MUSIC

オリジナルは4万円もの高値を記録したこともある激レア盤！Astor Piazzollaとの仕事やグラミー賞受賞でも知られるアルゼンチン・ブエノスアイレス出身の作曲家、キーボーディスト、編曲家、指揮者のCarlos Franzettiが1977年に米国の〈Guinness Records〉から発表した作品『Grafitti』が〈Jazz Room Records〉より待望のアナログ再発。ニューヨークのジャズ・シーンでブレイクを果たそうと奮闘していた時期に録音したジャズ風味のラテン・ファンク・ソウル・アルバム。Ray Mantilla（パーカッション）、Victor Venegas（ベース）、Tito Puente OrchestraのDick Meza（フルート、ソプラノ・サックス）といった一流のメンバーと共にカルロスは全てのキーボードを演奏し、ナンバーを書き下ろし、全てのアレンジメントを担当しています。アメリカではすぐに忘れ去られてしまった作品ながら、ロンドンの初期のジャズ・ダンス・シーンのDJたちに取り上げられ、必携のカットとなった"Cocoa Funk"は〈Soul Jazz Records〉の代表的な再発シリーズ〈London Jazz Classics〉でもピックされています。

Pole is the project of ground-breaking electronic musician Stefan Betke. The new album Fading is the first since 2015’s Wald. As with every new Pole record, it’s part of a continued forward trajectory but it also connects to a pre-existing sonic framework. “Every Pole record connects to recordings that I've made before,” Betke says, “in order to stay in this kind of vertical development. The ideas from 1, 2, 3 [his groundbreaking first three albums] up to now are connected. I keep the interesting elements, languages and vocabulary that I designed and add new elements.” Fading follows the physical released on Mute of remastered versions of his iconic albums 1, 2, 3 to much acclaim.

Limited 200 copies, Black Vinyl. On behalf of re:discovery records, it is with great excitement that we announce the release of 'Ambient7 - Excepts from 1995-2000' compilation. Ambient7 was a threesome out of Japan that included Chica Asamoto, Masayuki Momo and Shuichi Ikebuchi. Chica Asamoto, an accomplished saxophone player while Masayuki Momo and Shuichi Ikebuchi both talented synthesizer players and producers in their own right. Together, they released 3 full albums during a 6 year span from 1995-2000. Ambient7's sound was a blend of chill out styles including ambient, techno, balearic house and everything in-between. A unique and heartfelt far east version of chill out techno music . 'Escape' is a soft ambient techno track with a touch of dub that is sure to sit along the greats of genre and the time. Surrounding 'Escape', are two short but worthy examples of the Ambient7 sound. First, is the unique tribal attention getter that is 'Prologue' then ending with the beautiful balearic saxophone serenade that is 'Epilogue'. Flip the record and you 'Deep Sea' that comes in just under 11 minutes. A very unique track that we will just encourage you to take the trip and describe it how you would like. Lastly, is the balaeric ambient house lullaby that is 'Orange Sunshine'. Some who have heard this track call it a reason to buy the record alone for not even hearing the other tracks on this EP. A standout and a perfect set opener or closer, this is sure to be the re:discovery track for the summer for 2022. Genre: Techno, ambient, balearic, chill out, dub

Recorded in 1997 in Vienna as part of a workshop named "Greguar" which took place at the University of applied Arts in Vienna, and was produced by the Institute of contemporary Art Vienna. Official re-release!

The second release on Tonight’s Dream Records is delivered by Baltimore-based ambient and new-school Kosmische guitar musician PJ Dorsey, better known as Tarotplane. The Ektachrome Dawn follows on from the stunning Horizontology (12th Isle) and Light Self All Others (Impatience). He describes the album as a collage of work collated since 2017. Drawing in on inspirations from guitar-oriented psych and modern ambient music, using elements he values and revere in older 70’s head records and mixes it with modern techniques and influences. The tracks fuse traditional rock music, ethereal ambient textures and downtempo electronica, blended together seamlessly to create an engaging and unique listen throughout. The album has been mastered by prolific producer and mastering engineer Rafael Anton Irisarri at Black Knoll Studio who has worked on album for artists such as Inhmost, Juliana Barwick, Grouper, Steve Hauschildt, Loscil, Telefon Tel Aviv and Tycho amongst hundreds of others.

