Japanese

Following their recent solo releases Soniscope (Dauw) and Cells #5 (SAUNA 064CS), Berlin-based multi-instrumentalist Midori Hirano and Tokyo based string experimentalist Atsuko Hatano have teamed up for their first collaborative full-length: Water Ladder. An intense, multilayered continuation of earlier collaborations (Atsuko was featured on Midori's debut LP back in 2006), the foundation for this new collaborative album was laid when they shared stages in Berlin (Ausland) and Japan in 2019. Working remotely at first, they later recorded parts of the album in Nara's snoihouse (using omnidirectional polyhedral speakers). "As we rallied back and forth with our recordings in the process of creating this album, unanticipated fluctuations and irregularities emerged, coming together into a kind of music with a unique resilience and buoyancy that cannot be confined to existing molds. It was as though we had built a Water Ladder to bridge the gap between us," explains prolific composer and viola player Atsuko Hatano, who's been busy recording solo and with colleagues such as Jim O'Rourke, Eiko Ishibashi, Mocky, Tatsuhisa Yamamoto, Takeo Toyama, and Anzu Suhara (Asa-chang and Junrei). Kyoto-born, Berlin-based Midori Hirano, who's also been releasing music under her MimiCof moniker, adds multiple instruments to the ever-changing sonic landscapes of Water Ladder -- an album defined by suspenseful and seemingly suspended compositions that often feel like floating in midair, a sensation the musicians compare to "that distinctive feeling you get from riding a high-speed elevator, where you can no longer tell whether you're going up or down." Devoid of birdsong, the late summer air is nevertheless full of buzzing, whirring, hissing sounds on foreboding album opener "Summer Noise," a cinematic intro with slow-moving piano chords and an ominous build-up over the course of its sprawling eight minutes. Elsewhere, sudden bursts of viola cut through nighttime peace ("Nocturnal Awakening"), followed by "Cotton Sphere" -- which makes the sensation of floating in midair complete: harmonies and melodies rise and form to fall apart again. Whereas the title track truly explodes half-way in, the final "Cascade" brings closure to the electro-acoustic six-track collection: the floating continues. "Water cannot retain its form on its own, and can take any shape as effected by external forces. Its movements cannot be captured by eyesight alone: A body of water that appears to be crashing down into a deep, bottomless waterfall could actually be rising up very slowly into midair," says Atsuko. "This is an invitation for you to cross the ever-transforming Water Ladder built between Midori and myself."

An important title is coming from Constructive, a new offshoot of SN Variations, a hot label in the UK that includes Chris Watson, Richard Skelton, and Lucy Railton. The latest album released just a few days ago was one of the strongest of the year, and now we have another new release. Last Afternoon" is a masterpiece of this year by Japanese composer Takuma Watanabe, who is known for his many film scores and collaborations with big names such as Relativity, UA, and David Sylvian. This is a rework of that album by Vladislav Delay aka Delay. Against the backdrop of tranquil and languid ambience, a mass of intense sounds pours out. Designed by Joe Gilmore of SUPERPANG, a new sanctuary for current Italian experimentalism, and mastered by Joe Talia! Limited to 500 copies.

There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.

Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.

In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.

Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.

Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

Nearly 50 years on, this “New Music” is born anew.

japanese living legend electronic music producer “takayuki shiraishi”, this album is his debut album on legendary experimental music label in osaka in late 70’s to beg 80’s which was run by yuzuru agi when shiraishi was high school student. shiraishi had a big influence from the music of post punk, new wave ,kraut rock…, this album is his unique mixture of that kind music style. one of the most demanded alternative music album in japan is finally reissued. remastered from original tape and mastering by kuniyuki takahashi.

Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.

Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.

Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht.

The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.

Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.

