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チベットの高山植物、甘松、杜鵑花（シャクナゲ）、藏紅花（サフラン）、藏當歸（トウキ）、沉香（ジンコウ）、藏柏（チベット柏）、インドの檀香木（サンダルウッド）、乳香、豆蔻（カルダモン）、冰片（ボルネオール）、琥珀などを使用し、チベット仏教と伝統医学に深く根ざした精神性と美意識を持った薬香を作り出すYOUMINBAのお香。「藏傳五分法身香・沉靜」は古来の秘伝レシピと高品質な原料を贅沢に使用したもので、木と草の静かな香りがまるで静かな山林にいるような安心感をもたらし、日々の喧騒から距離を置く時間をサポートしてくれるよう。経典に記された「五分法身」の教えとは本来「心の香りである」が、それを象徴する現実の香を焚くことで、精進や善行へと自分を導く意味を持つという、仏教的な意味合いが特に強い逸品。一箱に約60本入り、長さ約17.5cm。

チベットの高山植物、甘松、杜鵑花（シャクナゲ）、藏紅花（サフラン）、藏當歸（トウキ）、沉香（ジンコウ）、藏柏（チベット柏）、インドの檀香木（サンダルウッド）、乳香、豆蔻（カルダモン）、冰片（ボルネオール）、琥珀などを使用し、チベット仏教と伝統医学に深く根ざした精神性と美意識を持った薬香を作り出すYOUMINBAのお香。「藏傳五分法身香・深秘」は古来の秘伝レシピと高品質な原料を贅沢に使用したもので、草木と木質系の香りを主体に、瑞々しい清涼感があり、精神的な落ち着きや集中を促す。「五分法身」の教えとは本来「心の香りである」が、それを象徴する実際の香として焚くことで、修行や日常の精神修養を促す道具になるという考えに基づいており、仏教的な意味合いが特に強い逸品。一箱に約60本入り、長さ約17.5cm。

チベットの高山植物、甘松、杜鵑花（シャクナゲ）、藏紅花（サフラン）、藏當歸（トウキ）、沉香（ジンコウ）、藏柏（チベット柏）、インドの檀香木（サンダルウッド）、乳香、豆蔻（カルダモン）、冰片（ボルネオール）、琥珀などを使用し、チベット仏教と伝統医学に深く根ざした精神性と美意識を持った薬香を作り出すYOUMINBAのお香。「藏傳五分法身香・醇美」は古来の秘伝レシピと高品質な原料を贅沢に使用したもので、濃密だが爽やかさもある木の香りと、上質な甘さが印象的。経典に「心の香りである」と書かれたものを具体化したもので、善を求める道にある人が「無上の香気」に包まれるようにとの願いも込められた、仏教的な意味合いが特に強い逸品。一箱に約60本入り、長さ約17.5cm。

Originally released in 2018 in a very limited series of 50 cassettes the 003 of the Japanese legend Yousuke Yukimatsu is now repressed and restyled for a 2024 150 units edition. Six years later Yousuke has skyroked and now known all around the world for his amazing DJ skillz and unique music taste. We told you so back then and we are so happy to see that happen. --- 2018 press release: Founder of Zone Uknown, Dommune selector and recent affiliate of Asian Dope Boys, Yousuke Yukimatsu (Osaka, 1979) is a key figure in the Japanese electronic culture. If you see him playing is impossible to don't get caught by his unique and somehow visceral style of DJing. For MBE series he recorded 90 minutes of music made strictly by Japanese artists offering us an extraordinary wide-eyed perspective on the far east electronic culture. Imagine to be in Osaka or in Tokyo in an overcrowded obscure underground small cave listening to some sweating freaks playing distorted noise, or sitting on a bamboo mat in a machiya while Shigeo Tanaka is playing the yumi, or being in the Hozen Ji temple reaching the ascension with the chants of the priests, or getting lost into a cyberpunk scenario with DJs spinning dark techno into a foggy warehouse with just a low strobe light on.. well you can just get a glimpse of what this tape is.