Daucile Moon, which follows Unknown Mobile's releases on No Bad Days, Normals Welcome and Young Adults, started four years ago in Vancouver when Levi Bruce was recovering from a broken toe and collecting MIDI files he found in an old Geocities archive. It was finished earlier this year in Montreal with help from Mike Silver, AKA CFCF, who added plaintive guitar to complete the album's placid and stargazing style of ambient and downtempo music. The album takes its name from an old, obscure Canadian jazz song that Bruce describes as "pretty but also with a serious amount of melancholy," which could also describe his new record. In the vein of Pacific Rhythm label-mate Khotin's standout New Tab album, Daucile Moon comprises drowsy beats and spaced-out loops, referencing the pinnacle of early '90s chillout and ambient while infusing it with the dazed sound of Canadian electronic music in the 2010s. Bruce's process in making Daucile Moon was long but leisurely. He took the melodies from those MIDI files and moved them over to his analogue outboard setup and then back to his computer, creating a digital-analog hybrid that sounds as pleasantly worn as a dog-eared novel. Live instrumentation, like Silver's classical acoustic guitar stylings on "A Windless March Ouest," mingles with occasional dance music references like the subtle acid squelch of "Ravers Sojourn" or the hazy breakbeat of "Oenology." The album was inspired by various happy memories, from sharing wine with friends ("Oenology") to a dog that Bruce met ("Simone Can't Swim"). The result is a patient and personal record that highlights the best qualities of Bruce's previous work as Unknown Mobile, with his distinct style of melody and soundscaping set free from kick drums and the dance floor. It's telling that Bruce originally sent the record, at first called Melancholic Songs For Dogs, to his parents and two grandmas—this is beautiful, relaxing music whose appeal is universal. Thanks for listening!

“Clockworks”, composed in the 1970s by computer music pioneer Laurie Spiegel at Bell Laboratories on the GROOVE digital/analog hybrid system, is a mesmerizing and mathematical polyrhythmic number. Machineries of Joy is proud to present two remixes of this seminal piece of electronic music. On the A side, SØS Gunver Ryberg turns in an intense and atmospheric interpretation of the original, while on the flip side, David Morley crafts an elegant, focused and hypnotic excursion.

Svitlana Nianio and Oleksandr Yurchenko are musicians with a long history in the still-mysterious
Kiev Underground. Nianio’s first group Cukor Bela Smert [Sugar, The White Death] were active
from the late 80’s through to the early 90’s, and following an intense period of touring, collaboration,
experimentation and a string of mixtapes and self-published recordings, Nianio’s first official solo
album ‘Kytytsi’ was released in 1999 by Poland’s Koka Records. Oleksandr Yurchenko, a longtime
collaborator and a pivotal figure in the Kiev music scene, was instrumental in creating the Novaya
Scena, a loose conglomerate of artists who encouraged each other to excavate both the sounds of
the West and Ukrainian tradition. ‘Znayesh Yak? Rozkazhy’ (‘Know How? Tell Me’) is the duo’s most
fully realised collaboration, an enchanting, complete world in which Yurchenko’s instrumentation
and playfulness with form frames Nianio’s otherworldly soprano, recalling Liz Fraser steeped
in contrapuntal melody and hymnal improvisation. Originally made available on a self-released
cassette in 1996 (re-issued in 2017 by Ukraine’s Delta Shock label) where the album was twinned
with ‘Lisova Kolekciya’ (re-issued on LP in 2017 by Skire) this is the debut release of ‘Znayesh Yak?
Rozkazhy’ outside of Ukraine.
Recorded in an abandoned park in Kiev during a fertile period for artists and musicians following
the collapse of the Soviet Union, ‘Znayesh Yak? Rozkazhy’ sees Nianio and Yurchenko combine Casio
keyboard, hammered dulcimer, percussion, and Nianio’s unmistakeable soprano vocalisations to create
music sympathetic to the specific locations in which they chose to record. Yurchenko’s contribution
is perhaps more present on this recording than anything else we have heard from the duo. His
percussive dulcimer playing provides the basis on which Nianio can weave delicate keyboard lines
while playfully contorting her voice, shifting from a low register reminiscent of Nico to what could
be perceived as the call of a bird or an animal in distress. Whatever the intent, the effect is haunting
and beautiful in equal measure.
There’s a prevailing earthiness on the recordings, found in the warm hiss of the lo-fi means of
recording or the grinding, unspecified sounds that occasionally accompany the melody, like drones
created on the fly by hands trying to keep warm in the ice. A prevailing mood of fragility and beauty
seeps from these melodies, delicate moments of clarity spun by the two musicians. ‘Znayesh Yak?
Rozkazhy’ is a dream spun in twilight, a crystalline, private world where the listener feels both alien
and welcome. 