Recommended for all new age / ambient fans. He is a leading figure in Japanese synthesizer music, known for his participation in the Far East Family Band, a pioneering synth prog group in Japan, and has also worked on numerous new age, healing music works and soundtrack work. Ito details. The extremely rare work "Marine Flowers" released in 1986 has been remastered to commemorate the 35th anniversary! The publisher is the attention label in Madrid, Spain, which also worked on the reprint release of Takashi Kokubo and Yuji Toriyama. Like Yumiko Morioka! This work, released from his own label 's series, was composed as a soundtracks of a documentary about wildlife in the sea shot in Palau. One of the most important careers created for Pioneer's LaserDisc campaign! The liner notes were created by Diego Olivas, the administrator of the famous blog . The original is a rare work that is traded even at a high price of over $300, so please take this opportunity!

the 18th album, released in 1985. After a break in her encounters with various musicians and a number of experimental techniques, she sings this album with only the piano of Takeshi Shibuya in the background, and you can feel again the greatness of Maki Asakawa as a jazz singer.

finally! Haruomi Hosono, who has been active in a wide range of fields from Japanese rock to alternative music, techno pop to ambient, including activities at Happy End, Tin Pan Alley, and YMO, created based on the inspiration when he visited India with Tadanori Yokoo. The 1978 masterpiece is a vinyl reissue from Light In The Attic!

A fictional Bollywood OST work by Haruomi Hosono and Tadanori Yokoo, created from the experience of traveling to India, "Cochin Moon" in 1978. A great fun board where the mysterious scent of bubbly electronic sounds repeats, sings pop, and takes you to the sacred place as it is. Limited to 1500 pieces with liner notes and deluxe gatefold jacket specifications described in the English version interview by Mr. Hosono himself. Now in the streaming era, this is vinyl!

Atsuko Hatano is a contemporay classical Viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics...... ...Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Imprec’s Cassauna label. Cells #5 required three years to complete and the work features the artist’s signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration. When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O’ Rourke, Eiko Ishibashi, Mocky and many more acts. Atsuko Hatano: Violin, Viola, Cello, Contrabass, Piano (track 1), Xylophone, Oscillator and Chorus Guest Musicians: Eiko Ishibashi: Piano, Marimba, Vibraphone Yuko Ikoma: Accordion Natsumi Kudo: Horn and flugelhorn Icchie: Trumpet, Flugelhorn, Piccolo Trumpet Tatsuhisa Yamamoto: Snare Drum Composed and Mixed by Atsuko Hatano Mastered by Jim O’Rourke Cover by Saskia Griepink

A single cut from the debut album "Orca" by NTsKi, a Kyoto-based electronic music producer/performer. It is a 7-inch single that couples "Takao Remix", which was previously available only on the Japanese CD version of the same album, and the instrumental version by Takao.

Futoshi Moriyama is an Osaka-based electronic music producer who began his musical career in the early 2000s improvised music hothouse of Osaka’s Shinsekai Bridge, an important venue for the “Kansai zero sedai” (Kansai Zero Generation), which sprang up in the wake of The Boredoms’ world-wide success. Kazuhisa Uchihashi was the axis of this Bridge scene; his workshops allowed a generation the freedom to develop their own voices. Moriyama’s early improvisational work often saw him using cheap samplers to surprising ends, but since then his work has moved in a more composed direction, while still investigating electronic sound. This particular release, which appeared initially in 2015 as a cassette on the Birdfriend label, run by Koshiro Hino (aka YPY), was a year in the making. All of the music was composed with software instruments, spurred by a desire to move beyond his previous work, and can be heard as a home-recorded orchestral music.

Takao‘s new album is a rare attempt to recreate a previously released album. He has re-recorded his debut album "Stealth" and presents it here as a completely new work. This is a 50-minute full-length album with two new tracks, "Moon" and "Seven Sands". This new "Stealth" is subtitled 'Gold Edition'. 

