Ambient / Minimal / Drone

Vel, recognized for her striking presence in the contemporary techno scene, initiates the Cuddle Protocol, her first ambient album and the third outing on her own label PURR. The nine-track record is a personal and intimate statement. With Cuddle Protocol, Vel explores the paradox of intimacy in a coded world. "I like the idea of a protocol for softness," she explains, "of codifying something that should be intimate and spontaneous." This tension runs through the album: fragile voices and soft layers unfold against serious, carefully structured arrangements, balancing tenderness with rigor. Ambient music has always been Vel's "first love." Before producing techno, she composed ambient exclusively, and this album marks a return to the form in its most sincere expression. "I know this music will follow me all my life. It's not a phase. It's how I express myself most truthfully." Cuddle Protocol is about slowing down, embracing sincerity, and reaching for deeper connection. "When I listen to ambient, I access another world. It's charged with emotion, it makes me drift and forget everything. That's the feeling I wanted to share." Mastering by Sixbitdeep. Artwork by Adone Giuntini.

Andalusian emerging-talent producer GAZZI, a young yet influential figure within the broader Spanish electronic scene, presents an LP that feels like a quiet turning point in his career. Rooted in ambient and new-age minimalism, the record drifts through piano-based textures, soft pauses, and spacious moments that invite deep introspection.

Across its delicate arrangements, GAZZI captures the sensation of slowing down in a world where everything feels fleeting. These tracks hold space for reflection-offering nostalgia, stillness, and the subtle suggestion that hope remains at the edges of even the most ephemeral moments. Each piece unfolds like a landscape suspended in time, shaped by restraint, emotional nuance, and a profound sense of presence.

Presented by Glossy Mistakes, the release reflects the label's ongoing commitment to uplifting a new wave of contemporary Spanish artists, highlighting creators who are redefining the country's sonic identity through experimentation, sensitivity, and forward-thinking sound design.

In GAZZI's own words:

"These songs were made to sit with the wound - to let you drift, to feel scattered, contemplative; they're meant to keep you from thinking too much - or maybe to make you think a lot."

The result is a meditative, deeply personal body of work-one that not only marks a cornerstone in GAZZI's artistic path but also extends Glossy Mistakes' mission to showcase innovative, emotionally resonant voices from Spain's evolving music landscape.

Rhythm has always been more than just for timekeeping. It is inherent to us, instinctive and ritualistic. It is the first communal act, shared before language. Rhythm has been the very core of what it means to be human, the backbone of a millennia of singing, dancing, human expression and interconnectedness. It is with this primal understanding that Munich-based percussionist Simon Popp approaches Trio, his new album and the first made in collaboration with two fellow percussionists, Sebastian Wolfgruber and Flurin Mück.

At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.

“Often it feels like one big setup played by three people,” says Popp, describing the sessions. “The same way the stone on the album cover is one stone made of three parts.”

Popp’s musical journey to this project was a slow unfolding. Inspired first by his uncle, a drummer, he began playing at age nine. Early experiences included everything from orchestras to percussion ensembles to local bands, forming what he describes as “a versatile, varied” musical upbringing.

Rock and jazz were early influences, but also the works of Steve Reich, whose minimalist approaches opened Popp’s young adult mind to how rhythm and repetition can create beautiful music.

His formal studies in jazz drumming in Munich expanded his vocabulary further and importantly, introduced him to Wolfgruber and Mück. Over the past decade, he’s earned a reputation for restless experimentation, with his projects Fazer, 9ms, Poeji and Polygonia & Simon Popp and through three previous solo records that blend ambient, jazz, electronic and percussive exploration. Yet Trio represents something new, not just a sonic evolution, but a philosophical one.

Popp’s earlier albums were composed and recorded solo, with live performance bringing in added musicians as a necessary adaptation, Trio developed organically through regular sessions and playing together in Popps’ studio . The compositions would start as tiny seeds. A rhythmic phrase, a pattern, a two-sentence idea, and were grown collectively.

