1
Case Woo - Polyester Cookies
2
Case Woo - Mellow And Sweet
3
Case Woo - You've Got Sound
4
Case Woo - That Love Thing
5
Case Woo - Shroom Soup
6
Case Woo - Fluff Haven
7
Case Woo - Bozzattitude
8
Case Woo - Subliminal
9
Case Woo - Urban Souls
10
Case Woo - Subspace (Radio Edit)
11
Case Woo - Control Seven One
12
Case Woo - You've Got Sound (Divinity Mix)
Format: 2LP
Tracklist:
A1.Polyester Cookies
A2.Mellow And Sweet
A3.You've Got Sound
B1.That Love Thing
B2.Shroom Soup
B3.Fluff Haven
C1.Bozzattitude
C2.Subliminal
C3.Urban Souls
D1.Subspace (Radio Edit)
D2.Control Seven One
D3.You've Got Sound (Divinity Mix)
hello,
„A Deeper Shade“, produced by Case Woo and originally released on CD only in 2001, will soon be reissued as a double 12“ vinyl. It will come with a full-cover print of the original artwork, as well as an insert with photos of young Case in the studio and a list of the equipment that was used to record this album.
Back then, this release was hailed as the definitive and only full-length Deep House / Tech House album to emerge from the tiny island of Singapore, by one of the pioneers of the local electronic music industry.
Case himself states: „I was introduced to the Deep House genre in 1999 and it was love at first listen, pure magic! What began as a spark of inspiration soon led to a month of self-imposed studio isolation - a journey of immersion, expression, and devotion to a newfound sound. The outcome of that creative dive is „A Deeper Shade“.“
The tracks „Polyester Cookies“ and „Subliminal“ were picked up by transport recordings for TSP008 in 2000/2001 and are getting rare & expensive these days. Now you can get the whole album on wax for the first time - 65 minutes of pure deepness that stood the test of time!
goodbye.
Credits:
All music composed, arranged, produced and engineered at Opuz Studio by Case Woo.
Original mastering at Eastward Audio and Pavanne by Jason Tan.
Master cut by Tim Xavier at Manmade Mastering.
Pressed at Optimal.
Original album cover artworks by Shawnn Lai.
Label artwork & cover redesign by Julian Gertenbach.
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:
A1.Polyester Cookies
A2.Mellow And Sweet
A3.You've Got Sound
B1.That Love Thing
B2.Shroom Soup
B3.Fluff Haven
C1.Bozzattitude
C2.Subliminal
C3.Urban Souls
D1.Subspace (Radio Edit)
D2.Control Seven One
D3.You've Got Sound (Divinity Mix)
hello,
„A Deeper Shade“, produced by Case Woo and originally released on CD only in 2001, will soon be reissued as a double 12“ vinyl. It will come with a full-cover print of the original artwork, as well as an insert with photos of young Case in the studio and a list of the equipment that was used to record this album.
Back then, this release was hailed as the definitive and only full-length Deep House / Tech House album to emerge from the tiny island of Singapore, by one of the pioneers of the local electronic music industry.
Case himself states: „I was introduced to the Deep House genre in 1999 and it was love at first listen, pure magic! What began as a spark of inspiration soon led to a month of self-imposed studio isolation - a journey of immersion, expression, and devotion to a newfound sound. The outcome of that creative dive is „A Deeper Shade“.“
The tracks „Polyester Cookies“ and „Subliminal“ were picked up by transport recordings for TSP008 in 2000/2001 and are getting rare & expensive these days. Now you can get the whole album on wax for the first time - 65 minutes of pure deepness that stood the test of time!
goodbye.
Credits:
All music composed, arranged, produced and engineered at Opuz Studio by Case Woo.
Original mastering at Eastward Audio and Pavanne by Jason Tan.
Master cut by Tim Xavier at Manmade Mastering.
Pressed at Optimal.
Original album cover artworks by Shawnn Lai.