" The Three Lives return with Across & Beyond, a 5 track EP taking their digi-dub explorations to unexpected dimensions. "

A Day at United. The name practically says it all. An album recorded in a single day. No rehearsals. No second takes. Just Mocky and friends. Some instruments. Some songs Mocky sketched in the week leading up. Oh yeah, and a recording studio. United Recording, in fact. The legendary independent studio, financed by Sinatra among others. A refuge for artists seeking more control. Or maybe ‘less interference’ is a better way to put it. Because this is not an album about control. It’s about putting certain conditions in place — creative limitations, even — then letting go. Letting the magic happen. Letting the human happen. In an age of computer-led precision, this is an album about the struggle for imperfection.
“I’ve always been inspired by the story of Miles recording Kind Of Blue,” says Mocky, “going into the studio with Coltrane and Bill Evans, bringing melodies jotted on scraps of paper, and making an album in real-time.” Other precedents come to mind, as well. The Art Blakey model, for example. Drummer as composer -bandleader. Not that Mocky, who led the session from his drum kit, compares himself to the jazz greats. He doesn’t even call himself a jazz musician (any more than he calls himself an electronic musician or whatever else). If this is his ‘jazz album’, it’s because of the process that yielded it. There are no solos here — none of that jazz. Think of this as jazz composition.
The process began with a recording date: “I was like, wow, we can get the studio in 10 days? The same studio Sinatra recorded in and the same room where Ray Charles recorded the epoch defining 'I can’t stop loving you'? Ok, let’s see who can make it. So I started calling around. And when someone like Miguel [Atwood-Ferguson] confirmed, I could start writing melodies that reflected, say, his lyrical way of playing.” Mocky composed the songs in his head, mostly while strolling Lulu, his newborn, around Silver Lake. And to ensure a 'classic' quality of the record, Mocky got together with the legendary producer Justin Stanley (Prince, Beck Leonhard Cohen, Paul McCartney) who ended up recording and co-producing the album. Mocky finally ‘heard’ the songs the same time the others did. “When everyone was in position, the charts in front them, the sticks in my hand, it was the first time I actually considered what I was about to do on drums. It was free-styling. Hearing the songs as they were being recorded. Complete real-time.”
Looking back on the origin of the album, Mocky sees it as an extension of his free-flowing Mocky and Friends nights. Picture a revolving cast of collaborators and co-creators, convening on the rooftop of the Ace Hotel in downtown LA, making music in the moment. “I wanted to attain a level of intention that was different from anything I had done on an album before,” Mocky says. “Rather than playing all the instruments, I just drummed and let the ideas filter through this group of artists in real-time. If you multi-track or edit, the intention becomes a conceptual thing, considered and refined. At United, it was about this creative urgency. For me, it was waking up one day and, at the end of it, having an album done. It seemed like such a preposterous idea. Until I just did it.” 

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal.
The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators. 

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.

Reissue, originally released in 1962. Bossa Nova Soul Samba came as Ike Quebec's best contribution to the fruitful marriage between jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year, this was Quebec's final recording before his death in January 1963. A beautiful studio session dominated by Quebec's tenor sax warm tone and the light and gentle groove provided by Kenny Burrell (guitar), Wendell Marshall (bass), Willie Bobo (drums) and Garvin Masseaux (chekere). Clear vinyl.

1982年にイギリスのレーベルArts & Craftsからリリースされたオリジナルは2万円超えでも取引される、ジャマイカ人シンガー、Johnny Clarkeの残したルーツ・レゲエの傑作『Can't Get Enough』が完全リマスタリング、公式ライセンスで史上初アナログ・リイシュー。Channel Oneのセッション・グループとしてもおなじみのRoots Radicsがバックを務め、ClarkeとStafford Douglas（別名Mafia Tone）がアレンジを担当した伝説的な録音。

Epic Garden Music is the debut studio album by English post-punk band Sad Lovers & Giants. It was released in 1982 on the band's own record label, Midnight Music.

