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Raising Earthly Spirits was conceived as a ritualistic, shamanistic album centred around the concept of transcending this level of consciousness and existing mindfully in multidimensional space and time. It draws heavily upon the sacred ideas and practices of many indigenous peoples from this earth and how they communicate and interact with their ancestors and how they see themselves in relation to this world. It was made with respect towards these beliefs. - Robin Storey/Rapoon

Raising Earthly Spirits was conceived as a ritualistic, shamanistic album centred around the concept of transcending this level of consciousness and existing mindfully in multidimensional space and time. It draws heavily upon the sacred ideas and practices of many indigenous peoples from this earth and how they communicate and interact with their ancestors and how they see themselves in relation to this world. It was made with respect towards these beliefs. - Robin Storey/Rapoon

Reissued for the very first time on vinyl here's Prince Alla's (aka Keith Blake) debut album, under the Ras Allah pseudonym, originally released on Tappa Zukie's Stars Records in 1978. Featuring a who's who of the roots reggae community with top notch contributions from the likes of Sly & Robbie, Earl ‘Chinna’ Smith, Don Drummond Jr., Bingy Bunny (Roots Radics) and more. Recorded at the almighty Black Ark and mixed at Tubby's. Produced and Arranged by Tappa Zukie.

A dub version of Niyabinghi's masterpiece "Rastafari" with the participation of such great artists as Peter Tosh (Guitar, Clavinet), Chinna Smith (Guitar), Tommy McCook (Flute), Robbie Shakespeare (Bass).

A long-awaited new album by none other than Rashad Becker — the living legend behind the scenes of contemporary experimental and electronic music. Known for his groundbreaking work at the iconic Dubplates & Mastering, closely tied to Basic Channel, Becker now returns with a new full-length released on his own label and studio, clunk. Alongside figures like Matt Colton, Stephan Mathieu, Amir Shoat, Helmut Erler, and Josh Bonati, Becker has certified countless landmark releases across the avant-garde spectrum. He has also released on Berlin’s cult label PAN, further cementing his legacy. On The Incident, swirling electronics and improvisational structuralism intertwine to form a surreal, otherworldly sonic landscape. A masterclass in sonic manipulation — Becker delivers yet another razor-sharp rupture in perception. A surrealist electroacoustic opus from a true artisan of the invisible.

Big-bottomed techno and ambient steppers from the Rasmus Hedlund, chasing his Dialog turn on Astral Industries with a set of full sunken productions for the deep ends of the club. Working a vein of Scandinavian and Finnish atmospheric steppers pressure shared by Vladislav Delay, Andreas Tilliander and Liima, the 5th Hedlund LP in a decade stretches out on an hour of proper bass weight and reverberating echo chamber dubbing. His seven tracks balance the sort of atmospheric content found in Dialog’s recently issued ambient 2LP with the kind of effortless, durational, grooving structures caught in Sasu Ripatti’s work with MvO Trio on the brilliantly supple ‘Rytmisk’ and the buoyant, toes-off-the-floor styles of ‘Kalla Vindar’ and the lushly convective ‘Verners Funk’ with its plumply rounded subs. He sinks into pure Rhythm & Sound-via-Tilliander ambient dub weight in a radiant ‘Chords Galore’, developing in Kompakt-like Pop Ambient scaping, and ‘Bappa’ pulls it farther out in Vladislav Delay or DeepChord zones with overlapping echo chamber FX o mess with your balance, locking it off with ‘Vila Du Lilla’ on the lushest beatless tip.

Another blink and you'll miss it transmission from the heart and soul of Manchester artist Tom Boogizm's Rat Heart project alongside The Peanuts (?!?!). The Pamela Peanut Kitchen Sessions is a window into the psyche of this creative force, created in the spirit of purest underground DIY self-expression somewhere between Arthur Russell and The Durutti Column, stoned to the bone.

Rat Heart’s debut album for Modern Love finds Tom Boogizm blurring genres with instinct and grit. Joined by Adam Sinclaire, Cansu Kandemir, Tha Payne, Ruby Conner and Juan Camilo, he weaves torch songs, DIY blues and cracked pop into something raw and compelling.