=From the 2018 album commentary= 
“Stealth” is the aptly-titled debut album from Tokyo-based composer/producer Takao. Gliding in under the radar with thirteen slyly sweet and subtle miniatures, these pieces are refreshing light-explosions of gentle harmony and modestly grand melodies. Fans of New Age and tonal minimalism will enjoy this music, but its brevity reveals a pop-influenced aesthetic as well, and the level of care and detail in the arrangements and recording evinces a nuanced, surprisingly mature sensibility. There’s a blossoming brightness and elegant simplicity that even calls to mind gentle ghosts of Satie and Debussy.

This work "The Apointed Cloud" was developed in 1987 as a large-scale sound installation, and despite being positioned as a representative work of Yoshi Wada, his activities are , It has never been reported to Japan.
Included here are a variety of pipe organ-style instruments, large-scale self-made instruments that combine huge metal plates and junk materials, in addition to installations that vibrate and be beaten under computer control. It is a live performance that announces the opening of the exhibition of works in which the artist participated. This is a very different content from the installation that was open to the public, and it is a one-time performance on November 8, 1987, which was handed down only by the invited guests who experienced this performance at that time and was half legendary.
Bagpipes by Yoshi Wada and other improvisational field artists, percussionist Michael Pagres, who co-starred with David Tudor and others at the Merce Cunningham Dance Company performance, and computer programs were created. At the same time, David Reina assisted the electronic sound in the performance of La Monte Young.

These 28 tracks, 72 minutes in total, cover a wide range of musical styles and eras, from the 60s to the present, urban to rural, primarily by Thai vocalists and musicians, with contributions from Japan and the Philippines. 60s-America-style pop by Suri Yamuhi and the Babylon Band as well as contemporary EDM, trap and hip hop sounds are all present, but the core of this soundtrack are luk thung and molam classics from the 70s and 80s by Angkhanang Khunchai, On-uma Singsiri, Dao Bandon, Khwanta Fasawang and “The Countryside is Great” by Rungphet Laemsing, a pivotal song in the film. All tracks are complete versions, some incorporating dialogue from the film. This CD-only OST features English lyrics, and liner notes by the film’s directors Katsuya Tomita and Toranosuke Aizawa, plus Iwao Yamazaki, Young-G and MMM of the Kuzok team, and Soi 48. This is the first soundtrack release by EM Records. 

TRACKS: 

01. Pai Tuktuk Dwai - DJ Pai Dwai 
02. Pai Massage Dwai - Young-G (stillichimiya/ Omiyuki CHANNEL) 
03. The Smell of Money - Suri Yamuhi & The Babylon Band 
04. You've Left Me Alone - Suri Yamuhi & The Babylon Band 
05. Porra - XXXSSS Tokyo 
06. Only Som Tam - On-uma Singsiri 
07. The Countryside is Great - Rungphet Laemsing 
08. Isan Radio 
09. Bong Ja Bong (Pipe, oh Pipe!) - Dao Bandon 
10. Burn! Burn! Burn! ~ Surfin' Dien Bien Phu - Suri Yamuhi & The Babylon Band 
11. I Will Buy You Back - Bar Nong Khai Band 
12. Samet Love - DJ Pai Dwai 
13. That Goddam Motorsai - Khwanta Fasawang 
14. The Stench of Night – from Chit Phumisak's poem - Surachai Jantimathawn 
15. Saramanda - DJ Pai Dwai 
16. Tamarind Leaf (molam) - Angkhanang Khunchai 
17. Bahn Swairon - Khun Narin's Electric Phin Band 
18. Khaen Whistle Reprise (JRP Tondo mix) - DJ Kensei feat. Tondo Tribe 
19. Vang Vieng Bank (Change Yen to Lao) OST mix - DJ Kensei 
20. Xieng Khouang's Daughter - Thong Boonma (lam), Le Boonma (khaen) 
21. Get Em - XLII 
22. Paun's House - Suri Yamuhi & The Babylon Band 
23. Xanadu - Young-G (stillichimiya/ Omiyuki CHANNEL) 
24. Kanom Party - Young-G (stillichimiya/ Omiyuki CHANNEL) 
25. The Song of an Angel - Suri Yamuhi & The Babylon Band 
26. Ying's Story - Subenja Pongkon 
27. Isan Lam Phloen - Angkhanang Khunchai & The Ubon Phatthana Band 
28. Full Moon (Atsani Phonlachan) - Yuzo Toyoda, Takeshi Yamamura 