Label artwork & cover redesign by Julian Gertenbach.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from hello, goodbye
1
Quarks - Allein (Augen Zu Und Durch... Remix By Sascha Funke)
2
Quarks - Allein (Rolling Luggage Mix By Swayzak)
3
Quarks - Allein (Original Mix)
Format: 12", 45RPM
Tracklist:
A1: Allein (Augen Zu Und Durch... Remix By Sascha Funke)
B1: Allein (Rolling Luggage Mix By Swayzak)
B2: Allein (Original Mix)
hello,
'Allein' by Quarks is a timeless piece of German electro-pop culture that captures the nostalgia of Berlin’s wild & spaced out 2000s like no other!
Originally released on the duo's third album "Trigger Me Happy", the single was later released as a 12" with two massive remixes that were only available on vinyl.
Whether it's Sascha Funke's haunting minimal techno masterpiece or Swayzak's colourful & electrifying banger - both remixes leave no doubt that this 12" will bring goosebumps & tears of joy to every dance floor until the end of time!
With all original masters & DATs lost, this reissue has been carefully restored & remastered from the original vinyl by Dubplates & Mastering. Sounding crystal clear & ready for the club in 2026!
goodbye.
Pressed at MPO.
Labelartwork & cover redesign by Julian Gertenbach.
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:
A1: Allein (Augen Zu Und Durch... Remix By Sascha Funke)
B1: Allein (Rolling Luggage Mix By Swayzak)
B2: Allein (Original Mix)
hello,
'Allein' by Quarks is a timeless piece of German electro-pop culture that captures the nostalgia of Berlin’s wild & spaced out 2000s like no other!
Originally released on the duo's third album "Trigger Me Happy", the single was later released as a 12" with two massive remixes that were only available on vinyl.
Whether it's Sascha Funke's haunting minimal techno masterpiece or Swayzak's colourful & electrifying banger - both remixes leave no doubt that this 12" will bring goosebumps & tears of joy to every dance floor until the end of time!
With all original masters & DATs lost, this reissue has been carefully restored & remastered from the original vinyl by Dubplates & Mastering. Sounding crystal clear & ready for the club in 2026!
goodbye.
Pressed at MPO.
Labelartwork & cover redesign by Julian Gertenbach.
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
Customers who bought this also bought this
Rights: World excluding FR & UK
Packaging: 1x Black 140 Grs Vinyl, 'Dufy' Sleeve with textured card & gold Pms, printed inner sleeve, marketing sticker. Vinyl cut at half-speed.
COLLECTOR VINYL 1LP,
- Restored "second edition" artwork with textured sleeve
- The exact textured card for the outer sleeve has been accurately sourced. Gold PMS finish, printed inner sleeve, marketing sticker.
- 45th anniversary edition
- Newly remastered from the original source tapes for the first time since 1980
- ½ speed master
- Liner notes by The Durutti Column / Factory Records expert James Nice
VINYL EDITION
Side One (all 2025 remasters)
1. Sketch For Summer
2. Requiem for a Father
3. Katherine
4. Conduct
Side Two (all 2025 remasters)
1. Untitled
2. Beginning
3. Jazz
4. Sketch for Winter
5. Collette
6. In 'D'
7. Lips That Would Kiss
8. Madeleine
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
Packaging: 1x Black 140 Grs Vinyl, 'Dufy' Sleeve with textured card & gold Pms, printed inner sleeve, marketing sticker. Vinyl cut at half-speed.
COLLECTOR VINYL 1LP,
- Restored "second edition" artwork with textured sleeve
- The exact textured card for the outer sleeve has been accurately sourced. Gold PMS finish, printed inner sleeve, marketing sticker.
- 45th anniversary edition
- Newly remastered from the original source tapes for the first time since 1980
- ½ speed master
- Liner notes by The Durutti Column / Factory Records expert James Nice
VINYL EDITION
Side One (all 2025 remasters)
1. Sketch For Summer
2. Requiem for a Father
3. Katherine
4. Conduct
Side Two (all 2025 remasters)
1. Untitled
2. Beginning
3. Jazz
4. Sketch for Winter
5. Collette
6. In 'D'
7. Lips That Would Kiss
8. Madeleine
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
Cortex - X
2
Cortex - U
3
Cortex - Y
4
Cortex - Z
5
Cortex - P
6
Cortex - S
7
Cortex - W
8
Cortex - M
9
Cortex - I
10
Cortex - A
11
Cortex - AI
12
Cortex - AF
13
Cortex - AL
Tracklisting :
A1- X
A2 - U
A3 - Y
A4 - Z
A5 - P
A6 - S
A7 - W
A8 - M
A9 - I
A10 - A
B1 - AI
B2 - AF
B3 - AL
For the first time on vinyl a collection of tracks by Cortex, Alain Neffe (Bene Gesserit,Insane Music) experimental spoken-word project originally released on tape in 1984.