Based on a foundation of philosophical speculation on modernity and pre-modernity, Eastern and Western traditions, and the historical transformation of religions, Nishitani speaks clearly in simple language from a broad and deep perspective on the issues facing Buddhism in the modern world. This is a record of a lecture given by Nishitani in his 70s.

This is a discourse on The True Faith of Kyōgyōshinshō, written by Shinran, the founder of the Pure land shin sect. This book is a masterpiece in which Shinran's thought is carefully read and clarified through difficult quotations from Buddhist scriptures with oral translations of the original text. This is the first time in 50 years that it has been reprinted in a new edition.

Toshiya Tsunoda is a Japanese sound artist whose quarter century of exploration into field recording has been a huge influence on many other great artists working in similar territory. His archival series of three themed sets of field recording studies, released on three different labels from 1997 to 2001, 'Extract From Field Recording Archive #1-#3”, lay the groundwork for so much of what followed, both from Tsunoda and many others. This disc, 'Reflection-Revisiting', contains more recent recordings from 2007-2018, in which he revisited some of the original port areas, looking for a certain continuity between his ideas in the past and the present, while also discovering the differences between the two periods. "My purpose for these recordings in the nineties was to observe vibrations, and at the same time to find the observation point for each recording. For some very subtle, inaudible vibrations, a special method of observation such as installing a contact microphone inside a bottle or a particular observation point is required. It can be said that the object of the vibration and the act of observation are inseparable. I think that it is not really 'detection' or 'documenting', but is more likely closer to 'depiction'. The word 'depiction' has a nuance of both watching and portraying an object simultaneously." "By using small microphones and contact microphones, I tried to detect vibrations that were integrated with the presence of the place, like the vague images existing in the lowest layer of our perception. The space that could be observed in this way was quite different from how we perceive the actual place as a space." (from liner notes of Extract From Field Recording Archive 5CD box set by Toshiya Tsunoda)

'87 KAD 3:4:5:6 ~ Newly Discovered MaterialMichio Kadotani (1959–1990) was a legendary figure in Japan’s 1980s underground punk and psychedelic rock scenes. Living with schizophrenia, he inspired characters in Ramo Nakajima’s novels and is presumed to have died young from a drug-related illness. His only known release was Kusatteiku Telepathies (‘腐っていくテレパシーズ,’ or Rotting Telepathies in English), a posthumous 1991 album on P.S.F. Records—until now.Newly uncovered tapes from Nakajima’s archive, including ‘87 KAD 3:4:5:6, a fully restored studio demo, reveal Kadotani’s original vision. Unlike the P.S.F. release, this work features his handwritten cover and tracklist, reflecting his meticulous design. His sensitivity to voice and meaning shines through in detailed notes correcting perceived lyric errors, even though the vocals remain largely unintelligible.The music, multitracked solo, blends raw acid punk energy with echoes of the Velvet Underground and the Sex Pistols/P.I.L. Outdated drum machines and multiple takes add texture, while songs like “Telepathy” foreshadow later work. Track 9, an uncredited bonus piece, was identified through interviews with Sô-si Suzuki, showcasing Kadotani’s ability to lead collaborative sessions.Long dismissed as an outsider, Kadotani was deeply attuned to sound and structure. His work is intense, vivid, and uncompromising—a rare example of someone transforming inner chaos into a coherent sonic world. He didn’t explain it. He lived it.

'87 KAD 3:4:5:6 ~ Newly Discovered MaterialMichio Kadotani (1959–1990) was a legendary figure in Japan’s 1980s underground punk and psychedelic rock scenes. Living with schizophrenia, he inspired characters in Ramo Nakajima’s novels and is presumed to have died young from a drug-related illness. His only known release was Kusatteiku Telepathies (‘腐っていくテレパシーズ,’ or Rotting Telepathies in English), a posthumous 1991 album on P.S.F. Records—until now.Newly uncovered tapes from Nakajima’s archive, including ‘87 KAD 3:4:5:6, a fully restored studio demo, reveal Kadotani’s original vision. Unlike the P.S.F. release, this work features his handwritten cover and tracklist, reflecting his meticulous design. His sensitivity to voice and meaning shines through in detailed notes correcting perceived lyric errors, even though the vocals remain largely unintelligible.The music, multitracked solo, blends raw acid punk energy with echoes of the Velvet Underground and the Sex Pistols/P.I.L. Outdated drum machines and multiple takes add texture, while songs like “Telepathy” foreshadow later work. Track 9, an uncredited bonus piece, was identified through interviews with Sô-si Suzuki, showcasing Kadotani’s ability to lead collaborative sessions.Long dismissed as an outsider, Kadotani was deeply attuned to sound and structure. His work is intense, vivid, and uncompromising—a rare example of someone transforming inner chaos into a coherent sonic world. He didn’t explain it. He lived it.

