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If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated. — Hiroshi Yoshimura Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang. 12月上旬入荷。遂に満を持して登場。あの『Green』を凌ぐ人気を誇る、長年失われていた吉村弘最高峰のアンビエント・クラシックこと1986年作品『Surround』が〈Light in the Attic〉配給の〈Temporal Drift〉レーベルより待望の公式アナログ再発！日本の環境音楽のパイオニアであり、都市/公共空間のサウンドデザインからサウンドアート、パフォーマンスに至るまで、傑出した仕事を世に残した偉才、吉村弘。その最難関の音盤として君臨してきた幻の一枚が、今回史上初の公式アナログ・リイシュー。ミサワホームから依頼されて録音された作品で、これらは同社の新築居住空間をより充実させるために設計された「アメニティ」として機能することを目的としていた環境音楽作品。吉村自身による当時のライナーノーツに加え、オリジナル・プロデューサーであった塩川博義氏による新規ライナーノーツも同封（日／英）。 MASTERPIECE!!!!!!!!!!!!!!!!!

If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated. — Hiroshi Yoshimura Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang. 12月上旬入荷。遂に満を持して登場。あの『Green』を凌ぐ人気を誇る、長年失われていた吉村弘最高峰のアンビエント・クラシックこと1986年作品『Surround』が〈Light in the Attic〉配給の〈Temporal Drift〉レーベルより待望の公式アナログ再発！日本の環境音楽のパイオニアであり、都市/公共空間のサウンドデザインからサウンドアート、パフォーマンスに至るまで、傑出した仕事を世に残した偉才、吉村弘。その最難関の音盤として君臨してきた幻の一枚が、今回史上初の公式アナログ・リイシュー。ミサワホームから依頼されて録音された作品で、これらは同社の新築居住空間をより充実させるために設計された「アメニティ」として機能することを目的としていた環境音楽作品。吉村自身による当時のライナーノーツに加え、オリジナル・プロデューサーであった塩川博義氏による新規ライナーノーツも同封（日／英）。 MASTERPIECE!!!!!!!!!!!!!!!!!

If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated. — Hiroshi Yoshimura Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces. In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way. A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang. 12月上旬入荷。遂に満を持して登場。あの『Green』を凌ぐ人気を誇る、長年失われていた吉村弘最高峰のアンビエント・クラシックこと1986年作品『Surround』が〈Light in the Attic〉配給の〈Temporal Drift〉レーベルより待望の公式アナログ再発！日本の環境音楽のパイオニアであり、都市/公共空間のサウンドデザインからサウンドアート、パフォーマンスに至るまで、傑出した仕事を世に残した偉才、吉村弘。その最難関の音盤として君臨してきた幻の一枚が、今回史上初の公式アナログ・リイシュー。ミサワホームから依頼されて録音された作品で、これらは同社の新築居住空間をより充実させるために設計された「アメニティ」として機能することを目的としていた環境音楽作品。吉村自身による当時のライナーノーツに加え、オリジナル・プロデューサーであった塩川博義氏による新規ライナーノーツも同封（日／英）。 MASTERPIECE!!!!!!!!!!!!!!!!!

Jacks meets Makoto Kubota & The Sunset Gang! Yokohama Rock guru Daisaku Yoshino's early masterpiece "Lamp Factory" (self-produced in 1974) is being released on LP for the first time in 48 years! Produced by Makoto Otowa, this album is known as a brother album to "Wasagetami".

Daisaku Yoshino has been performing live mainly in Yokohama since the early 70's. His musical style is diverse and elusive, from the folk rock period of the 70's to the post-punk/free form period of the 80's. Although he has never received a solid reputation, his early work "Daisaku Yoshino Lamp Manufacturing Factory" ( Although his music has never been well received, his early work, "Yoshino Daisaku Lamp Factory" (released in 1974), is well known and popular in later years, mainly in Europe, as a masterpiece of acid folk. The band's philosophical and modern poetry was expressed in straight American rock, dynamic and thirsty country rock, and acid folk style, and was regarded as "Jacks meets the Sunset Band". The band was praised by Makoto Kubota for their performance at the Hibiya Nohe rock festival, where they outclassed Tokyo bands. The bluesy, weeping electric guitar sounds are reminiscent of Neil Young's "After the Gold Rush," a superb world. The hidden masterpiece that will remain in the history of Japanese rock music is now being released in its original format for the first time in 48 years. The strength of the music is so pure that it has not wavered at all, and it is an album that must be listened to now more than ever.