NTsKi is a Kyoto-based artist and musician. She began making music while living in the UK and began working in earnest in 2017 after returning to Japan. She works seamlessly to create tracks with gentle but somewhat eerie vocals and a mixture of diverse musicality. In 2021, she was selected by Bijutsu Techo as one of the newcomer artists who will open up the 2020s. Her collaboration with 7FO, released through EM Records, was selected as one of the best of the year by Shintaro Sakamoto. In addition to her self-produced works, she has participated in the works of Giant Claw, CVN, Shokuhin Matsuri a.k.a foodman, Dengaryu, KM, etc., and has released through overseas labels including TAR and Orange Milk. Also, she has contributed music to the Japan Pavilion hosted by the Ministry of Economy, Trade, and Industry at SXSW 2019, where Yoichi Ochiai was the general director, virtual singer te'resa, and an Australian bag brand. On August 6th, 2021, her debut album "Orca" will be released via Orange Milk / EM Records.

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.

約50分に及ぶ4つの未発音源も追加収録！吉村弘、高田みどり、イノヤマランドにも並ぶ国産ニューエイジ/アンビエント最大級の再発案件が到来です！日本が誇る孤高のアンビエント作家、広瀬豊がそのカタログ2としてMisawa Homeレーベルに残した1986年の唯一作が、高田みどり、Colored Music、Normal Brainと日本の音楽秘境も発掘してきたスイス発の最重要再発レーベル、We Release Whatever The Fuck We Want から拡張版となって初となる公式CD/ヴァイナル・リイシュー！元々は、1986年から1988年にかけて、ミサワホームのプレハブ住宅のための『Soundscape』シリーズの一環としてリリースされるも、昨今のニューエイジ再評価の流れで一気に高騰・入手困難と化していた一大傑作！静謐なミニマリズムが呼吸をし、水や虫、鳥などの声のフィールド・レコーディングやまばらなベルの音、ピアノ、シンセサイザーなどが用いられ、大自然の原風景をも思い起こすような神秘的なアンビエント・サウンドを描き出した伝説の一枚。母体回帰のような類い稀なる美しさを秘めた作品です。本人によると「いわば、音楽というよりは、音の彫刻」であるという、インスタレーション用に製作された50分に及ぶ当時の未発表音源も追加収録。デラックス・ゲートフォールド・スリーヴ仕様。本人によるライナーノーツが日本語&英語で記載されています。これが数年前まではレコ屋やリサイクルショップで投げ売りされていたと言うんだからとんでもないことです。

CHINZADOPENESS, Stillichimiya (Young-G, MMM, Dengaryu, Mr. Maru, Big Ben) participated!

Here is the latest version of HIPHOP that America doesn't know yet. Juu, a Thai talent who represents Asia and locals from the opposite direction of 88rising, and therefore creates completely fresh music that can be used globally. Captain Beefheart with Autotune? Is it a drake on a buffalo? The 1st full album "New Luk Thung" is finally dropping!

Who is Juu? Thai HIPHOP scene where attractive acts appear one after another. Among them, Juu is respected as an OG, but it is extremely difficult to catch its existence from outside Thailand. Singing in Thai, there is no physical, OMK (One Mekong) traces the trace that existed only on Youtube and succeeded in contact. In 2017, he was finally invited to perform his first live concert in Japan, revealing his unusual musicality and character. The groove of the hi-hat that is too thick and finely carved is that of TRAP or later, but the flow that expands and contracts freely, the linguistic sense that mixes English, Thai, Japanese, Koshu valve, and the rich Thai music classic All of them (and their funny personalities) showed that they were in a completely different dimension from the world-famous TRAP copycats.