“We’d meet regularly, just hang out, play, make jokes,” Popp recalls. “A lot of the music came out of that fun, that connection.”

That spirit infuses the album’s tracks. On “Wallride,” for example, the mobile absorber walls of Popp’s studio were struck with sticks to produce deep thudding tones that drive the track forward. “High High Low” is built around a tiny motif — two highs, one low — that the trio playfully bends, stretches and overlaps. “Birkenschlag” plays with asymmetry, using an 11/8 pulse to dance around the beat rather than sit directly on it. On “OiOOiOiiOi,” a sequence of right and left strokes becomes an obsessive mantra, played together by the three players like a ritual phrase. “Eggplant” layers two distinct grooves beneath a third freer voice, producing a loose, floating tension.

Despite the technical precision and percussive detail, there is nothing rigid or academic in Trio. The album is filled with a global spirit, venerated not only with the traditional beating of drumheads, but wood blocks, singing bowls, tuned gongs, temple bells, metal pipes, tongue drums and piezo-amplified electronic textures.

The use of electronics and processing throughout the record adds a subtle shimmer. Echo, delay and saturation are used not to distance the listener but to deepen the atmosphere. These effects serve as a kind of golden thread, binding the natural and synthetic, the ancient and the modern, the individual and the collective. Like in Kintsugi, what might have remained separate is made whole, its joins not hidden but celebrated.

The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. This sits at the core of what it means to express our humanity. That is the spirit of Trio. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.

In the end, Trio is not just an album about drums. It is an album about connection. About the joy of collaboration, the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

First re-issue album from the Skintone Edition Volume 1 Box Set

Magic Thread is Susumu Yokota’s deeply soothing and delicate debut release on the Skintone label. With a spartan palette of sounds and textures, Yokota taps into a fundamentally human need to fuse and connect disparate fibres, magically forming work which glistens and pulsates with life.

Magic Thread originally came out in 1998 as a limited-edition CD release of 500 copies. Initially intended for the Japanese market, it came without any artwork in a standard transparent CD case adorned only by a sticker containing essential album information and a quote:

‘Somewhere in the process of evolution, the spinning and weaving of thread became possible for humankind. How did this come to pass? It can only be that the thread is possessed of magical properties.’ – Yokota, 1998.

First re-issue album from the Skintone Edition Volume 1 Box Set

Magic Thread is Susumu Yokota’s deeply soothing and delicate debut release on the Skintone label. With a spartan palette of sounds and textures, Yokota taps into a fundamentally human need to fuse and connect disparate fibres, magically forming work which glistens and pulsates with life.

Magic Thread originally came out in 1998 as a limited-edition CD release of 500 copies. Initially intended for the Japanese market, it came without any artwork in a standard transparent CD case adorned only by a sticker containing essential album information and a quote:

‘Somewhere in the process of evolution, the spinning and weaving of thread became possible for humankind. How did this come to pass? It can only be that the thread is possessed of magical properties.’ – Yokota, 1998.

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)

Petre Inspirescu returns with a four-part suite of mesmeric, long-form compositions. Spanning two 12" records, each track occupies a full side - unfolding with the patience and precision of serialist structures. Drawing from minimalism and contemporary classical traditions, this is introspective electronica in its most refined form - hypnotic, elegant, and quietly expansive.

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.

WRWTFWW Records furthers its collaboration with Japanese electronic/ambient group Interior by releasing their never-heard-before soundtrack for environmental artist NILS-UDO's 1987 Laserdisc Sculpture of Time (Apocalypse). The intriguing sound design/kankyō ongaku/new age album is available as a limited-edition LP housed in a heavyweight 350gsm sleeve and comes with a obi strip. In 1987, Intermission published a Japan-only Laserdisc showcasing one hour of works created by renowned German environmental artist NILS-UDO. To accompany the visuals, they commissioned electronic music group Interior, fresh off their Haroumi Hosono-produced self-titled debut (also available on WRWTFWW Records) and their Windham Hill Records-released sophomore album Design. For the first time ever, the soundtrack is now available in full HD glory, demonstrating Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto's precise, subtle, and spellbinding approach to ambient sound design. Calming nature sounds, ritualistic synths, meditative atmospheres, and eruptive forays into darker territories mesh superbly in a four-part soundscape that flirts with oeuvres such Midori Takada's Through The Looking Glass and Hiroshi Yoshimura's Green, making Sculpture of Time one of one of the best kept secrets of kankyō ongaku -- a must have for mystery hunters and levitating music lovers.