Cortex was never intended to be a conventional musical project.
From the very beginning it was centered around free live performances. These encounters were stripped down and highly visual: Alain Neffe constructed a trapezoidal fluorescent white screen lit by black light.
The narrator—la récitante—was only illuminated in the face, while the rest of the stage remained in complete darkness.
This created a ghostly effect where the audience could see only her glowing face and dark silhouette. She was a beautiful young woman, with a striking presence, and beside her, Alain Neffe played synthesizer and created sonic effects.
The aim of Cortex was to deliver a minimalist and emotional experience, one centered on text and the voice of the narrator.
Most of the tracks that exist today were recorded informally during rehearsals, using two microphones placed in front of Marshall amps, captured directly to cassette.
La récitante could choose a text from a collection of hundreds. Then, the music was improvised in real time around her voice. That process, simple, direct, and instinctive produced a body of work that’s rough around the edges, but full of presence. It’s not polished, but that’s the point.
Cortex was focused entirely on the connection between voice and sound.
Limited to 300 copies
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A1- X
A2 - U
A3 - Y
A4 - Z
A5 - P
A6 - S
A7 - W
A8 - M
A9 - I
A10 - A
B1 - AI
B2 - AF
B3 - AL
For the first time on vinyl a collection of tracks by Cortex, Alain Neffe (Bene Gesserit,Insane Music) experimental spoken-word project originally released on tape in 1984.
Cortex was never intended to be a conventional musical project.
From the very beginning it was centered around free live performances. These encounters were stripped down and highly visual: Alain Neffe constructed a trapezoidal fluorescent white screen lit by black light.
The narrator—la récitante—was only illuminated in the face, while the rest of the stage remained in complete darkness.
This created a ghostly effect where the audience could see only her glowing face and dark silhouette. She was a beautiful young woman, with a striking presence, and beside her, Alain Neffe played synthesizer and created sonic effects.
The aim of Cortex was to deliver a minimalist and emotional experience, one centered on text and the voice of the narrator.
Most of the tracks that exist today were recorded informally during rehearsals, using two microphones placed in front of Marshall amps, captured directly to cassette.
La récitante could choose a text from a collection of hundreds. Then, the music was improvised in real time around her voice. That process, simple, direct, and instinctive produced a body of work that’s rough around the edges, but full of presence. It’s not polished, but that’s the point.
Cortex was focused entirely on the connection between voice and sound.
Limited to 300 copies
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
aus isoda - Valleria
2
aus isoda - Autumn Has Broken
3
aus isoda - Veiled
4
aus isoda - White Eye
5
aus isoda - Swift
6
aus isoda - Penumbra
7
aus isoda - Susurration
8
aus isoda - Palinode
9
aus isoda - All Bound Up Together
Territories: WORLD
LP: Limited Edition, Heavyweight Sleeve With 3D Selective Varnish, Sticker
Genre: Environmental, Ambient, Minimalism, Electronic, New Age, Chillout
Tracklisting LP
A1. Valleria
A2. Autumn Has Broken
A3. Veiled
A4. White Eye
B1. Swift
B2. Penumbra
B3. Susurration
B4. Palinode
B5. All Bound Up Together
Info
WRWTFWW Records is very happy to announce the release of Interwoven, the deeply moving collaborative album from Ken-ichiro Isoda and aus (Yasuhiko Fukuzono) — now available on limited edition transparent sea green colored vinyl LP housed in a heavyweight sleeve with selective-varnish 3D print, as well as in digipack CD and digital formats.
