europe. Not long before Ishii released his debut longplayer 'Garden On The Palm' through Belgium's R&S, Yokota released his debut LP 'The Frankfurt-Tokyo Connection' through Harthouse, the German label co-founded by Sven Väth. In the wake of both records' overseas success, Ishii and Yokota set a benchmark for techno in Japan.
By 1993, as they both became in-demand producers and DJs, it felt like their dreams were coming true. Through talking with Ishii and Yokota, Yamazaki became emboldened to transform Sublime into a record label.
Soon after, Yamazaki partnered with Hideoki Amano, who was on the verge of founding Musicmine, a now respected and longstanding independent Japanese music company. As Yamazaki tells it, Amano helped him turn his dream into a reality: Sublime Records.
For Musicmine and Sublime Records' inaugural album releases, Yamazaki and Amano approached both Ishii and Yokota, resulting in the simultaneous drop of 'Reference To Difference' and 'Acid Mt. Fuji' respectively, on June 29th 1994.
Yamazaki remembered 'Reference To Difference' being well received by DJs, listeners, record store buyers and journalists, stating "people were excited by this new wave of music coming out of Japan, and had high praise for its unique sound."
With the pair of LPs further stamping Japan on the contemporary musical globe, the scene was beginning to boom at home too. Specialist record stores, and club music magazines like Ele-King and Loud spread the word, and in the wake of Maniac Love's impact, new nightclubs like the legendary Liquid Room were opening up, bringing a steady stream of world-famous DJs to the Japanese capital.
"Without a doubt, I think the arrival of Ken Ishii was a major turning point for the Japanese music industry in the 1990s," Amano reflected. "Nowadays, the Western club music scene is rediscovering Japanese techno from the 1990s, and digging our music is a common sight, but before Ken Ishii, no Japanese DJ was in sync with the global club music scene. He was the catalyst."
"Looking back, I can tell it was meaningful that this was one of the first techno albums by a Japanese artist that was released on a Japanese label," Ishii reflects. "Maybe I did something that bridged between old school Japanese electronic music and 'new school' techno in line with the Detroit sound with this record" he adds, in modest understatement.
The new liner notes were written Martyn Pepperell, a well-regarded music journalist who has covered Susumu Yokota for Wax Poetics and Midori Takada for Dazed, amongst numerous other articles.
Ken Ishi DJ dates:
Fri 14 June Tokyo, Japan : MUSICMINE 30th Anniversary @ WWW
Sat 15 June Nagano Pref, Japan : Re:birth Festival 2024 @ Kurumayama-Kogen Skypark Resort
Sat 22 June Tbilisi, Georgia : Tbilisi Open Air (Khidi Stage) @ Lisi Wonderland
Fri 12 July Tokyo, Japan : TECHNOH LAB. @ Suigian (*Non+techno performance with Manjiro Tatsumi)
Fri 12 July Tokyo, Japan : @ Vent
Fri 26 July Tokyo, Japan : @ Shinjuku Loft
Sun 28 July Naeba, Japan : @ Fuji Rock Festival
Sat 31 August Amsterdam, The Netherlands : Wooferland 2024 @ Houtrak Halfweg
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
"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily
"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)
GENRE: Techno, Ambient
Tracklist:
1. Into The Inside (2024 Remaster)
2. Fading Sky (2024 Remaster)
3. Non Essential (2024 Remaster)
Side B
1. Finite Time (2024 Remaster)
2. Interjection (2024 Remaster)
3. Scene One (2024 Remaster)
New liner notes by Martyn Pepperell
The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today.
Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.
Born 1970 in Sapporo, Ishii was introduced to electronic music at a young age through arcade games, and Japanese and German pioneers like Yellow Magic Orchestra, Isao Tomita and Kraftwerk. During his teens, he absorbed new wave, synth-pop, EBM and industrial, before making a life-changing discovery of Detroit techno in the late 80s.
As the 1990s dawned, so did his introduction to Black Dog Productions and Warp Records' Artificial Intelligence compilations. Blown away by the emerging British and American IDM, braindance, and ambient techno movements, he quickly folded their influence into his still-developing but cultivated aesthetic.
A futuristic confluence of unplaceable ambient atmospheres, space age techno, IDM and minimalist composition, 'Reference To Difference' unfolds as an effortless series of exercises in pristine synth textures, robust man/machine rhythm and understated melodies. It teleports the listener back to a golden moment in the mid-1990s, when a dedicated generation rose out of Tokyo's storied clubs and took the innovation, energy, and creativity of Japan's unique techno culture to the world.