Opener ‘I H T’ sets the tone with its weary refrain and spectral flute, grounding the album’s mix of tenderness and unease. Kandemir’s smoky vocals glide through the ghostly shuffle of ‘Not 2Nite’ and ‘Senle’, while Ruby Conner’s spoken word adds bite to the funked-out ‘Real Hardcore Pleasure’. By the time Juan Camilo’s Spanish narration drifts through closer ‘IGOTDRONESINMYBONES’, the record has folded dream pop, post-punk and dub into a single, bruised vision.

A vivid, unclassifiable portrait of Northern soul, noise and nocturnal romance.

Gassing the tempo and playing it loose & tracky as f*ck, Rat Heart’s 5th solo album in the space of 18 months twists his grimy kaleidoscope to spy a more manic, ruffcut batch of warehouse scrappers and basement brukkouts injected with levels of scuzz and blunted vocals. It’s an instant classic shot at the rise of cosplaying posh DJs, alongside thee rudest steppers and spannered grime. Aye, you’re in for a treat - Massive RIYL Michael J. Blood, H-Fusion, Demdike Stare, Actress, Laswell, Hints of this sound are strewn across Tom Boogizm’s gush of Rat Heart releases, but never quite so intently and single-minded as on ‘Ratty Rids The Clubs From The Evil Curse Of The Private School DJ’s’. Under that canny titular nod to Scientist’s classic album, he makes absolutely no bones about his antipathy toward the way dance music - traditionally a working class past-time - has been cuckooed and blanched by the British middle/upper class in the past decade (obvious correlations with 12 years of Tory dickheads?). To be fair, the politics aren’t overbearing - he’s not trying to be Wigan’s Chumbawumba - but they’re inherent to what makes him tick, and patently result in a brilliantly dare-to-differ sound. Taking a big lick of the salty chip, he comes off like MES meets H-Fusion in ‘A Poem 4 The Modern Day DJ Private School Online Activist’, before cycling thru some of his strongest uptempo shit, keeping toes off the ground between the ghettotech percs of ‘Stressss’, his outstanding rimshot stepper ‘Teeth Like a Burnt Fence M8’, and lip-bitingly tight hi-hat thizz on ‘Leigh via Hag Fold’, plus the Sockethead-adjacent ace ‘Yeye’ and a Devil mix style mutation ‘No Tick 4 Lads in V-Neck Shirts (Brave Lil Piggy Mix)’. There’s something else happening on this one too; a very specific je ne sais quoi that’s giving us momentary flashbacks to Laswell, Jean-Michel Basquiat’s ‘Gray’, even John Cale’s super distinctive production style on 'Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)’ - bits like the claggy ambient of ‘$hatterdance’ and hot-boxed grogginess of ‘Wot Happens if U Just Eat Crisp’ - all designed to ideally temper the flex.

Dub, Folk … Rat Heart lands on Modern Love’s 7” series with two asymmetric ohrwurms, featuring Ben Vince on the stunning saxophone-led A side, with a wildly morose Spanish guitar ballad on the flip.

Yes this album is about being trans Rat Jesu - Vocals, Guitar, Produciton (All tracks) Murrumur - Vocals (Poison.jpg, Frogs) 2004 - Produciton (Manic Goth Hoe... I Wish I Was) Yung Dieu - Produciton (Manic Goth Hoe... I Wish I Was) Maknaeslayer - Produciton (Poison.jpg) Mokshadripp - Co-Produciton (Euphoria//Nothing Left To Give) Schizoscriptures - Co-Produciton (Frogs)

Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa.Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

"Of all the releases on Italy's legendary Cramps Records, Raul Lovisoni and Francesco Messina's seminal LP from 1979 has long remained among the most beloved. Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but also is notable for being produced by electronic pioneer Franco Battiato. A sister album to Prati Bagnati would be Giusto Pio's breathtaking Motore Immobile, likewise graced with the maestro's gentle hand around the same time. Lovisoni and Messina are both central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it's rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space. Prati Bagnati Del Monte Analogo's meditative title track, inspired by René Daumal's surrealist novel Le Mont Analogue, features Messina on synthesizer and Michele Fedrigotti's impressionistic piano, while on Lovisoni's 'Hula Om' and 'Amon Ra,' solo harp, crystal glasses and Juri Camisasca's radiant vocal drones further ascend into the stratosphere. Skirting the outer edges of ambient, new age and experimental music, Prati Bagnati has a transformative beauty unlike anything else. Superior Viaduct's edition reproduces the original sleeve design and is recommended for fans of Jon Hassell, Luciano Cilio and Popol Vuh."