WRWTFWW Records is very happy to present a new collaborative album by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian & Swiss trombonist Andrea Esperti (Esperti Project): MUSIC FOR A COSMIC GARDEN. Recorded during the heights of the pandemic and completed in February 2021, the splendid ethereal soundscape created by Kokubo and Esperti is available in limited double LP, digipack CD, as well as digital. Takashi KOKUBO is a Japanese environmental musician who produces healing music that gently resonates with people’s hearts. He has recorded “sound scenes from nature” in countries around the world using a binaural “CyberPhonic” microphone of his own invention, and incorporates these dimensional sounds of nature in his work. The founder of Studio Ion, he has released more than 20 albums that include the highly sought-after Ion Series. His track "A Dream Sails Out to Sea, Scene 3" was featured on Light in the Attic’s Grammy-nominated Kankyō Ongaku compilation. Andrea ESPERTI is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) in an eternal approach of exchange and encounters. He travels the world, listening to others and interacting with their cultures, crystallizing his globe-trotting emotions through music projects. More info at andreaesperti.bandcamp.com For fans of environmental, ambient, cosmic escapes, meditative atmospherics, and gardening in space.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

Works of the great Somei Satoh / Mandala Trilogy + 1 bonus track - Shomyo Buddhist chant vocalization and infinity ambient abyss transform into superb mystic and meditative harmonics.

"Mandala", "Mantra" and "Tantra" were recorded separately in 1982, 1986 and 1990. "Mandala" was included on the album Mandala/ Sumeru that was released on ALM (Kojima Recordings) and it was recorded at the NHK Studio of Electronic Music. "Mantra" was a NHK commissioned work (recorded at the same studio). "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording. Although each composition’s production comes from a different era, they all use Satoh’s own vocals as sound as well as electronics.

Includes bonus track "Mai", a composition commissioned by harpist Ayako Shinozaki recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Although it is not an electronic music piece, this composition complements the world that Satoh expresses in Mandala Trilogy.

Deep deep deep into the abyss.

In the midst of a series of great domestic new age/ambient reissues this year, including works by Mkwaju Ensemble, Motohiko Hamase, and Joe Hisaishi, here comes the long awaited pure ambient masterpiece! The monumental 1983 debut album by Inoyama Land, a synthesizer unit formed by Makoto Inoue and Yasushi Yamashita, former members of the still active techno-pop and avant-garde group Hikashu, has been digitally mixed down from the original multi-track tapes. The original 1983 album was digitally mixed down from the original multitrack tapes and reissued for the first time in 35 years.

The original 1983 album was released on MEDIUM, a subsidiary of the YEN label hosted by Haruomi Hosono. The original version of the album was released in 1983 on MEDIUM, a YEN label owned by Haruomi Hosono. The original version was known to be one of the most sought after by enthusiasts around the world, and both the LP and CD versions were extremely expensive. The origin of the album title comes from a childhood memory of Yamashita's friend playing with the song "Dan jin dan posidon! The title of the album was taken from the scene where Yamashita's friends used to play while saying "Dan jin dan posidon! The album was recorded using the "Water Delay System," a method devised by Hosono in which microphones and speakers are installed in a tank of water to create a unique, crystal-clear sound. From the ambient sounds colored by meditative synth layers, to the lovely home recordings, to the premature electronica feel, to the occasional avant-wave appearance, this is a masterpiece of originality and a playful piece of work. This is the pinnacle of unique music that lies somewhere between new wave and ambient. This is a masterpiece that is highly recommended for all environmental music and new age fans, including Hiroshi Yoshimura, Midori Takada, Yumiko Morioka and others!