Opened in 1993, Maniac Love was a new nightclub where Manabu Yamazaki aka DJ Yama promoted the Sublime parties, which soon became a crucial hub within the burgeoning Tokyo underground. It was here where Yamazaki rubbed shoulders with peers including Ishii and Susumu Yokota, and the trio's future became intertwined.
Much like Ishii, the late Susumu Yokota began his musical career by reaching out to Europe. Not long before Ishii released his debut longplayer 'Garden On The Palm' through Belgium's R&S, Yokota released his debut LP 'The Frankfurt-Tokyo Connection' through Harthouse, the German label co-founded by Sven Väth. In the wake of both records' overseas success, Ishii and Yokota set a benchmark for techno in Japan.
By 1993, as they both became in-demand producers and DJs, it felt like their dreams were coming true. Through talking with Ishii and Yokota, Yamazaki became emboldened to transform Sublime into a record label.
Soon after, Yamazaki partnered with Hideoki Amano, who was on the verge of founding Musicmine, a now respected and longstanding independent Japanese music company. As Yamazaki tells it, Amano helped him turn his dream into a reality: Sublime Records.
For Musicmine and Sublime Records' inaugural album releases, Yamazaki and Amano approached both Ishii and Yokota, resulting in the simultaneous drop of 'Reference To Difference' and 'Acid Mt. Fuji' respectively, on June 29th 1994.
Yamazaki remembered 'Reference To Difference' being well received by DJs, listeners, record store buyers and journalists, stating "people were excited by this new wave of music coming out of Japan, and had high praise for its unique sound."
With the pair of LPs further stamping Japan on the contemporary musical globe, the scene was beginning to boom at home too. Specialist record stores, and club music magazines like Ele-King and Loud spread the word, and in the wake of Maniac Love's impact, new nightclubs like the legendary Liquid Room were opening up, bringing a steady stream of world-famous DJs to the Japanese capital.
"Without a doubt, I think the arrival of Ken Ishii was a major turning point for the Japanese music industry in the 1990s," Amano reflected. "Nowadays, the Western club music scene is rediscovering Japanese techno from the 1990s, and digging our music is a common sight, but before Ken Ishii, no Japanese DJ was in sync with the global club music scene. He was the catalyst."
"Looking back, I can tell it was meaningful that this was one of the first techno albums by a Japanese artist that was released on a Japanese label," Ishii reflects. "Maybe I did something that bridged between old school Japanese electronic music and 'new school' techno in line with the Detroit sound with this record" he adds, in modest understatement.
The new liner notes were written Martyn Pepperell, a well-regarded music journalist who has covered Susumu Yokota for Wax Poetics and Midori Takada for Dazed, amongst numerous other articles.
Ken Ishi DJ dates:
Fri 14 June Tokyo, Japan : MUSICMINE 30th Anniversary @ WWW
Sat 15 June Nagano Pref, Japan : Re:birth Festival 2024 @ Kurumayama-Kogen Skypark Resort
Sat 22 June Tbilisi, Georgia : Tbilisi Open Air (Khidi Stage) @ Lisi Wonderland
Fri 12 July Tokyo, Japan : TECHNOH LAB. @ Suigian (*Non+techno performance with Manjiro Tatsumi)
Fri 12 July Tokyo, Japan : @ Vent
Fri 26 July Tokyo, Japan : @ Shinjuku Loft
Sun 28 July Naeba, Japan : @ Fuji Rock Festival
Sat 31 August Amsterdam, The Netherlands : Wooferland 2024 @ Houtrak Halfweg
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
Label:R&S Records
Cat-No:RS95035
Release-Date:17.10.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
Label:R&S Records
Cat-No:RS95035
Release-Date:17.10.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
Tracklist
1. Digeridoo
2. Flaphead
3. Phloam
4. Isopropanol
5. Polynomial-C
6. Tamphex (Hedphuq Mix)
7. Phlange Phace
8. Dodeccaheedron
9. Analogue Bubblebath 1
10. Metaphaestic
11. We have arrived (Aphex Twin QQT Mix)
12. We have arrived (Aphex Twin TTQ Mix)
13. Didgeridoo (Live in Cornwall 1990)
Undoubtedly one of the most important and influential electronic artists to have emerged in popular music, the sonic misfit from Cornwall, Aphex Twin, released a breathtaking slew of early singles and albums from 1991 onwards (and continues to present day). The first clutch of groundbreaking works came on the legendary Belgium label R&S Records and were collected on a compilation album ‘Classics’, released in 1995, and followed the global success of the timeless album ‘Selected Ambient Works 85-92’.