Dance Till You Die is more than just a track title—it’s a loud and clear order, a warning, and a timeless statement from one of the most uncompromising Japanese post-punk outfits of the early 1980s. Emerging from Japan’s underground scene, Daisuck & Prostitute forged a raw yet magnetic sound that blended the abrasive edges of No Wave with an almost ritualistic sense of groove. Dance Till You Die stands as a rare testament to their uncompromising vision: esoteric and challenging, yet undeniably contagious on the dance floor. This newly unearthed gem brings sharp, jagged rhythms, dissonant textures, and a feverish punk urgency together in a way that feels both deeply of its time and eerily timeless. For No Wave obsessives, post-punk devotees, and seekers of obscure underground treasures, Dance Till You Die reaffirms the visceral spirit of a band that refused to compromise or cater to convention. With its intensity undiminished decades later, Dance Till You Die resonates as both an invitation and a provocation: keep moving until the last beat, keep resisting, and keep challenging the boundaries of sound. This release celebrates the survival of radical creativity and provides a crucial document of Japan’s contribution to the explosive worldwide post-punk movement.

Hereby a classic japanese acid folk tale, also credited by the wizard master Julian Cope in his ‘Japrocksampler’ top 50 list. Tokedashita Garasu Bako, or Melting Glass Box, was a studio-only project of Nishiokai Takashi (Itsutsu No Akai Fusen), “Singing Philosopher” Tetsuo Saito and Takasuke Kida (of influential psychedelic freaks Jacks). Guest musicians included Kazuhiko Kato (Folk Crusaders, Sadistic Mika Band), Kazuo Takeda (Blues Creation) and mastermind Haruomi Hosono (Apryl Fool, Happy End, YMO).

Their sole release licensed in 1970 on URC (Japanese independent record label specializing in folk, co-founded in February 1969 by Hayakawa Yoshio, guitarist for the psychedelic band Jacks) became soon after a cult record leading the way for the eastern psychedelic renaissance. An authentic lysergic trip filled with mind-blowing electric guitar leads and many studio tricks thrown in! Get lost, now or never !
 

Having led the legendary avant-garde ensemble Ché-SHIZU and performed under Takehisa Kosugi with East Bionic Symphonia, Chie Mukai has become a defining figure of Japanese improvisational music. Originally released on cassette in 1989 via Steeple & Globe and reissued the following year on CD by P.S.F. Records, her solo masterpiece Kokyo Solo Improvisation now sees a long-awaited cassette reissue from Beijing’s UFO Creations. The profound resonance of her kokyū (erhu), exhausted and spectral vocalizations, and the use of metal fragments and cymbals create a performance that fuses Chinese musical traditions, rustic incantations, Eastern spirituality, and surrealist visions into a twisted sonic swell. A singular form of otherworldly music where the ferocity of improvisation collides with moments of prayer-like stillness. Hand-numbered edition of 100 copies.

Chie Mukai & Yonju Miyaoka 'Song of trees' Comes in jewel case, with 8 page booklet and English translation kraft sheet. artwork by Yonju Miyaoka Lyrics translation by Alan Cummings Long notes by Takuya Sakaguchi, Short notes by Alan Cummings and Yu Hirayama. Mix & Mastered by Ippei Suda All lyrics and text has English translation Edition of 500

An official re-issue of the 1996 album, Beyond the Circle, from Dr. Osamu Kitajima presented by Forest Jams on vinyl for the first time. As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. “Beyond the Circle” is music that is as energizing as it is spiritual and melodic.