In the 1980s, there was a unique music in between new wave and ambient. In the 1980's, there was a unique music between new wave and ambient, and Japanese music released in that period is now being heard around the world. Inoyamaland is one of the rarest of them all, and has not been forgotten. I was still involved in the release of the album 35 years ago, but the submission of the lost homework was a fresh surprise. The strange comfort of the region called Inoyamaland, like listening to a weather report, has not changed.
Harumi Hosono, July 11, 2018

Still Way" by Satoshi Ashikawa, one of the pioneers of Japanese environmental music, who founded the famous Sound Process label (Sound Process Design Co., Ltd.) and has brought out famous artists such as Hiroshi Yoshimura, Oscilation Circuit, and Satsuki Shibano, has been reissued on CD and LP! Finally, the new age revival/domestic ambient reevaluation has come to an end! Originally interested in contemporary music when he was in college, he worked at Art Vivant, a store specializing in art books and contemporary music, and has been active in experimental performances since the late 70s, collaborating with Mamoru Fujieda, Midori Takada, and Hiroshi Yoshimura. The following year, he passed away at the age of 30. This album has a clear concept of ambient music in the lineage of Brian Eno, and was created as a work that can be listened to casually as a "sound landscape" or "sound object. Four players, including Midori Takada, perform music composed by Satoshi Ashikawa. Although the composition varies from piece to piece, piano, harp, and vibraphone are used. It is a beautiful work that depicts an emotionally rich landscape that passes through contemporary/minimal music and is very simple, but also has the beauty of a Japanese pull. In his own words, the music is like a series of still moments. The cover design is by Hiroshi Yoshimura. Liner notes by Midori Takada, Satoshi Ashikawa and Gareth Quinn Redmond are included.

Midori Takada (1951-) is a composer and percussionist who is very popular overseas as one of the last treasures of Japanese ambient, new age, and minimal new music. WRWTFWW in Switzerland and Palto Flats in New York! After making her debut as a soloist with the Berlin Radio Symphony, she began to explore traditional music in the 1980s, traveling throughout Africa and Asia. In the 1980s, he began to travel around Africa and Asia to explore traditional music. He has had many sessions with musicians from Ghana, Burkina Faso, Senegal, Korea, etc. (in Japan, with Masahiko Sato and Tadashi Suzuki, a director), and has established his own musicality with spirituality by integrating the dynamic musicianship of Africa and the static spirit of Asia based on the integral concept of consistency between sound and the human body. He established his own musicality with spirituality. In addition to the oriental and misty ambience, there is a minimalist piece with marimba reminiscent of Steve Reich, and a shamanic and spiritual percussion piece that seems to be a mixture of Japanese drums and African percussion. Perhaps it is because he is also familiar with ambient and experimental music, but this is a masterpiece that you can listen to over and over again, with a spirit that is completely different from the New Age works that abound in the Western world.

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.

Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.

The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.

Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).