‘Classics’ receives a long overdue vinyl & CD re-press for 2025, with a fresh vinyl cut by acclaimed mastering engineer Beau Thomas, and a R&S Records sticker sheet inserted into the LP sleeves including cover artwork of the two singles ‘Digeridoo’ and ‘Xylem Tube’ EP which are both featured on this compilation album.
Key Sales Notes
- 30 Years Since first pressing in 1995
- R&S Records sticker sheet inserted into the LP Sleeves
- Fresh vinyl cut by acclaimed mastering engineer Beau Thomas
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. Digeridoo
2. Flaphead
3. Phloam
4. Isopropanol
5. Polynomial-C
6. Tamphex (Hedphuq Mix)
7. Phlange Phace
8. Dodeccaheedron
9. Analogue Bubblebath 1
10. Metaphaestic
11. We have arrived (Aphex Twin QQT Mix)
12. We have arrived (Aphex Twin TTQ Mix)
13. Didgeridoo (Live in Cornwall 1990)
Undoubtedly one of the most important and influential electronic artists to have emerged in popular music, the sonic misfit from Cornwall, Aphex Twin, released a breathtaking slew of early singles and albums from 1991 onwards (and continues to present day). The first clutch of groundbreaking works came on the legendary Belgium label R&S Records and were collected on a compilation album ‘Classics’, released in 1995, and followed the global success of the timeless album ‘Selected Ambient Works 85-92’.
‘Classics’ receives a long overdue vinyl & CD re-press for 2025, with a fresh vinyl cut by acclaimed mastering engineer Beau Thomas, and a R&S Records sticker sheet inserted into the LP sleeves including cover artwork of the two singles ‘Digeridoo’ and ‘Xylem Tube’ EP which are both featured on this compilation album.
Key Sales Notes
- 30 Years Since first pressing in 1995
- R&S Records sticker sheet inserted into the LP Sleeves
- Fresh vinyl cut by acclaimed mastering engineer Beau Thomas
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
Tommy Guerrero - Intro Lectric Chile Goat (0:56)
2
Tommy Guerrero - Abierto (3:59)
3
Tommy Guerrero - Organism (4:07)
4
Tommy Guerrero - Thank You MK (3:50)
5
Tommy Guerrero - Tatanka (4:09)
6
Tommy Guerrero - Interlude Train Of Thought (1:20)
7
Tommy Guerrero - It Gets Heavy (3:23)
8
Tommy Guerrero - Thin Brown Layer (4:39)
9
Tommy Guerrero - Interlude So Many Years Ago (0:45)
10
Tommy Guerrero - Terra Unfirma (4:05)
11
Tommy Guerrero - Gettin It Together (3:22)
12
Tommy Guerrero - Another Brother Gone (2:28)
13
Tommy Guerrero - Broken Blood (3:47)
14
Tommy Guerrero - Interlude And The Day Goes By (1:28)
15
Tommy Guerrero - Lost Unfound (3:32)
16
Tommy Guerrero - The Color Of Life (3:57)
17
Tommy Guerrero - Falling Awake (3:56)
2026 repress
Format Notes: remastered, 180g vinyl, expanded to double LP, gatefold sleeve
Track List:
A1 : Intro Lectric Chile Goat (0:56)
A2 : Abierto (3:59)
A3 : Organism (4:07)
A4 : Thank You MK (3:50)
B1 : Tatanka (4:09)
B2 : Interlude Train Of Thought (1:20)
B3 : It Gets Heavy (3:23)
B4 : Thin Brown Layer (4:39)
C1 : Interlude So Many Years Ago (0:45)
C2 : Terra Unfirma (4:05)
C3 : Gettin It Together (3:22)
C4 : Another Brother Gone (2:28)
C5 : Broken Blood (3:47)
D1 : Interlude And The Day Goes By (1:28)
D2 : Lost Unfound (3:32)
D3 : The Color Of Life (3:57)
D4 : Falling Awake (3:56)
Release Notes:
It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.