Yokobue (transverse flute) player Michiko Akao's 1983 release "Yokobue: The World of Michiko Akao" is being reissued for the first time! Produced with Shigeaki Saegusa as composer and arranger, this is a new age work that goes far beyond the realm of pure Japanese music. This is a definite recommendation for listeners who are following the current new age/ambient music.

Tapping the driftwood, tapping the surface of the water, everything on earth becomes his instrument.
In 1990, NEWSIC, a leading Japanese environmental music label, released a work by a rare percussionist
The work released by the rare percussionist is now on LP record for the first time.

Listening to Mr. Ochi's Natural Sonic reminds me of the days when I used to go to the studio of St. GIGA (satellite music broadcasting station), which was then located in Jingumae.
There, this album was secretly played day after day.
After more than 30 years, "Chikyu no Chikugo" was finally released to the world.
- Yoshiro Ojima (Composer / Music Producer)

Yoshiro Ochi is a percussionist who has been active in a wide variety of fields, including composing and performing music for the Issey Miyake Collection from 1984 to 1990, producing music for TV and radio, participating in live performances by GONTITI and other artists, and conducting workshops.
He has collected colorful living tones by traveling, playing drums, and tapping on natural objects he encounters. They blend gently with computer sounds and repeat pleasant resonance.
A magical massage of sound and rhythm.
Following "Motohiko Hamase - Tree Scale," one of the most popular titles on the "NEWSIC" label, this long-awaited analog record pressing is now available!

Translated with www.DeepL.com/Translator (free version)

The beauty of Bach playing that can only be reached by modern piano - Nobuko Kondo, who embodies this beauty, recorded the masterpiece "Die Kunst der Fuge" from her later years. The well-honed intellect and body that lucidly multilayers the movement of the voices approach the musical existence located at the extreme north of counterpoint. From the opening note to the final silence that suddenly arrives, this is a gem of a performance that sustains a tension filled with penetrating intention and serenity.

Nobuko Kondo
D. in Instrumental Music from Tokyo University of the Arts. D. for her thesis and performance of Stockhausen's piano music, and received the Bunka Hoso Music Award. She was awarded the Bunka Hoso Music Prize, and studied at the Berlin University of the Arts as a scholarship student of the German Academic Exchange Service (DAAD) from 1986 to 1988, graduating with the highest honors. He won a prize at the Busoni International Competition and was awarded the Nancy Miller Memorial Prize at the William Kapell International Piano Competition in 1990. He has performed with the Berlin Symphony Orchestra, Symphony Orchestra Berlin, Haydn Orchestra (Italy), Tokyo Symphony Orchestra, Tokyo University of the Arts Orchestra, and many others. In 1993, she began the recital series "Piano Music of the 20th Century". In recent years, she has also concentrated on the works of J. S. Bach, especially her recitals in 2000 and 2005 of the complete works from "The Well-Tempered Clavier, Volumes I and II", which were highly acclaimed. She has also released the CDs "J.S. Bach Toccata Complete Works," "New Viennese Music School Piano Works," and "Nobuko Kondo Plays J.S. Bach" (specially selected for "Record Geijutsu"), which have been well received. In April 2017, he spent a year in Berlin as a long-term overseas trainee at Kunitachi College of Music, where he conducted research focusing on Beethoven's piano works. She is currently a professor at Kunitachi College of Music.