Recorded between Hachijo Island and Tokyo, Interwoven distills two visionary voices of Japanese ambient and electronic music into a single breath of feather-light and quietly luminous meditative sound.
Isoda is a revered figure of New-age and environmental music whose work on Oscilation Circuit – Série Réflexion 1 (originally released on famed label Sound Process) has long attained mythic status. He composes, notably with harp and wind instruments, produces contemporary music and video game scores, and crafts his very own brand of ambient music from the volcanic island of Hachijo-jima. Tokyo-based electronic composer and synth master aus is known for tender, melody-driven soundscapes. From the two artists comes a dialogue suspended between land and sea, bridging the generation gap and the physical distance between them.
What began as a series of sketches — impressions of water, islands, and shifting light — gradually evolved into an exchange without explanation, a correspondence of sound that dissolved boundaries. In that anonymity, both artists discovered an uncommon freedom: a place where each could move lightly and intuitively, without expectation. The music drifts with a gentle, intuitive grace: lingering piano, soft cinematic synths, and field recordings that unfold like whispered recollections, while flute and saxophone lines pass through like occasional breezes — a human presence felt as warmth more than form.
Interwoven is music for those who cherish stillness and the delicate beauty of the everyday. It’s music for admirers of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno, and all who seek a quiet refuge in sound.
Points of interest
- For fans of ambient music, Japanese environmental music, minimalism, New Age, nature, reflection, island atmospheres, healing sound, tender electronic compositions, meditative listening, subtle emotional landscapes, and deep inner calm.
- First-ever vinyl release of Interwoven — a profound meeting of Ken-ichiro Isoda and aus (Yasuhiko Fukuzono).
- Presented on limited edition Transparent Sea Green Colored Vinyl LP in a heavyweight sleeve with selective-varnish 3D print.
- Connects two generations of Japanese sound creators — Isoda’s acoustic and environmental compositions with aus’ contemporary electronic sensibility.
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: Limited Edition, Heavyweight Sleeve With 3D Selective Varnish, Sticker
Genre: Environmental, Ambient, Minimalism, Electronic, New Age, Chillout
Tracklisting LP
A1. Valleria
A2. Autumn Has Broken
A3. Veiled
A4. White Eye
B1. Swift
B2. Penumbra
B3. Susurration
B4. Palinode
B5. All Bound Up Together
Info
WRWTFWW Records is very happy to announce the release of Interwoven, the deeply moving collaborative album from Ken-ichiro Isoda and aus (Yasuhiko Fukuzono) — now available on limited edition transparent sea green colored vinyl LP housed in a heavyweight sleeve with selective-varnish 3D print, as well as in digipack CD and digital formats.
Recorded between Hachijo Island and Tokyo, Interwoven distills two visionary voices of Japanese ambient and electronic music into a single breath of feather-light and quietly luminous meditative sound.
Isoda is a revered figure of New-age and environmental music whose work on Oscilation Circuit – Série Réflexion 1 (originally released on famed label Sound Process) has long attained mythic status. He composes, notably with harp and wind instruments, produces contemporary music and video game scores, and crafts his very own brand of ambient music from the volcanic island of Hachijo-jima. Tokyo-based electronic composer and synth master aus is known for tender, melody-driven soundscapes. From the two artists comes a dialogue suspended between land and sea, bridging the generation gap and the physical distance between them.
What began as a series of sketches — impressions of water, islands, and shifting light — gradually evolved into an exchange without explanation, a correspondence of sound that dissolved boundaries. In that anonymity, both artists discovered an uncommon freedom: a place where each could move lightly and intuitively, without expectation. The music drifts with a gentle, intuitive grace: lingering piano, soft cinematic synths, and field recordings that unfold like whispered recollections, while flute and saxophone lines pass through like occasional breezes — a human presence felt as warmth more than form.
Interwoven is music for those who cherish stillness and the delicate beauty of the everyday. It’s music for admirers of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno, and all who seek a quiet refuge in sound.
Points of interest
- For fans of ambient music, Japanese environmental music, minimalism, New Age, nature, reflection, island atmospheres, healing sound, tender electronic compositions, meditative listening, subtle emotional landscapes, and deep inner calm.