Rave At Your Fictional Borders is not beyond borders. The band simply denies any notion thereof. Driven by a sense of community, it defines human existence as one bio-organism with planet Earth. Now comprising members Dave De Rose, Marius Mathiszik, and Salim Akki, this incarnation of Rave At Your Fictional Borders first released the 'Entanglement' and 'Utopia' tracks in March 2025. Analogue Nomadism is the project's first album release. Recorded in Morocco and then co-produced and mixed by Dan Nicholls, it is an album of dizzying, trance-inducing scope. Rave music stripped of all external signifiers. Repetition, noise, krautrock, avant-garde sensibilities. This is a search for a groove that both connects and interlocks. The soul of improvisation and exploration runs through all seven pieces on Analogue Nomadism. Genres are referenced and transcended. The open-ended is perpetually embraced. It is neither night nor day, but there is a half-light all the time. What used to be disconcerting is now not alien anymore. The sky boasts a faint light. Certain shapes are laid out, but get changed through communal ritual. Analogue Nomadism is the music of a feeling of community. It builds and breaks down. It is accepting of the psychedelic standards of the groove. Transportative and vertiginous. Endless.

Incienso chase Loidis’ acclaimed AOTY ’24 with Raven’s lush debut salvo of wistfully warm and fuzzy ambient house. RIYL NWAQ, Anthony Naples, Huerco S., Actress, James Stinson.

Effortlessly comfy as your favourite fleece sweats, ‘Gnosis’ dials into a real classic vein of lounging ambient music where spirits of US new age and neo classical waft into beatdown, deep house and vaporous dub techno. It’s not their first rodeo - there’s a string of self-released works behind this one - but it’s likely to convect their sound far and wide amid good company on Anthony Naples & Jenny Slattery’s cherry picking, NYC-based label.

Each cut hits a proper sweetspot between nostalgia jogging electronica and afterhours couch-gouch with the slow-burn efficacy and groggy seduction of THC edibles. The breezy petal scatter keys and high-tog tape fuzz of ‘Gnosis Theme’ invite comparison to BoC via NWAQ, before the album sashays between a series of charms with the dazed arps andwrabling chops of ‘Endless Edition’ thru the shine-eyed beatdown of ‘Jupiter’, to Actress-alike drifting keys on ‘infinite Edition’, with a dead sweet lift reserved to the album’s final 3rd of half step dub techno ‘In Loving Memory’ and San Fran disco kiss ‘Unlimited Edition’, to the Drexciyan impulse of ‘Final Fade Sync.’ 

No brainer!

A very cinematographic journey in between Ambient and Experimental, with a certain touch of Balearic right in the middle of the Leftfield. A super trippy trip, gifted by beautiful melodies and vocals like on the titles “Indisponible” or “Mambo n6”… as if you were crossing a super cozy desert on LSD, starting from the coast after a nice bath in the sea to the dryness of the sand under the sun, with intense divagations like on “Fastelavn” or “Kompasitu” to long relief of contemplations like on “Opium Swing” or “Blizzard” at the end of the way... This is a full immersive experience, one of those life soundtrack releases, and probably one of our favorite release ever.

All the tracks on this release come from a live concert at Sharmanka, a beautiful and unique museum of kinetic sculptures in Glasgow, and throughout the record, the sounds of the sculptures moving and emitting noises are incorporated into the music performed. The four pieces presented are entirely improvised. There was no discussion beforehand of what instruments or what approach would be taken, and each piece evolved as a musical negotiation as the performers individually made choices about what instruments to play and how to support and meet each other within the unfolding musical narrative. While Macdonald and Ferlaino both share a lifetime of work with their chosen primary instrument, the saxophone, they also share a passion for exploring other instruments and objects for their sonic and socio-creative potential. This record foregrounds both these aspects of their work: they use saxophones, but also incorporate bells, toys, bagpipes, accordions, percussion instruments and voice. "Raymond MacDonald is a saxophonist and composer with an extensive career in music, cross-disciplinary arts and academia. He has played on and released over 100 albums, toured and broadcast worldwide and has composed music for film, television, theatre, radio and art installations. He is a founding member of the Glasgow Improvisers Orchestra, and his work is informed by a view of improvisation as a social, collaborative, and uniquely creative process that provides opportunities to develop new ways of engaging musically. "Christian Ferlaino is an Italian saxophonist, bagpipe player, improviser, composer and ethnomusicologist. He composes for ensembles of improvisers, both from the jazz and improvised music scene, as well as for contemporary music ensembles. His work explores the relationships between composition and improvisation, and the expressive potential of improvised music. His musical research also focuses on creatively engaging with the sonic and musical realm of Calabria, with special attention to its performing techniques and approach to sound and music generation.