Shoukichi Kina, who was born in Koza City (now Okinawa City) in 1948, grew up listening to the sound of sanshin played by his father, Shoei, a master of Okinawan music. While in senior high school, Shoukichi Kina composed “Hai Sai Ojisan,” which later became one of the greatest hit tunes ever to originate in Okinawa. After he entered university in Okinawa in 1966, Shoukichi Kina formed Champloose and, finding it difficult to take his studies seriously, devoted much of his time to music, eventually leaving school entirely. It was around this time that various stories began to emerge — some true, some not quite — of his being a kind of nocturnal “King of Koza,” that he managed the folk music club Mikado, and that he made quite a lot of money as a dealer in a gambling casino. In any case, perhaps because his first efforts at forming a band were not too successful, it wasn’t until ten years later, in 1976, that he reformed the band around his father’s folk music group. It was from then that the distinctive “Champloose Sound” began to emerge — a unique combination of rock and Okinawan folk that was exactly right for those times, and these times, too. Before long, the “sound” found avid listeners among musicians and fans on the Japanese main islands, and such was its power that an album was quickly planned and, in 1977, recorded (at the Mikado, as it happened.) That album, Shoukichi Kina and Champloose, today considered a seminal chapter in the annals of Japanese rock, received overwhelming public attention, particularly as Makoto Yano, Akiko Yano and other famed musical innovators participated in the sessions as guests. Thanks to its nearly instant popularity — and to some adroit timing — the first Champloose concert outside Okinawa, in December 1977, was also a crowning success, with round after round of standing ovations from the sell-out crowd at Tokyo’s Nakano Sun Plaza. The second Champloose album, Blood Line, released in 1980, was not as quick in coming. But the wait was worth it, for the sessions, recorded in Hawaii with guests including Ry Cooder, Haruomi Hosono, and Makoto Kubota resulted in numbers such as “Jing Jing” (which rose to the Number Two spot on the British disco charts), “Hana…” which was sung by Tomoko Kina, covered by many others and is now a standard in Thailand, and other memorable cuts. The third and fourth albums, Matsuri, recorded in 1982 in collaboration with Makoto Yano, and Celebration Live, a live album released in 1983, did not disappoint the many fans Champloose had gathered during these busy and fruitful years. Unfortunately, those fans had to wait another seven years for the next album. Again the wait paid off: in August 1990, a 32-track digital recording machine was “imported” into Okinawa for the sole purpose of capturing the latest Champloose sound — a sound that by then had evolved and expanded to include, in addition to contemporary rock and Okinawan folk, a number of other musical factors ranging from reggae to jazz to Ainu melodies and more. Furthermore, both as a symbol of the wide scope of the group’s musical concepts and as a tribute to the inspiration they had received from Shoukichi Kina’s father, the latter also participated in the recordings. After the release of that fifth album, fittingly called Nirai Kanai — Paradise, the group returned to active performance, and from May 1991, began work on their sixth and latest album, Earth Spirit. Five of the 11 numbers on Earth Spirit are traditional Okinawan songs, and while such music normally has no choruses, Kina — joined by his fellow band members and by some outstanding guests from the fertile ethno-pop world of Paris — managed to weave some in, along with (not surprisingly) the irresistible flavors of Africa and the Caribbean as well.

Representative Okinawan melodies “Haisai Ojisan” and “Toyonen Ondo” by Deigo Musume are reissued from original Marufuku Records sources.

“Haisai Ojisan,” an early masterpiece attributed to Shōkichi Kina at age 13, remains a quintessential Okinawan melody to this day, famously heard at Koshien Stadium. Behind its humorous lyrics and melody lay the harsh realities of post-war Okinawa, still bearing the scars of defeat. This release features not the widely known 1977 Philips version with its rock arrangement, but the original, simple, and fresh-sounding version released by Marufu Records in Okinawa, 1972. The B-side features “Hounen Ondo,” a 1976 hit by Deigo Musume, one of the leading family groups that shaped Okinawan music, also from the original Marufu Records master.

RYUICHI SAKAMOTO'S ULTRA RARE FIRST ALBUM UNDER HIS NAME - RECORDED WITH RENOWNED PERCUSSIONIST TOSHI TSUCHITORI FOR ALM RECORDS - REISSUED FOR THE FIRST TIME ON VINYL WITH AUDIO REMASTERED BY HEBA KADRY AND LINER NOTES BY ANDY BETA​

​Wewantsounds is delighted to announce the first vinyl reissue of Disappointment–Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto’s first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto’s early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta.

Ryuichi Sakamoto is widely recognized as one of the most important artists of his generation. At the time of Disappointment–Hateruma, he was still a student at the Tokyo National University of Fine Arts and Music and active in Shinjuku’s experimental music circles. He was busy contributing to Transonic Magazine, performing with the multimedia group Gakushudan, and working with musicians pushing the boundaries of jazz, free improvisation, and contemporary composition.

on his side, revered Japanese percussionist Toshi Tsuchitori, who had recently returned from New York, brought influences from Milford Graves’ approach to drumming, including African rhythms, ritualized performance, and a holistic approach that combined music, movement, and philosophy. Sakamoto and Tsuchitori had previously played together in Gakushudan, but neither considered those early encounters definitive. As Andy Beta notes in the liner notes, Sakamoto was “trying to break the traditional form of music, to break open the narrow genres of contemporary music,” and this recording captures one of the rare moments when his exploratory piano work met Tsuchitori’s distinct rhythmic language in a studio setting.

The album, originally released in 1976 on producer Yukio Kojima’s influential ALM Records imprint, is structured across four tracks, with the first, "綾 (Aya)," filling the entirety of Side 1, while Side 2 contains three shorter pieces, each exploring different combinations of instruments and sound sources. The recordings employ a wide array of textures, from prepared piano, bells, marimba, and gongs to EMS synthesizer and voice. Together, the tracks create hypnotic, ethereal soundscapes and rich sonic textures that highlight the interplay between Sakamoto’s experimental piano work and Tsuchitori’s percussive expertise.