- First-ever vinyl release of Interwoven — a profound meeting of Ken-ichiro Isoda and aus (Yasuhiko Fukuzono).
- Presented on limited edition Transparent Sea Green Colored Vinyl LP in a heavyweight sleeve with selective-varnish 3D print.
- Connects two generations of Japanese sound creators — Isoda’s acoustic and environmental compositions with aus’ contemporary electronic sensibility.
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 FORMAT DETAILS: Standard weight smokey vinyl with obi strip.
TRACKLIST:
When She Follows (Original 18 Minute Version) Rectify Dirty Little Bonus Beats When She (Reprise)
PRIVATE LISTEN LINK: https://moodymann.bandcamp.com/album/black-mahogani-ii
OVERVIEW:
Released in limited numbers in tandem with Black Mahogani back in 2004 and never repressed. Black Mahogani II was a departure from Kenny Dixon Jr's usual house based music and featured cuts from Kenny Dixon Jr's late night jazz band sessions The centrepiece is the eighteen minute 'When She Follows', a deep jazz session skittering live drum rolls into an electric Fender Rhodes, loping acoustic bass and distant saxophone all wrapped up in an amorphous vocal that drifts ever onwards like some epic detroit techno cut replayed by Gil Scott Heron's band in 1970. Incredible music. 'Rectify' follows in a similar mode, jazz in a detroit techno framework, while the final two tracks 'Dirty Little Bonus Beats' and 'When She (Reprise)' are revisions of the main cut, the former altering the bassline, adding vocal sighs and more rhythmic drums, while the latter shifts up the tempo with a wigged out techno synth element. Stone, cold.
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
Bo Harwood & John Cassavetes - No One Around To Hear It
2
Chen Ming Chang - Rainwater
3
Bhairavi Raman & Nanthesh Sivarajah - Bittersweet Reflections
4
The King Of Luxembourg - Poptones
5
Slapp Happy - Is It You
6
O.G. Jigg - Jesus Is My Jam
7
Klang - As It Is
8
Scala - Fuser
9
Soft Location - Let The Moon Get Into It
10
Gyeongsu - YZOBEL (feat. CROCHE)
11
Omertà - Moments In Love
12
Kasumi Trio - Cabbage Butterfly
13
Un - Fast Money Blues
14
Delphine Dora - V
15
Harry Plunket-Greene - The Hurdy-Gurdy Man
2LP, 2025 Repress
Tracklist
1. Bo Harwood & John Cassavetes - No One Around To Hear It
2. Chen Ming Chang - Rainwater
3. Bhairavi Raman & Nanthesh Sivarajah - Bittersweet Reflections
4. The King Of Luxembourg - Poptones
5. Slapp Happy - Is It You
6. O.G. Jigg - Jesus Is My Jam
7. Klang - As It Is
8. Scala - Fuser
9. Soft Location - Let The Moon Get Into It
10. Gyeongsu - YZOBEL (feat. CROCHE)
11. Omertà - Moments In Love
12. Kasumi Trio - Cabbage Butterfly
13. Un - Fast Money Blues
14. Delphine Dora - V
15. Harry Plunket-Greene - The Hurdy-Gurdy Man
Short info:
Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo’s Ballads, a remarkable driftwerk released on A Colourful Storm in 2022.
Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (written for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora.
Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beautiful, plaintively dubby ‘Is It You?’ by Slapp Happy; a psych-tinged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats.
Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons.
2023 marks the tenth anniversary of Time Is Away’s first broadcast. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney’s still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling.
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
1. Bo Harwood & John Cassavetes - No One Around To Hear It
2. Chen Ming Chang - Rainwater
3. Bhairavi Raman & Nanthesh Sivarajah - Bittersweet Reflections
4. The King Of Luxembourg - Poptones
5. Slapp Happy - Is It You
6. O.G. Jigg - Jesus Is My Jam
7. Klang - As It Is
8. Scala - Fuser
9. Soft Location - Let The Moon Get Into It
10. Gyeongsu - YZOBEL (feat. CROCHE)
11. Omertà - Moments In Love
12. Kasumi Trio - Cabbage Butterfly
13. Un - Fast Money Blues
14. Delphine Dora - V
15. Harry Plunket-Greene - The Hurdy-Gurdy Man
Short info:
Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo’s Ballads, a remarkable driftwerk released on A Colourful Storm in 2022.
Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (written for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora.
Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beautiful, plaintively dubby ‘Is It You?’ by Slapp Happy; a psych-tinged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats.
Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons.
2023 marks the tenth anniversary of Time Is Away’s first broadcast. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney’s still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling.
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:Efficient Space
Cat-No:es002
Release-Date:24.06.2022
Genre:Alternative/Electronic
Configuration:2LP Excl
Label:Efficient Space
Cat-No:es002
Release-Date:24.06.2022
Genre:Alternative/Electronic
Configuration:2LP Excl
1
Various Artists - A1. Linda Smith - I So Liked Spring
2
Various Artists - A2. Karen Marks - Cold Café
3
Various Artists - A3. Bruce Langhorne - Leaving Del Norte
4
Various Artists - A4. The Seraphims - Conciousness of Happening
5
Various Artists - B1. Garry Davenport - Sarra
6
Various Artists - B2. Some of My Best Friends Are Canadians - Feeling Sheepish
7
Various Artists - B3. The Rising Storm - Frozen Laughter
8
Various Artists - C1. Warfield Spillers - Daddy's Little Girl
9
Various Artists - C2. Joyce Heath - I Wouldn't Dream Of It
10
Various Artists - C3. Joe Tossini and Friends - Wild Dream
11
Various Artists - C4. Scott Seskind - I Remember
12
Various Artists - D1. Angel - Driving (Down)
13
Various Artists - D2. Nini Raviolette and Hugo Weris - Slow
14
Various Artists - D3. Nora Guthrie - Home Before Dark
15
Various Artists - D4. Once - Joanna
Special remarks : 2LP, 2022 Repress Edition
Vital Sales Points:
- Released by popular NTS show Noise In My Head
- Liner notes from Ivan Smagghe and artwork from Misha Hollenbach (Perks and Mini)
- Features many rarities reissued for the first time ever (Karen Marks' most wanted Australian cold wave single last sold for 290€ while Once traded for 170€)
- All tracks officially licensed, sourcing original masters when available
- Includes digital download
Tracklist
A1. Linda Smith - I So Liked Spring , A2. Karen Marks - Cold Café , A3. Bruce Langhorne - Leaving Del Norte , A4. The Seraphims - Conciousness of Happening
B1. Garry Davenport - Sarra , B2. Some of My Best Friends Are Canadians - Feeling Sheepish , B3. The Rising Storm - Frozen Laughter
C1. Warfield Spillers - Daddy's Little Girl , C2. Joyce Heath - I Wouldn't Dream Of It , C3. Joe Tossini and Friends - Wild Dream , C4. Scott Seskind - I Remember
D1. Angel - Driving (Down) , D2. Nini Raviolette and Hugo Weris - Slow , D3. Nora Guthrie - Home Before Dark , D4. Once - Joanna
Short info:
Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery.
From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience.
If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening.
Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection.
Released by Noise In My Head offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe.
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
Vital Sales Points:
- Released by popular NTS show Noise In My Head
- Liner notes from Ivan Smagghe and artwork from Misha Hollenbach (Perks and Mini)
- Features many rarities reissued for the first time ever (Karen Marks' most wanted Australian cold wave single last sold for 290€ while Once traded for 170€)
- All tracks officially licensed, sourcing original masters when available
- Includes digital download
Tracklist
A1. Linda Smith - I So Liked Spring , A2. Karen Marks - Cold Café , A3. Bruce Langhorne - Leaving Del Norte , A4. The Seraphims - Conciousness of Happening
B1. Garry Davenport - Sarra , B2. Some of My Best Friends Are Canadians - Feeling Sheepish , B3. The Rising Storm - Frozen Laughter
C1. Warfield Spillers - Daddy's Little Girl , C2. Joyce Heath - I Wouldn't Dream Of It , C3. Joe Tossini and Friends - Wild Dream , C4. Scott Seskind - I Remember
D1. Angel - Driving (Down) , D2. Nini Raviolette and Hugo Weris - Slow , D3. Nora Guthrie - Home Before Dark , D4. Once - Joanna
Short info:
Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery.