Sakamoto on Guitar LP by Jonathan Bockelmann In Wishlist view x Share Tweet Share on Tumblr Embed this albumsmall medium large Email supported by Greg thumbnail dbp thumbnail alojlo thumbnail Raznat thumbnail Alexander Hine thumbnail Michael Gallagher thumbnail Kevin Burns thumbnail mattbenard thumbnail Cybershaman thumbnail Etienne B thumbnail Roygbiv thumbnail musicistheanswer thumbnail Bruce Levenstein thumbnail raffaele melina thumbnail Tseld thumbnail dasd thumbnail Bethlem thumbnail fulemin thumbnail wilb thumbnail Ian Reagan thumbnail Arthur LORENTE thumbnail alifetimeaway thumbnail ryryryryryryryryry thumbnail NAOKI WATANABE thumbnail Aoneko No Torso 00:00 / 02:13 Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 24-bit/96kHz. €9 EUR or more Record/Vinyl + Digital Album package image package image package image package image package image 180g vinyl, first pressing comes with an embossed art print Includes unlimited streaming of Sakamoto on Guitar LP via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Download available in 24-bit/96kHz. ships out within 10 days €27 EUR or more 1. Aoneko No Torso 02:13 2. Dream 01:15 3. Bibo No Aozora 03:20 4. Blu 02:58 5. A Flower Is Not A Flower 03:12 6. 20220302 02:41 7. Opus 05:21 8. Dancing In The Sky 01:03 9. Suite for Krug in 2008: I. Movement 06:31 10. Suite for Krug in 2008: II. Movement 07:10 11. Suite for Krug in 2008: III. Movement 05:13 about Jonathan Bockelmann is a classical guitarist and composer based in Munich who first made waves in 2023 with his debut album ‘Childish Mind’. His entry into composing were arrangements he had made of pieces by Japanese composer Ryuichi Sakamoto. Some of these have been released digitally in three editions and are now available on vinyl for the first time. The record comes in high quality packaging with an embossed art print and features both some of Sakamoto’s lesser-known works like the ‘Suite for Krug’ as well as iconic pieces like ‘Bibo No Aozora’. "I have always been fascinated with the music of Sakamoto. He manages to communicate his musical ideas with only a few notes - something that merely a handful of composers are capable of doing. And no matter what instruments he writes for, you can always hear an underlying constant, a signature in his sound. It was a revelation to me when I finished my first transcriptions of his music and realized how incredibly well they actually work on the guitar. Somehow this instrument is suitable for capturing the spirit of his compositions and I think it's because of the unique and colorful tone of the instrument. It even f e e l s great to play those pieces. Sometimes I spend so much time studying them that they start to sound to me as if they were originally written for guitar. During the transcription process I had to take on different challenges. When the original score was available it was much easier to transcribe a composition because I had different instrument sections separately - like the string section of ‚Blu’, for example. This way I could figure out how and where to play it on the guitar. For some pieces though, like 'Dream', there was no score available and I had to figure out the notes by ear. In the end the whole process gave me so much joy and inspiration, not least because I felt that I have created a whole new repertoire for the classical guitar, one that is wonderful to listen to and a joy to play." - Jonathan Bockelmann

06:55    Hatsuhinode
02:39    Agora
03:57    Ostinato
04:59    Hibari
06:55    Maya
04:40    Shizuku
04:07    Niwa
08:04    Tio
Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with 'Nozomi', the follow-up to their 2022 debut 'MMMMH'. The Japanese title, which translates to ‘hope’, felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope. The music on Nozomi unfolds gently, with Lindermayr’s airy tone and lyrical playing being wrapped in Ohta’s chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto’s ‘Hibari’, the arrangements are largely improvised, letting the duo’s intuition guide the course and build the form. Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.

A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.

Ultimo Tango (Milan) & Glossy Mistakes (Madrid) are thrilled to announce the release of "Tribal Organic: Deep Dive into European Percussions 79-90", a compilation of otherworldly percussion-driven tracks, digging deep into this unknown realm of a past era.

Compiled by Luca Fiore and Glossy Mario, the album takes listeners on a rhythmic journey through the diverse sounds of Europe from 1979 to 1990. This collaboration between two like-minded labels highlights forgotten recordings from across Europe, including works by artists from France, Spain, Germany, Italy, Austria, the Netherlands...

Opening with the ethereal “Rainforest” by British female duo Ova, this collection weaves together nine tracks from artists who were deeply influenced by global percussion traditions. With hints of jazz, new age, gamelan, and West African rhythms, these tracks feature instruments like congas, tablas, and shekeres, and reflect a shared fascination with the organic beat of the drum.