Remastered by renowned sound engineer Heba Kadry, this new edition highlights the detail, range, and clarity of the original album, making the ultra-rare Disappointment-Hateruma available worldwide for the first time. It stands as a key early document of Sakamoto’s work and situates the recordings within the broader context of his formative years and Tokyo’s mid-1970s cutting-edge music scene.

RYUICHI SAKAMOTO'S ULTRA RARE FIRST ALBUM UNDER HIS NAME - RECORDED WITH RENOWNED PERCUSSIONIST TOSHI TSUCHITORI FOR ALM RECORDS - REISSUED FOR THE FIRST TIME ON VINYL WITH AUDIO REMASTERED BY HEBA KADRY AND LINER NOTES BY ANDY BETA​

​Wewantsounds is delighted to announce the first vinyl reissue of Disappointment–Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto’s first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto’s early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta.

Ryuichi Sakamoto is widely recognized as one of the most important artists of his generation. At the time of Disappointment–Hateruma, he was still a student at the Tokyo National University of Fine Arts and Music and active in Shinjuku’s experimental music circles. He was busy contributing to Transonic Magazine, performing with the multimedia group Gakushudan, and working with musicians pushing the boundaries of jazz, free improvisation, and contemporary composition.

on his side, revered Japanese percussionist Toshi Tsuchitori, who had recently returned from New York, brought influences from Milford Graves’ approach to drumming, including African rhythms, ritualized performance, and a holistic approach that combined music, movement, and philosophy. Sakamoto and Tsuchitori had previously played together in Gakushudan, but neither considered those early encounters definitive. As Andy Beta notes in the liner notes, Sakamoto was “trying to break the traditional form of music, to break open the narrow genres of contemporary music,” and this recording captures one of the rare moments when his exploratory piano work met Tsuchitori’s distinct rhythmic language in a studio setting.

The album, originally released in 1976 on producer Yukio Kojima’s influential ALM Records imprint, is structured across four tracks, with the first, "綾 (Aya)," filling the entirety of Side 1, while Side 2 contains three shorter pieces, each exploring different combinations of instruments and sound sources. The recordings employ a wide array of textures, from prepared piano, bells, marimba, and gongs to EMS synthesizer and voice. Together, the tracks create hypnotic, ethereal soundscapes and rich sonic textures that highlight the interplay between Sakamoto’s experimental piano work and Tsuchitori’s percussive expertise.

Remastered by renowned sound engineer Heba Kadry, this new edition highlights the detail, range, and clarity of the original album, making the ultra-rare Disappointment-Hateruma available worldwide for the first time. It stands as a key early document of Sakamoto’s work and situates the recordings within the broader context of his formative years and Tokyo’s mid-1970s cutting-edge music scene.

180g weight vinyl. Hidefumi Toki's debut album features a hot soprano solo in "Lullaby for the Girl" and a melancholy alto solo in "Darkness," and he shows his presence in both performance and composition.

Shintaro Sakamoto's new album ‘Yoo-hoo’, his first release in about three and a half years, reflects his overseas live experiences over the past few years while showcasing a diverse sound incorporating blues, mood songs, 60s soul, surf instrumentals, funk, and more. Furthermore, the lyrics, captured through his unique perspective, are truly one-of-a-kind. The new album, containing ten tracks including the October digital single “To Grandpa” and the November digital single “Is There a Place for You?”, is now complete.

Like the previous work, this album was recorded primarily with members of the Shintaro Sakamoto Band: Yuta Suganuma on drums, AYA on bass & backing vocals, and Toru Nishinai on saxophone & flute. Guest player Mami Kakudo participates on marimba for two tracks. Recording engineer/mastering: Soichiro Nakamura. Artwork: Shintaro Sakamoto.

Shintaro Sakamoto's new album ‘Yoo-hoo’, his first release in about three and a half years, reflects his overseas live experiences over the past few years while showcasing a diverse sound incorporating blues, mood songs, 60s soul, surf instrumentals, funk, and more. Furthermore, the lyrics, captured through his unique perspective, are truly one-of-a-kind. The new album, containing ten tracks including the October digital single “To Grandpa” and the November digital single “Is There a Place for You?”, is now complete.

Like the previous work, this album was recorded primarily with members of the Shintaro Sakamoto Band: Yuta Suganuma on drums, AYA on bass & backing vocals, and Toru Nishinai on saxophone & flute. Guest player Mami Kakudo participates on marimba for two tracks. Recording engineer/mastering: Soichiro Nakamura. Artwork: Shintaro Sakamoto.