 

Emotion and Reason. Past and present.
The pianist Nobuko Kondo, who highly integrates conflicting elements to create a well-honed musical world, plays richly flavored Bach. While Kondo has expanded her international activities through first and second prizes at the Artur Schnabel Competition and prizes at the Busoni International Competition, she has also been active in premiering new works and performing contemporary music, including Stockhausen's works, Bach has always been present in her activities.
Included on this CD are six works that were featured in a 2014 recital and garnered rave reviews from all quarters. Each of the six works encompasses a completely different style, and Kondo sublimates them with a high degree of emotional and rational integration, while maintaining the philosophy of the works themselves. The unique, one-of-a-kind, and solitary Bach resonates from a unique piano and contemporary perspective.

[1]-[2] Chromatische Fantasie und Fuge d-moll BWV903
Fantasia
Fuga

[3]-[4] Fantasie und Fuge a-moll BWV904
Fantasia
Fuga

[5]-[6] Ricercar a 3 / Ricercar a 6 aus dem „Musikalischen Opfer“ BWV1079
Ricercar a 3
Ricercar a 6

[7]-[12] Capriccio B-dur sopra la lontananza de il fratro dilettissimo BWV992
1. Arioso. Adagio
2.
3. Adagiosissimo
4.
5. Aria di Postiglione. Allegro poco
6. Fuga all’imitatione di Posta

[13]-[16] Vier Duette BWV802-805
Duetto I e-moll BWV802
Duetto II F-dur BWV803
Duetto III G-dur BWV804
Duetto IV a-moll BWV805

[17]-[19] Concerto nach Italienischem Gusto F-dur BWV 971
1.
2. Andante
3. Presto

[20] Ricercar a 6 aus dem „Musikalischen Opfer“ BWV1079 (Bonus Track)

Nobuko Kondo
D. in Instrumental Music from Tokyo University of the Arts. D. for her thesis and performance of Stockhausen's piano music, and received the Bunka Hoso Music Award. She was awarded the Bunka Hoso Music Prize, and studied at the Berlin University of the Arts as a scholarship student of the German Academic Exchange Service (DAAD) from 1986 to 1988, graduating with the highest honors. He won a prize at the Busoni International Competition and was awarded the Nancy Miller Memorial Prize at the William Kapell International Piano Competition in 1990. He has performed with the Berlin Symphony Orchestra, Symphony Orchestra Berlin, Haydn Orchestra (Italy), Tokyo Symphony Orchestra, Tokyo University of the Arts Orchestra, and many others. In 1993, she began the recital series "Piano Music of the 20th Century". In recent years, she has also concentrated on the works of J. S. Bach, especially her recitals in 2000 and 2005 of the complete works from "The Well-Tempered Clavier, Volumes I and II", which were highly acclaimed. She has also released the CDs "J.S. Bach Toccata Complete Works," "New Viennese Music School Piano Works," and "Nobuko Kondo Plays J.S. Bach" (specially selected for "Record Geijutsu"), which have been well received. In April 2017, he spent a year in Berlin as a long-term overseas trainee at Kunitachi College of Music, where he conducted research focusing on Beethoven's piano works. She is currently a professor at Kunitachi College of Music.

Nasu Seiryu, who deeply embodied the traditional Shingon Buddhist practice. This new paperback edition compiles three works revealing his consistent identity as both a scholar and a Shingon practitioner. Commentary by Fukuda Ryosei

The first essay surveys the establishment of Shingon esoteric Buddhism and its principles, discussing its uniqueness and the potential for connection with new values and society in postwar Japan. The second and third essays explain the practical significance of esoteric Buddhist teachings in relation to daily life, clarifying the firm stance required of believers.

His consistent identity as both a scholar and a Shingon practitioner is evident in these three essays, newly compiled for this volume, spanning from the postwar period to his later years.

One of the most outstanding composers in the history of contemporary music in Okinawa, and also the representative of Marufuku Records, Tsuneo Fukuhara's representative works and beloved songs were recorded by top Okinawan singers such as Keiko Kinjo and Chieko Iha with contemporary arrangements, and included in the 1999 album “Okinawan Hits & Standards” (Victor/nafin label). “Shirahama Blues/Bossa Nova Jintōyo” is being released for the first time on 7-inch vinyl.

Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes. Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s. Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her, however, and instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take. By the time Misora released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “_Misora_ was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982. While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness. Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it—she’s still alive!”

Kanazawa Akiko, a leading singer in the folk music world celebrating her 50th anniversary, finally releases her killer tune fusing folk and reggae.

This track (“Akita Ondo ~ Akita Daikoku Mai” medley) was featured on the hugely successful album “HOUSE MIX 1” (released in 1991), produced by Soichi Terada, founder of FAR EAST RECORDINGS, a pioneer of Japanese dance music currently experiencing renewed appreciation overseas.

At the time of release, a non-commercial 7-inch record was created for promotional purposes based on an idea by Soichi Terada, who arranged the album. Now, a 7-inch single featuring the original arrangement by Soichi Terada is officially set for release, just like the original.

Isao Suzuki, who became a popular bassist after “Blow Up,” released his fourth TBM album. The profound groovy sound he has created with the genius Kenji Mori and others has never faded away over time.

180g Heavy weight vinyl.Enjoy the soulful melodies of Isao Suzuki, Art Blakey's esteemed bassist, as he, along with his fellow musicians Kunihiko Kanno and George Otsuka, brings his distinctive musical vision to life on this captivating album.

Recorded at Nippon-Columbia Daiichi Studio, on Oct 8-10, 1975.
Trombone: Hiroshi Suzuki.
Keyboards: Hiromasa Suzuki.
Bass: Kunimitsu Inaba.
Drums: Akira Ishikawa.
Saxophone: Takeru Muraoka.

Recorded at Nippon-Columbia Daiichi Studio, on Oct 8-10, 1975.
Trombone: Hiroshi Suzuki.
Keyboards: Hiromasa Suzuki.
Bass: Kunimitsu Inaba.
Drums: Akira Ishikawa.
Saxophone: Takeru Muraoka.

Ship to Shore PhonoCo., in conjunction with Sony Music Entertainment, is proud to present Hirokazu Tanaka & Keiichi Suzuki’s original soundtrack to the 1994 Super Famicom classic MOTHER 2: ギーグの逆襲 (MOTHER 2: Gyiyg Strikes Back!). MOTHER 2, released as EarthBound in the West, is revered as one of the most offbeat and memorable RPGs. Citing influence from artists such as Brian Wilson, Frank Zappa and John Lennon, Suzuki and Tanaka created a diverse soundscape quite unlike anything that came before it. Remastered specifically for vinyl and released outside of Japan for the first time ever, MOTHER 2 is a must have for video game music and soundtrack fans.

In 1979, Akio Suzuki recorded a performance, ¡ÇNew Sense Of Hearing¡Ç, at the Nagoya American Centre. During the performance, Suzuki used voice, turntables, glass harmonica and his self-designed instrument the Analapos to create a series of improvised pieces that effectively charted out his sonic investigations for the proceeding decades. In 1980 these recordings were issued by ALM records as Analapos, the first work made publicly available by Akio Suzuki. For going on six decades now, Akio Suzuki has been responsible for creating amongst the most otherworldly, yet deeply affective sound works of his generation. As a musician, sculptor and sound artist, Suzuki¡Çs work threads an important linkage between Eastern and Western sound art practices. His approaches, that focus primarily on intense states of listening, ¡Çthrowing and following¡Ç and a relentless sense of open curiosity, have allowed him to continuously deepen his work. Originally published in an edition of just 200 copies in 1980, Analapos has been out of print literally since its release. Clocking in an over an hour, the original pressing of the recordings to a single LP, presented some technical limitations. This 40th anniversary edition of Analapos is entirely remastered and is published with a booklet that includes a long form interview with Akio Suzuki conducted by sound artist and collaborator Aki Onda, plus extensive photographic documentation of the development of the Analapos. The publication of this edition is announced in conjunction with the Sense Of Ekō retrospective exhibition which opens at The Substation in Melbourne late January.

super high quality, and thick tote, double strike silver print on black by the legends at 7th Disaster.