This is Juu's first full-length album, which was completed in about two years after the talents and OMK members collaborated with each other and started co-production with the lead of Stillichimiya / OMK's Young-G. Most of the tracks are in Young-G's hands, and the sound is also full of ambitions that reflect OMK's attitude. Thai instruments such as chin, cowbell, cane and pin are used everywhere, but never used for exotic seasoning. In order to inject the original beats and grooves in Thailand, they are inevitably incorporated. And what oozes out in the mellow song is the flow (singing heart) that is similar to Luk Thung and Japanese enka. They create an indescribable "new song feeling" through Juu's background HIPHOP and reggae.

As the title "New Luk Thung" shows, this work is a Pattaner (* 2) of the dying Thai song genre Luk Thung (* 1) with cutting-edge HIPHOP. Like HIPHOP, this music called Luk Thung cites (samples) and revives past classical music many times. And like HIPHOP, the lyrics (lyrics) are also very important music. The feature of this work is that the manners common to Luk Thung and HIPHOP have been completely digested without contradiction. The title of this work comes from Juu telling Young-G that "this is New Luk Thung" in the process of production, but this is an inevitable name. This work is both "latest HIP HOP" and "latest Luk Thung". In the world of Juu's poetry, which is respected as the best "master poet" in the Thai HIPHOP world, please check out the complete translation, which was extremely difficult to translate.

A tribute to the latest work "Bangkok Nights" by Kuzoku, a movie production group that is active under the banner of "regaining the audience to the cinema". Release is vinyl 12 inch only. Thailand-Bangkok-Isan asks you by sound what Taoyuan Township is.

The fourth installment is a tremendous tremor in the movie world !? A rainy day Ozawa & Babylon band is here! Luk Thung's masterpiece "Country is good" competition cover 12 inches sent by a strong battle with Kufuki & Otsu Rifu! The biggest problem in the series!?!

That's right, that Ozawa (*)! Who knows that Ozawa, a former Self-Defense Forces member who disappeared at the end of the appearance of pimping in Tanya Street in "Bangkok Nights", then hid in Japan and had a session with his friends? The gang chose the retitled cover "Return to the Countryside" of the 70s Luk Thung masterpiece "The Countryside Is Great" that broke in "Bangkok Nights". Iwao Yamazaki (Babylon Band), who is also the sound clerk of "Bangkok Nights", performed the recording mix with the lyrics of the air tribe director Aizawa who brilliantly incorporated the spirit of Luke Thun, whose lyrics are important, into Japanese. I have made the word Luke Tung! Impossible Ozawa (Director Tomita) singing enthusiastically + Shin-chan's dialogue in the play inevitably makes Air Tribe fans faint in agony, but stillichimiya fans are happy with Young-G's opening scratch, and the latter half of DEEP dub MIX and masterpieces that develop into trippy psychedelic Contents!

The coupling features a unique synthesizer quartet that also made its debut in the UK, Kufuki's charisma of poetry girls, Otsu Rifu, and Japanese dialects. A metamorphosis electronic new folk song version that was played with a drum. World music fans and big daffodils are also monsters !!!!!!!!!!!!

An ambitious work that lets you hear a completely different heavy sound with a new organization of 6 members, who have spent 10 years of the severe earthquake of the 2000s. This is no longer "that" Noarizu! From garage blues, accordion / musical saw funk, and Joe Meek's cover, all with no decorations, all roughly analog one-shot recordings, to the standard strange singing version that also features Satchmo and Sinatra! !! A special gift for you with a total of 8 songs, including 3 original songs. Enjoy the vivid sound as if you were in the studio.