SIDE-A
01. That Was Illegal
02. You Still OK?
03. Like A Fable
04. You Have Time But I Don’t
05. Sad Errand
|
SIDE-B
01. Star
02. Floating Weeds
03. Thickness of Love
04. One Day
05. The Whereabouts Of Romance

Written & Produced by Shintaro Sakamoto

Exclusive Mesh-Key release of Sakamoto's brilliant third solo album, with completely different art from the Japanese release. Comes with full-color inserts with lyric translations, and digital download cards.

After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.

“Like a language of Sakamoto’s own…made with a ship-in-the-bottle-like focus.” Pitchfork (7.8)

“Love If Possible is the pay-attention-moment. Not enough know. More should know.” Under The Radar

“Perfectionist pop for the extraterrestrial bachelor pad.” Spin

This collaboration by Tokyo producers/musicians Shintaro Sakamoto and VIDEOTAPEMUSIC is the first of two EM Records 12-inch vinyl-only “tribute releases” in support of the film “Bangkok Nites”, produced by Kuzoku. Based on samples from Dao Bandon, Hongthong Dao-udon, Phairin Phonphibun, Thailand and Tokyo dreamworlds meet in these songs.

12" is Ryuichi Sakamoto's first original album in about 6 years, since "async" released in 2017. This is a collection of 12 songs selected from musical sketches he created as if he were writing a diary, and compiled them into a single album. The jacket was drawn by Lee Ufan, an international artist representing the "Mono-ha" school.

A solo album released in 2017. It is an ambitious work that breaks new ground after more than a year of recuperation from illness, and several concerts have been held overseas, mainly featuring material from this album. While the previous album "out of noise" was an organic acoustic work, this album makes extensive use of analog synthesizers, including vintage ones. Since one of the original production ideas was the soundtrack to a fictional Tarkovsky film, each song strongly evokes the listener's own image of the film. In fact, after the album's release, Shiro Takatani, Apichatpong Weerasethakul, Zakkubalan, and others made a film of the album and its songs, which was also presented as an installation. The album includes "andata," a new signature song that has been performed at every concert in recent years. Also, "fullmoon" and "Life, Life" featured readings by Paul Bowles and David Sylvian, respectively, from the film "Sheltering Sky".

2nd solo album. Focusing on “sound” and “tone” itself, this is a radical and ambitious work that has transcended its time and continues to radiate innovative brilliance.

FIRST EVER INTERNATIONAL RELEASE OF RYUICHI SAKAMOTO'S LANDMARK 1983 ALBUM "CODA," HIS RENDITION FOR SOLO PIANO OF THE 'MERRY CHRISTMAS MR. LAWRENCE' SOUNDTRACK. FEATURING REMASTERED AUDIO AND NEW LINER NOTES BY ANDY BETA.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Coda”, issued in Japan in 1983 as a solo piano version of the "Merry Christmas Mr. Lawrence" soundtrack. The album, which was never been released outside of Japan until now, sees Sakamoto on acoustic piano reinterpreting fascinating versions of his famous soundtrack including the classic theme and "Germination," which was later used in the "Call Me By Your Name" soundtrack. This reissue has been remastered by Seigen Ono's Saidera Mastering studio in Tokyo and boasts the original artwork plus a 4-page insert with new liner notes by Andy Beta.

- First international release of the album
- Audio remastered by Saidera Mastering in Tokyo
- Original artwork with OBI and 4 page colour insert
- New liner notes by Andy Beta

Tracklist
SIDE 1
1. Merry Christmas Mr. Lawrence 4:49
2. Batavia 0:50
3. Germination 2:09
4. A Hearty Breakfast 1:18
5. Before The War 1:44
6. The Seed And The Sower 3:55
7. A Brief Encounter 2:27

SIDE 2
1. Ride Ride Ride 1:02
2. The Fight 1:20
3. Dismissed! / Assembly 1:50
4. Beyond Reason 1:26
5. Sowing The Seed 1:31
6. Last Regrets 2:05
7. The Seed 1:06
8. Japan 2:58
9. Coda 5:32

Ryuichi Sakamoto's seventh solo album, "Neo Geo," co-produced with Bill Laswell for global release, showcases a fusion of top musicians across various genres, including Sly Dunbar and Bootsy Collins. Infused with electronic tones intertwined with organic and ethnic flavors like traditional Okinawan and Balinese music, the album was meticulously crafted in both Tokyo and New York, reaching audiences in over 20 countries and marking a significant milestone in Sakamoto's solo journey.