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
Format Notes: remastered, 180g vinyl, expanded to double LP, gatefold sleeve
Track List:
A1 : Intro Lectric Chile Goat (0:56)
A2 : Abierto (3:59)
A3 : Organism (4:07)
A4 : Thank You MK (3:50)
B1 : Tatanka (4:09)
B2 : Interlude Train Of Thought (1:20)
B3 : It Gets Heavy (3:23)
B4 : Thin Brown Layer (4:39)
C1 : Interlude So Many Years Ago (0:45)
C2 : Terra Unfirma (4:05)
C3 : Gettin It Together (3:22)
C4 : Another Brother Gone (2:28)
C5 : Broken Blood (3:47)
D1 : Interlude And The Day Goes By (1:28)
D2 : Lost Unfound (3:32)
D3 : The Color Of Life (3:57)
D4 : Falling Awake (3:56)
Release Notes:
It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.
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
Pedro Vian - A Glory Island
2
Pedro Vian - I am OK (Club Mix)
3
Pedro Vian - Sentiments
4
Pedro Vian - Where Should I Go?
5
Pedro Vian - Teresa (Comelade's Piano Redubbed)
Physical format only. No digital. Limited to 100 copies.
After a long break from the 12" club format, Pedro Vian returns with a four-track EP aimed at the dancefloor. One of the key cuts is a club version of "I am OK", originally released on his latest album The Addiction (2025).
The EP also includes an additional track, "Teresa (Comelade's Piano Redubbed)" - a reinterpretation that samples Pascal Comelade's version of a song by Ovidi Montllor, the iconic Catalan folk singer known for his poetic, politically charged work during the post-Franco era. Vian reshapes this reference into a meditative ambient piece.
Mastered by Rupert Clervaux.
Tracklist:
A1. A Glory Island
A2. I am OK (Club Mix)
B1. Sentiments
B2. Where Should I Go?
B3. Teresa (Comelade's Piano Redubbed)
Genre: Techno / Breaks
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
After a long break from the 12" club format, Pedro Vian returns with a four-track EP aimed at the dancefloor. One of the key cuts is a club version of "I am OK", originally released on his latest album The Addiction (2025).
The EP also includes an additional track, "Teresa (Comelade's Piano Redubbed)" - a reinterpretation that samples Pascal Comelade's version of a song by Ovidi Montllor, the iconic Catalan folk singer known for his poetic, politically charged work during the post-Franco era. Vian reshapes this reference into a meditative ambient piece.
Mastered by Rupert Clervaux.
Tracklist:
A1. A Glory Island
A2. I am OK (Club Mix)
B1. Sentiments
B2. Where Should I Go?
B3. Teresa (Comelade's Piano Redubbed)
Genre: Techno / Breaks
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
LB0097LP-NDC (Non Die Cut) Floating Points, Pharoah Sanders & The London Symphony Orchestra "Promises" will be the new standard product moving forward
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
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
Midori Takada - Cutting Branches For A Temporary Shelter (In The Morning) - 21:25
2
Midori Takada - Cutting Branches For A Temporary Shelter (In The Night) - 22:42
Genre: Ambient, Environmental, Mbira, Marimba, Ambient, Minimal, African
LP: 350gsm Sleeve, Obi, Liner Notes
Tracklisting LP
A1. Cutting Branches For A Temporary Shelter (In The Morning) - 21:25
B1. Cutting Branches For A Temporary Shelter (In The Night) - 22:42
Info
WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches For A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.
Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.
The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.
Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."
The album comes with in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.
The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.
Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.
The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.
Points of interests
- For fans of percussion, Mbira, environmental, marimba, minimalism, traditional, African music, Japanese music, Through The Looking Glass, and very old music instruments.
- First solo album by Midori Takada in 23 years, available on vinyl and CD, music played with instruments from the collection of the MEG Museum in Geneva, artwork by Portia Zvavahera.
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
LP: 350gsm Sleeve, Obi, Liner Notes
Tracklisting LP
A1. Cutting Branches For A Temporary Shelter (In The Morning) - 21:25
B1. Cutting Branches For A Temporary Shelter (In The Night) - 22:42
Info
WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches For A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.
Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.
The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.
Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."
The album comes with in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.
The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.
Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.
The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.
Points of interests
- For fans of percussion, Mbira, environmental, marimba, minimalism, traditional, African music, Japanese music, Through The Looking Glass, and very old music instruments.