Orange Milk / Noumenal Loom ~ A marvelous piece that greatly updates the view of ambient after the New Age Revival! Takao, a Japanese artist who was influenced by Motohiko Hamase, Toru Takemitsu, Akio Niitsu, Yann Tomita, Sean McCann, etc., released voluntarily from Bandcamp in June this year, and the work "Stealth" that involved peripheral artists and attracted attention The physical version of EM Records is now available!
This work, which took a year and a half to complete, has an unusually short time of 33 minutes with 13 songs, but in a blink of an eye, it is swallowed by the transition of a magnificent time. I am impressed by the outstanding ambient view that looks after Post-Internet-New Age Revival and the solitary soundscape that fascinates the standard of the current experimental scene with a stylish sound that is one or two steps ahead! In addition to the former influenced by Hiroshi Yoshimura, Midori Takada, Nuno Canavarro, Haruomi Hosono, etc., it is said to be a big stone thrown in to push the timeless view of ambient music to the next stage. It should be a work. And even from the point of view that Japanese writers have achieved it, this is a release that cannot be overlooked. Mastering is done by Takuto Kuratani, also known as Ruv Bytes. I am deeply drawn to the artwork that Takao himself shot in Shonan.

What is the true tempo in your heart?
Following "Light Wave", M's J-Indie pop is a new album by Bank, a 5-member group that pursues HYPE pop that has nothing to do with the atmosphere of the times. Mixing / mastering is that Tomoki Kanda!

Bank is an angler scene in the early 90's: Tokyo Neo Acoustic-Early Club Music-Crue-L (presided by Kenji Takimi) who has been active around the very "Shibuya-kei" parties, Bridge, Love Tambourines, Arch. Formed in 2006 by musicians who have worked in a legendary band. The core is Dai Nakamura (gtr, voc) and Nozomi Suzuki (drums). The motto is "good music with good performance" without any strangeness, but Nakamura's helplessness is new wave-post-punk-neo acoustic, fake jazz-funkaratina, which are their indelible foundations. 80s lovers naturally come out, and the sound is indistinguishable between old and new (for some reason, everyone likes Duran Duran).

Supporting the inorganic songwriting of Nakamura is Suzuki, who has the characteristics of Fumio Hirami (ex. Love Tambalins), who is a pillar of rhythm with AOR in the background, and YMO-like drumming of non-groove. The strangely comfortable urban groove created by this mismatch is also attractive. Mixing / mastering is Tomoki Kanda (genius!), Who has been an ally since the 90's. This time we will also release the bank's first vinyl version!

One of the deepest and ideal forms of "Bon Odori", which is innumerable all over Japan, is considered by Minyo Mountains x M Records. The non-bouncing drums and hammer beats of krautrock reminiscent of German rock, the whistle that is blown all at once at an overwhelming volume, and the pole of minimal dance music that repeats thoroughly! Its too stoic and sharp sound image makes me want to call it "rural industrial music" or "richie hawtin in the field" that is played without using electricity. This is the "Boundary Stone Throwing Dance" that still remains in northern Saitama Prefecture. Here, the songs and dances that retain this old form have not been turned into tourism, and have continued to this day as the activities of the Bon festival.

This time, we remastered the song contained in the record "Saitama Bon Odori" produced by the Saitama Folk Culture Center in 1983, and recorded / mixed the latest version by the preservation society as of 2017. Recorded in. Please listen to the Japanese dance classics, where the stone Buddha begins to dance. The binding is Shinsuke Takagi (Soi48) following "Yumi Kagura".

Osharaku is a traditional Japanese form of musical entertainment, featuring mainly voice, shamisen and percussion, with a repertoire of folk and popular songs, performed by farmers and fishermen for local audiences. This compilation, 28 tracks compiled by Riyo Mountains, is the fourth release in the EM Records/Riyo Mountains Japanese folk series. These recordings feature legendary osharaku masters, recorded in their homes, brilliantly capturing the casual warmth of vitality characteristic of the style. Osharaku is unique in its use of shamisen, originally an “uptown” urban instrument, in a “downtown” non-urban setting. These joyous tracks, all recorded in the 1960s and 70s, are available as a 2-CD set or a single 12” vinyl LP, with English translations and rare photos.