Early electronic music composer Raymond Scott will have a treasure trove of essential and extremely rare recordings collected on this new release Three Willow Park: Electronic Music from Inner Space, 1961-1971. From having his music adapted for Warner Bros. cartoons to inventing early electronic music instruments to releasing the classic (and recently reissued) Soothing Sounds For Baby series, Scott’s electronic music was famously ahead of its time and touched on sounds like techno and ambient music decades before those terms even existed. Many of the tracks feature Scott’s own inventions such as the Electronium and Clavivox instruments and capture a musician unimaginably ahead of his time.
Three Willow Park: Electronic Music from Inner Space, 1961–1971, represents the second anthology of pioneering electronica by Raymond Scott. The album contains 61 previously unissued gems, many featuring hypnotic rhythm tracks played by Scott’s Electronium — an invention which composed and performed using programmed intelligence. Three Willow Park reveals that Scott was producing beat-oriented proto-techno before the 1970s explosion of electronic music and rhythms on the pop charts, a significant achievement that should not be overlooked.

In 2000, Basta issued Manhattan Research Inc., a 2-cd set of 69 tracks recorded 1953–69, spotlighting Scott’s groundbreaking electronica — a gallery of strange sounds seemingly beamed down from UFOs. MRI also presented some of the earliest TV & radio commercials to feature electronic music, as well as early film soundtrack collaborations with Jim Henson. Three Willow Park presents the next stage in assuring Scott’s place in electronic music history.

Willow Park Center was an industrial rental complex of offices and warehouses in a Long Island suburb. Following his 1965 marital breakup, Scott set up shop at WPC. He operated a musical lab — researching, experimenting, testing, and measuring. He twirled knobs, flipped switches, and took notes. He installed equipment and machines, and used them to build new equipment and machines. This makeshift compound remained Scott’s workspace and bedroom until 1971, when he decamped for L.A. to work for Berry Gordy at Motown.

Scott was a highly qualified engineer who also happened to be a conservatory-trained (Juilliard) musician. He could compose, arrange, perform, improvise and edit, but given a shelf of hardware and a soldering iron, he could also rig an appliance to further his musical aims. Like many visionaries, Scott foreshadowed the future. He developed technological processes which were pivotal in the evolution of the fax machine. He composed a “silent” piece years before John Cage‘s 4′ 33″. He predicted (in 1944) that composers would someday reach audiences via thought transference. He applied for and was awarded numerous patents. Foremost, he developed electronic and automated sound-generating technology to craft the elements of pop music at a time when circuit-made sound was largely a novelty, used in “serious” works, or cranked-up for special effects in science fiction films.

In 1946, while still leading jazz bands, Scott established Manhattan Research, Inc., billed as “Designers and Manufacturers of Electronic Music and Musique Concrète Devices and Systems.” By the 1950s, he was using his inventions to produce commercials with electronic soundtracks, as well as developing automated sequencer technology. His friend and colleague Bob Moog said, “Scott was definitely in the forefront of developing electronic music technology and using it commercially as a musician.”

Besides the Electronium, sounds heard on Three Willow Park were generated by the Circle Machine; Clavivox; Bass-Line Generator; Bandito the Bongo Artist (a drum machine); tone, melody, rhythm and sound effects generators (some controlled, others random); oscillators, sequencers, and modulators; tape montages; and acoustic instruments and voices. These recordings, like those on MRI, define and establish Scott’s legacy in electronic music history.

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry. « BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres. These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress. Picture Hajime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