- First solo album by Midori Takada in 23 years, available on vinyl and CD, music played with instruments from the collection of the MEG Museum in Geneva, artwork by Portia Zvavahera.
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
Princess P presents:Fortran 5,Renegade Soundwave, Saint Etienne, S.Y.T. (Shave Your Tongue) /2x12"LP
Label:Princess P
Cat-No:princess3
Release-Date:17.10.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
Label:Princess P
Cat-No:princess3
Release-Date:17.10.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
1
Various Artists - A. Fortran 5 – Heart On The Line (Moby's Bassline Mix) 4:58 129BPM
2
Various Artists - B. Renegade Soundwave – Women Respond To Bass (Vocal) 5:39 120BPM
3
Various Artists - C. Saint Etienne – Stoned To Say The Least 7:42 118BPM
4
Various Artists - D. S.Y.T. (Shave Your Tongue) – Pleasure (Dub) 6:51 115BPM
2x12" LP - Half-speed cutting and mastering by Sidney Claire Meyer @ EBS Berlin Studios (formerly Deutsche Grammophon), pressed at 45rpm
Text:
Indulge in a delicious audiophile epilogue to Princess P's Infinite Sonore compilation with this 2x12" musical offering.
Swiss DJ Princess P, known for her wide-ranging selections, that resonates equally on the dancefloor and in immersive listening spaces, has been a dynamic presence in the Swiss electronic scene since the mid ’90s and has cultivated a genre-defying style. Her sets have become staples at clubs like Zukunft and festivals such as Watching Trees and Convenanza, where she showcases her iconoclastic musical knowledge and maverick flair.
Artist: Various Artists
Title: Princess P Presents
A. Fortran 5 – Heart On The Line (Moby's Bassline Mix) 4:58 129BPM
B. Renegade Soundwave – Women Respond To Bass (Vocal) 5:39 120BPM
C. Saint Etienne – Stoned To Say The Least 7:42 118BPM
D. S.Y.T. (Shave Your Tongue) – Pleasure (Dub) 6:51 115BPM
Half-speed cutting and mastering by Sidney Claire Meyer @ EBS Berlin Studios (formerly Deutsche Grammophon), pressed at 45rpm—these tracks have never sounded better, have they?
Liner Notes by Joe Muggs (Bass, Mids, Tops – An Oral History of Soundsystem Culture)
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
Text:
Indulge in a delicious audiophile epilogue to Princess P's Infinite Sonore compilation with this 2x12" musical offering.
Swiss DJ Princess P, known for her wide-ranging selections, that resonates equally on the dancefloor and in immersive listening spaces, has been a dynamic presence in the Swiss electronic scene since the mid ’90s and has cultivated a genre-defying style. Her sets have become staples at clubs like Zukunft and festivals such as Watching Trees and Convenanza, where she showcases her iconoclastic musical knowledge and maverick flair.
Artist: Various Artists
Title: Princess P Presents
A. Fortran 5 – Heart On The Line (Moby's Bassline Mix) 4:58 129BPM
B. Renegade Soundwave – Women Respond To Bass (Vocal) 5:39 120BPM
C. Saint Etienne – Stoned To Say The Least 7:42 118BPM
D. S.Y.T. (Shave Your Tongue) – Pleasure (Dub) 6:51 115BPM
Half-speed cutting and mastering by Sidney Claire Meyer @ EBS Berlin Studios (formerly Deutsche Grammophon), pressed at 45rpm—these tracks have never sounded better, have they?
Liner Notes by Joe Muggs (Bass, Mids, Tops – An Oral History of Soundsystem Culture)
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
Ural 13 Diktators - Diskossa
2
Ural 13 Diktators - Paraati
3
Ural 13 Diktators - 1985
4
Ural 13 Diktators - Manifesti
5
Ural 13 Diktators - Uralin Pihlaja
Long-overdue repress of the 1998 classic Ural 13 Diktators debut release. From Ghetto Techno to Hi-NRG influenced Neo-Soviet Electroclash and traditional melodies. Mastered from the original tapes and lacquer cut in 2025 by Mike Grinser at Manmade Mastering, Berlin. Slava Ukraini!
A1: Diskossa
A2: Paraati
B1: 1985
B2: Manifesti
B3: Uralin Pihlaja
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
A1: Diskossa
A2: Paraati
B1: 1985
B2: Manifesti
B3: Uralin Pihlaja
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