From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience.
If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening.
Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection.
Released by Noise In My Head offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe.
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
Susumu Yokota - A1. Zenmai (2024 Remaster)
2
Susumu Yokota - A2. Kinoko (2024 Remaster)
3
Susumu Yokota - A3. Meijijingu (2024 Remaster)
4
Susumu Yokota - B1. Saboten (2024 Remaster)
5
Susumu Yokota - B2. Oh My God (2024 Remaster)
6
Susumu Yokota - B3. Tambarin (2024 Remaster)
7
Susumu Yokota - C1. Oponchi (2024 Remaster)
8
Susumu Yokota - C2. Ao-oni (2024 Remaster)
9
Susumu Yokota - C3.3. Akafuji (2024 Remaster)
10
Susumu Yokota - D1. Alphaville (2024 Remaster)
11
Susumu Yokota - D2. Tanuki (2024 Remaster)
12
Susumu Yokota - E1. Floating G (2024 Remaster)**
13
Susumu Yokota - E2. H (2024 Remaster)**
14
Susumu Yokota - E3. B (2024 Remaster)**
15
Susumu Yokota - F1. F (2024 Remaster)**
16
Susumu Yokota - F2. 2 H (2024 Remaster)**
Triple gatefold heavyweight 180g vinyl, Remastered original LP , Incl. 5 unreleased tracks released for the 1st time on vinyl`see tracklist below for details!
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
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
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
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
A. Parker / W. Parrish - The Hawk
2
S. Haseley - The Happening
3
A. Parker / W. Parrish - Main Chance
4
S. Haseley - Hogan Baby
5
G. Grant - Dirty John Crown
6
A. Parker / W. Parrish - Swarf
7
R. Tilsley - Turnover
8
A. Parker / W. Parrish - Tarantula
9
S. Haseley - Precinct
10
S. Haseley - Sidewinder Version 1
11
A. Parker / W. Parrish - Pressure
12
A. Parker / W. Parrish - Call Me
13
G. Grant - Scorch
14
A. Parker / W. Parrish - Digger
15
R. Tilsley - Marianne
16
S. Haseley - Sidewinder Version 2
Territories: Worldwide no restrictions
Format Notes:
First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
A1 A. Parker / W. Parrish The Hawk 2:56
A2 S. Haseley The Happening 2:14
A3 A. Parker / W. Parrish Main Chance 3:04
A4 S. Haseley Hogan Baby 3:39
A5 G. Grant Dirty John Crown 2:54
A6 A. Parker / W. Parrish Swarf 2:27
A7 R. Tilsley Turnover 2:29
A8 A. Parker / W. Parrish Tarantula 2:31
B1 S. Haseley Precinct 3:32
B2 S. Haseley Sidewinder Version 1 2:08
B3 A. Parker / W. Parrish Pressure 2:45
B4 A. Parker / W. Parrish Call Me 2:56
B5 G. Grant Scorch 2:10
B6 A. Parker / W. Parrish Digger 2:10
B7 R. Tilsley Marianne 4:08
B8 S. Haseley Sidewinder Version 2 1:55
Release Notes:
This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.
Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.
This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.
Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...
Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.
The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.
Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.
Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.
The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
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:
First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
A1 A. Parker / W. Parrish The Hawk 2:56
A2 S. Haseley The Happening 2:14
A3 A. Parker / W. Parrish Main Chance 3:04
A4 S. Haseley Hogan Baby 3:39
A5 G. Grant Dirty John Crown 2:54
A6 A. Parker / W. Parrish Swarf 2:27
A7 R. Tilsley Turnover 2:29
A8 A. Parker / W. Parrish Tarantula 2:31
B1 S. Haseley Precinct 3:32
B2 S. Haseley Sidewinder Version 1 2:08
B3 A. Parker / W. Parrish Pressure 2:45
B4 A. Parker / W. Parrish Call Me 2:56
B5 G. Grant Scorch 2:10
B6 A. Parker / W. Parrish Digger 2:10
B7 R. Tilsley Marianne 4:08
B8 S. Haseley Sidewinder Version 2 1:55
Release Notes:
This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.
Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.
This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.
Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...
Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.
The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.
Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.
Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.
The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
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
Barbara Moore - Bright And Shining
2
Barbara Moore - Fly Me High
3
Barbara Moore - Affluence
4
Barbara Moore - Going On Holiday
5
Barbara Moore - Alto Sex
6
Barbara Moore - Stay With Me
7
Barbara Moore - Feel Fine
8
Barbara Moore - Canon
9
Barbara Moore - Smooth And Soft
10
Barbara Moore - Real Thing
11
Barbara Moore - Voice Over Sax
12
Barbara Moore - Feeling Free
Territories: Worldwide no restrictions
Format Notes: First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
Track List:
A1 Bright And Shining 2:25
A2 Fly Me High 2:29
A3 Affluence 3:00
A4 Going On Holiday 2:41
A5 Alto Sex 2:59
A6 Stay With Me 2:39
B1 Feel Fine 2:17
B2 Canon 3:11
B3 Smooth And Soft 2:57
B4 Real Thing 3:39
B5 Voice Over Sax 2:34
B6 Feeling Free 2:45
Release Notes:
Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.
Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.
As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.
The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.
Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.
The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."
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: First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
Track List:
A1 Bright And Shining 2:25
A2 Fly Me High 2:29
A3 Affluence 3:00
A4 Going On Holiday 2:41
A5 Alto Sex 2:59
A6 Stay With Me 2:39
B1 Feel Fine 2:17
B2 Canon 3:11
B3 Smooth And Soft 2:57
B4 Real Thing 3:39
B5 Voice Over Sax 2:34
B6 Feeling Free 2:45
Release Notes:
Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.
Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.
As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.
The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.
Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.
The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."
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
LP - Territory: WW- UK/USA/CA/Benelux/AU/NZ
2LP LTD VINYL REPRESS ON TRANSPARENT GREEN VINYL
TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean
Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.
All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.
At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.
There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.
The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.
The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?
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
2LP LTD VINYL REPRESS ON TRANSPARENT GREEN VINYL
TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean
Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.
All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.
At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.
There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.
The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.
The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?
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 Haseley / Peter Reno - Little Big John
2
Simon Haseley / Peter Reno - Summer Friend
3
Simon Haseley / Peter Reno - Hammerhead
4
Simon Haseley / Peter Reno - Crimson
5
Simon Haseley / Peter Reno - Great Day
6
Simon Haseley / Peter Reno - Hard Crust
7
Simon Haseley / Peter Reno - Highball
8
Simon Haseley / Peter Reno - Bora
9
Simon Haseley / Peter Reno - Hold Back
10
Simon Haseley / Peter Reno - Silver Thrust
11
Simon Haseley / Peter Reno - Convoy
12
Simon Haseley / Peter Reno - Barracuda
Territories: Worldwide no restrictions
Format Notes:
First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
Track List:
A1 Little Big John 2:13
A2 Summer Friend 4:10
A3 Hammerhead 4:33
A4 Crimson 2:44
A5 Great Day 3:54
A6 Hard Crust 2:34
B1 Highball 2:59
B2 Bora 3:12
B3 Hold Back 4:44
B4 Silver Thrust 3:56
B5 Convoy 4:00
B6 Barracuda 3:05
Release Notes:
Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...
Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.
It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".
Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!
Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.
The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.
The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
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:
First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.
Track List:
A1 Little Big John 2:13
A2 Summer Friend 4:10
A3 Hammerhead 4:33
A4 Crimson 2:44
A5 Great Day 3:54
A6 Hard Crust 2:34
B1 Highball 2:59
B2 Bora 3:12
B3 Hold Back 4:44
B4 Silver Thrust 3:56
B5 Convoy 4:00
B6 Barracuda 3:05
Release Notes:
Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...
Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.
It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".
Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!
Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.
The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.
The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
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