At Jazzman have already given legitimate release to albums that fell foul of the notorious '70s 'tax scam' practice, namely those by Sounds of the City Experience and Ricardo Marrero. It now gives us great satisfaction to present Reality's 'Disco Party' album, for the very first time in agreement with the surviving members of the band. Possibly the most obscure of all the obscurities in the TSG catalogue, 'Disco Party' isn't actually 'disco' at all, moreover it's a fully rounded excursion into mid-70s dancefloor funk and proto-disco-jazz, performed by a group of expert musicians at the height of their powers. Recorded in one long session in NYC, until now, bandleader Dr. Otto Gomez and the rest of his crew had never even heard the recordings they'd made almost 50 years ago. Indeed, none of the band even knew that their album had been released! At Jazzman, we consider it our mission to shine new light on music that went under-appreciated at the time of its original release. There are many varied circumstances which can cause an otherwise great record to not do so well - for instance, poor budget, marketing, promo and sometimes just plain old bad luck. Perhaps the most unjust circumstance involves the tax loss releases of the mid-70s - records made purely to cheat a few dollars out of the tax man. Here, along with restoring the music, we have dug deep into the backstory of the group, interviewing Gomez and others to find out exactly who this unheralded NYC funk orchestra were and what happened to them before and after the monumental session laid out on this record. Our liner notes tell the story of the TSG label and the 'tax loss' phenomenon, and we delve into the history of the band from their humble beginnings as the Smokin' Shades of Black(!) to the present day. We also find out exactly what it means to record some brilliant music - only to have it taken away - and discarded.

When electronic pioneers, Coldcut, dropped their groundbreaking Journeys by DJ mixtape in 1995, one of its standout moments came towards the very end of the mix. Amidst the era’s finest beat-makers and electronic visionaries, the DJ duo teased a hypnotic, looping double bass line, followed by haunting sax, thunderous drums, and guitar, before seamlessly blending into the Radiophonic Workshop's Doctor Who Theme. That earworm bass line? It’s the signature sound of Red Snapper’s Hot Flush, forever etched in the listener’s brain.

Fast forward 30 years, and Red Snapper is reissuing their Reeled & Skinned compilation on Warp. The collection includes Hot Flush in both its original form and the remix by Andrew Weatherall’s Sabres of Paradise. It brings together the trio's self-released early EPs from ’94 and ’95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike.

Now, Reeled & Skinned is available on vinyl again for the first time in decades, remastered and featuring an additional track, Area 51, recorded during the same period.
 

An alternative sound born in the gap between digital dancehall and the UK underground’s experimental currents. Active in the mid-to-late 1980s and based in Britain, Reducer narrowly missed signing to On-U Sound and left little behind, yet reportedly had Downwards’ Regis enthralled at the time. A legendary post-punk/industrial reggae band, their long-lost recordings finally surface: a powerful three-track single on Bristol’s leftfield institution Bokeh Versions. Included is the 1986 discomix version of the era-defining riddim “Sleng Teng,” radically reimagined. Built around the Casio MT-40 preset that sparked the digital dancehall revolution, these tracks vividly evoke the atmosphere of sound system culture. Repetitive rhythms and low-end sway merge with a contemporary sensibility, preserving the original innovation while extending it into a more elongated, psychedelic form of ecstasy. An essential update to a monument of the digital revolution—indispensable for all devotees of reggae, dub, and dancehall alike.

"Allégeance Volatile" and "Esquive" each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open. The rustic drumming of "Allégeance", talkative, acidulous, colorful, and over-articulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of "Esquive" with its dull, thin and precise sounds, shifts and is engulfed into another sonic world -- which appears as a gaping and collapsed response to this prime insistency. This is, indeed, a "volatile allegiance" and "avoidance" from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound -- or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer. He returns with another title: "Contrée", which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses, and points emerges. "Something" rises and presents itself out of the sounds -- these escaping beings, these "relatively short combustion flames" (Schaeffer). The piece consists of five consecutive and uninterrupted parts: "Entrée" and "Stance I" -- "Véhémence De L'air" and "Stance II" -- "Grande Allure". It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last. "Contrée" is dedicated to Philippe Mion, whose friendly ears have been entrusted with my music for so many years. Translations by Valérie Vivancos. Layout by Stephen O'Malley; Photos by Stéphane Ouzounoff and Bernard Bruges-Renard. Coordination GRM by François Bonnet. Executive Production by Peter Rehberg; Mastering by Mathias Durand; Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018.

Japan's world-famous masterpiece by the late Rei Harakami is set to be revived!

The soundtrack of "TENNEN KOKEKKO" (A Gentle Breeze in the Village), created by Rei Harakami, has been remastered by ex-Denki Groove member Yoshinori Sunahara and will finally be released on limited edition vinyl!

The soundtrack for the film adaptation of the manga by Fusako Kuramochi, which is one of Ray Harakami's most popular albums, is now being transformed into a long-awaited analog record. Ray Harakami, who passed away in July 2011 at the young age of 40, left behind a remarkable musical legacy.