Vinyl LP pressing. Amal al-Atrash (1912 - 1944), better known by her stage name Asmahan, was an Egyptian singer and actress of Syrian origins who lived in Egypt. Having immigrated to Egypt at the age of three years old, her family knew the composer Dawood Hosni, and she sang the compositions of Mohamed El Qasabgi and Zakariyya Ahmad. She also sang the compositions of Mohammed Abdel Wahab and her brother Farid al-Atrash, a then rising star musician in his own right. Her voice was one of the few female voices in Arab music world to pose serious competition to that of Umm Kulthum, who is considered to be one of the Arab world's most distinguished singers of the 20th century. Her mysterious death in 1944, in an automobile accident, shocked the public. Journalists spread gossip about her turbulent personal life and an alleged espionage role in World War II..

Limited edition of 500.

A Japanese synth curio? A lost techno-pop classic? So might run the standard view of the electronic album 'Boku・Neko・Platanus', recorded in 1984 by Shinichi Omata. The facts point that way. The futuristic 'Platonische Liebe' and Omata’s technodelic take on the traditional Greek folk track 'Omorfoula' (here titled 'Egyptische Knabe') are timeless electro tracks with a radically simple pop concept and robotic flavour that closely echo Japan’s most recognisable exports from the era - sounds and styles which rose to international prominence immediately following the economic boom that was taking shape in contemporary Japanese culture. But, focusing only on such fragments misses the greater charms of the album – an argument made more convincing by the inclusion in this expanded edition of an archive of unreleased material from the original recording period. The music spans an unusually broad and contrasting range of influences, exploring the possibilities of mood music, imaginary soundtracks and pop dissonance, while also borrowing widely from films and contemporary arts. How Omata transformed this vast range of influences into synth-pop is the real magic here. The original cassette edition was released by the Tokyo-based Indian grocery store, Ganso Nakaya Mugendo, located in the Koenji district of the city. During the early 1980s, interest in experimental music began to grow among a small group of committed local music fans and musicians. Small independent shops started playing a pivotal role in this nascent scene. First, they imported many of the obscure rarities that were gradually being reissued or bootlegged in the West. Later, as some of the regular customers and employees formed their own groups, many shop owners started establishing their own labels. Even then, 'Boku・Neko・Platanus' was issued in extremely limited numbers – so much so that it’s incredible it ever came to light at all. The album is perhaps best understood as an outsider one-off, adrift from place, style, market and audience. Omata was already garnering a reputation as a formidable musician before the days of 'Boku・Neko・Platanus'. An early follower of European classical, Latin and Western styles, he was an accomplished keyboardist and sitar player who formed close relationships with artists and musicians in the burgeoning Tokyo avant-garde scene of the early 1980s. He was fascinated by electronic music and used an array of synthesizers and rhythm machines early on in his career. He closely analysed the way rhythms emerged in a transitional period of music – such as the shift from four-beat to eight-beat used in much popular music of the 1960s – and that feeling of ambivalence and lag in both time and space is a recurring motif in his music. He uses these rhythmic techniques to magically fuse music from different backgrounds. In Japan, Omata is largely known only to electronic music enthusiasts and connoisseurs as a member of the cult synth-pop outfit DEA, whose 'Metaphysical Pop' was released in 1985 on LLE, a sub-label of Marquee Moon Records, itself an offshoot of the notable experimental music magazine of the same name. Yet he is the mastermind behind a daring techno-pop sound that has remained almost entirely hidden for nearly 40 years. What we can hear across the expanded edition of 'Boku・Neko・Platanus' is not only a highly skilful instrumentalist at the peak of his powers, but also a daring experimentalist, who employed emerging computer and synth technology in innovative ways, and revitalised old school music by adapting it into contemporary settings. Here, Omata’s excitement at playing with cutting-edge toys is palpable and what better use for the sparkling tech of the future than to cover 'Omorfoula', a 19th century folkloric song emanating from Florina, a small town in the West Macedonian district of Greece, written for dancing and typically performed in separate circles by men and women every Sunday after church? 'Idola Fora' is space-age pancultural pop that exudes charm, chutzpah and chops, while 'Natsu No Koibitotachi E' is a glittering fantasia on synths and rhythm machine. Whistle-along pop classic 'Modern Ballet II' is also here, but much of 'Boku・Neko・Platanus' is a beguiling experiment. “This was the kind of music I had always wanted to try”, he recalls in our sleevenote interview. Omata’s angle was that he was writing modern music, informed by contemporary developments elsewhere but without the stiffness of the formal academic scene. It’s all pop as far as he’s concerned. Available for the first time on vinyl, including over fifty minutes of unreleased music not featured on the original cassette release and produced in cooperation with Shinichi Omata for chOOn!!, a label specialising in obscure, archival and forgotten releases.

Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely celebrated as a masterpiece—arguably the greatest concept album of all time—his spare, haunting 1975 debut LP Juarez is a violent, fractured tale of the chthonic American Southwest and borderlands. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition of the art-country classic: the first reissue on vinyl; the first to feature the originally intended artwork (including the art prints that accompanied the first edition); and the first to contextualize the album within Allen’s fifty-year art practice.

An oddity in Bill Evans' catalog, this 1964 date places the Swedish jazz vocalist Monica Zetterlund alongside the Evans Trio (with Chuck Israels on bass and Larry Bunker on drums). Still, the match is seemingly perfect. Evans' lyricism is well suited to a breezy, sophisticated songstress like Zetterlund. There is an iciness on this recording, but it is difficult to decipher if it is in the performance or in the engineering where she seems to be way out in front of the band, when she was really in the middle of all the musicians in the studio. This is a minor complaint, however, as the tune selection and decorum of these sessions are quite lovely. From the opener "Come Rain or Come Shine" through the Swedish ballad "A Beautiful Rose" and the achingly gorgeous delivery of "Once Upon a Summertime," it's as if Zetterlund were destined to sing with Evans for a career instead of an album. For his part, Evans is very relaxed, allowing the lyrics to feed his musing on the simple, yet elegant harmonics. The Swedish version of "Waltz for Debbie" is a true delight because Zetterlund's voice becomes another instrument, soloing over the top of Evans' stunning selection of comping chords. In all this is an odd but special item, one that is necessary -- for at least one listen -- by any serious fan of the pianist and composer. ~ Thom Jurek

Considered by many one of the most gifted and outstanding players in the Electone community thanks to his fresh, energetic, rhythmic and sometimes humorous style of playing, from 1975 to 1977 Shigeo Sekitō released a four-LP album set titled Special Sound Series for the iconic Nippon Columbia. On the first chapter of this series, Sekitō revisits, in his own colourful style, compositions such as "You Are The Sunshine Of My Life" by Stevie Wonder, "Oh, My Love" by John Lennon and Yoko Ono, "Andalucia" by Ernesto Lecuona, alongside some of his own composition such as "My Sweet Girl" and the title track "Catch In Alice", creating a blend of easy-listening jazz with funk and soul influences. Long out of press, we are very proud to bring this "brilliant electone" album back on vinyl under exclusive license from Nippon Columbia. ©℗ 1975, Nippon Columbia Co., Ltd. / Licensed to Holy Basil Records by Nippon Columbia Co., Ltd.

The Chakachas were a Belgian based group of Latin soul studio musicians. Also known as Les Chakachas or Los Chakachas. They started out in the late 50s, recording a playful mixture of Latin music, jazz, and European-style exotica. This same titled album is a much sought after album amongst the connoisseurs.The song "Stories" on this album was featured on the soundtrack of the very popular game Grand Theft Auto V. This song was also covered by the band CAKE.Get your latin groove on.

The Boston Tea Party was that city's leading underground rock club, something of a home for the Velvet Underground. Lou Reed even described it as his favorite place to play in the late '60s. This superb live set was taped there and finds the quartet performing numerous tracks from their recently released third album, as well as epic renditions of 'Run Run Run' and 'Sister Ray.'

The last Henry Cow record made after the group had officially disbanded. I'm biased of course but I believe this was a milestone recording, and perhaps the closest we came to getting the music to sound the way we wanted on disc. Guest appearances by Irene Schweitzer and Anne-Marie Roeloffs.