From the industrial-meets-African grooves of Jean-Michel Bertrand’s “Engines”, to the hypnotic accordion and tribal chants of Cuco Pérez’s “Calabó Bambú”, the compilation offers a cross-cultural listening experience that is both meditative and invigorating. Despite creating these works in isolation during the last years of the Cold War, each artist was inspired by a borderless world of sound. The compilation pays homage to these nomadic musicians who respected the traditions they drew from, while contributing their own experimental takes on percussion-led music.
In Tribal Organic, Glossy Mario and Luca Fiore have unearthed a treasure trove of rhythm-driven tracks that blur the lines between nations, genres, and cultures. This compilation offers more than just music; it’s a listening experience that is both spiritual and grounded—bold, exploratory, and deeply rooted in the beat of the Earth. <iframe style="border: 0; width: 350px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=3608275395/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://glossymistakes.bandcamp.com/album/tribal-organic-deep-dive-into-european-percussions-79-90">Tribal Organic: Deep Dive into European Percussions 79-90 by GLOSSY MISTAKES</a></iframe>

Steve Hiett, who is famous for his only work "At Nagisa ...", which is still very popular as a masterpiece of AOR / Light Mellow with a strange transparency and floating feeling, was spending time as a fashion photographer. This is the first record of an unreleased tape sound source recorded in Paris! Steve Hiett, a famous photographer who also shot JIMI HENDRIX's final performance at the Isle of Wight Festival in 1970 and the Beach Boys, Doors, and Miles Davis. A treasured sound source released in conjunction with the recurrence of "At Nagisa ..." released the other day. It's like a Drutti column played on the beach, and it has a tremendous Breezin'and Mellow, and a bottomless and moody taste. It's very good with a polished sound and a conceptual album composition that I can't think of as an unreleased work! A masterpiece behind the AOR.

Meditations Bestseller! Steve Hiett's only album "At the Shore..." is still very popular as a masterpiece of AOR/light mellow with too much unusual transparency and floating feeling. The album has been co-released by Melbourne's Efficient Space and Be With Records for the first time on vinyl! Steve Hiett has worked as an art director and designer, and has also worked as a photographer for top fashion magazines such as VOGUE and MARIE CLAIRE. The original album, released by CBS/Sony in 1983, is known to be extremely rare and hard to find. The album was released only in Japan and was not distributed worldwide, despite the fact that it featured a superb lineup that represented the Japanese music scene at the time: Toru Okada of the Moonriders, Hirofumi Suzuki, Masahiro Mukawa, and Kazuhiko Kato. This is a very rare album. Remastered from the original master tapes. Don't miss it!

あまりにも嬉しい〈Efficient Space〉からの奇跡のリプレス！オーストラリアに沸く現代ニューエイジの屈指の泉、Andras Fox = Andrew Wilsonが描くやすらぎ盤の第2章...
本作はAndrew "Wilson" 1人だけでなく、Not Not Funからデビューしたヴェイパーウェイヴ & AORの哀愁インスト紳士、あのEleventeen Eston = John "Tanner"とのプロジェクトです! メルボルンとパースの海辺や夕陽、都市の街なみをバックに想い想いのダンスでアンビエントなたけを演奏してきた彼ら。今作はその想い想いな部分が小さく小さく、空気やムードなレベルにまでおだやかに、しかしこれまでになく色濃い境地にまで達してます。Tannerのクラリネット、Wilsonのシンセが舞うA1 "Sun Room"からしてどうしましょう...
グラフィックと音楽が同じ土台でむすびつく、オーストラリアならではのアートワークもすばらしい。Emotional RescueやPalto Flats、Music From Memoryがそうしたように、数十年たっても語り継がれてほしいアンビエントの傑作です。

A collection of transfixing, storm-like compositions, "Drifts” draws you into its heightened sense of quiet. The album’s twelve tracks revel in elegant, tranquilized vapors — one part ambient Classical, one part Club-adjacent ambience.

Pitched, reduced, sampled and re-sampled, the album’s glowing, elliptical abstractions — using piano, harp, strings & modular synthesizer — explore the emotional terrain between aftermath and renewal, blending the unstructured immediacy of improvisation with the elegant sculpture of composition.

Featuring collaborations with Patrick Belaga, Marilu Donovan (LEYA), and Takuma Watanabe, the album’s cinematic suite of impressionistic, ambient works invite the listener into a vast, mapless space of dreamlike non-linearity where interior and exterior landscapes bristle with intimacy and electricity.