MUSIC

Laughing Hands worked in the experimental music scene in Melbourne in the very early 1980s. They were an improvisation group using tapes, synthesisers, guitar and hand percussion much of which was then treated through the synthesisers, producing their soft, insistent and rhythmic sound. “Dog Photos” was originally releasedin 1981 by band´s own label Adhesive records. The sounds in these 11 pieces are a combination of direct to tape & cassette to tape recordings, a perfect mix of electronic tape explorations, spectral synths shadings and foreground rhythm abstractions. For fans of Chris & Cosey, Dome, Cabaret Voltaire, Coil… Engineered by David Chesworth. Remastered at Plataforma Continental by José Guerrero. Released under exclusively license by B.F.E records 2020 *Postage prices are for standard mail. It has no tracking code. If you want registered mail with tracking code, airmail or any other way please get in touch.

‘Fallen Gods’ is the third studio album by Rapoon aka Robin Storey, formerly of :zoviet*france:. Originally released in 1994, ‘Fallen Gods’ emerged amid a prolific early period for the Rapoon project, following in the wake of debut album ‘Dream Circle’ – originally released in 1992 – and second outing ‘Raising Earthly Spirits’, released a year later. Building on the haunting industrial ethers of ‘Dream Circle’ and the esoteric, rhythmic drone of ‘Raising Earthly Spirits’, ‘Fallen Gods’ consolidates many of the sounds and disciplines that had shaped Storey’s work up to this point, while indicating a newfound, concerted focus on classical Indian instrumentation. The results represent a synthesis of myriad ideas, rooted in the duality between modernity and mysticism. Throughout ‘Fallen Gods’ the reverberant pulse of Tabla-led percussion and the remote tones of what sounds like the Bulbul tarang (aka Indian banjo) resound and repeat in locked instrumental cycles, as vast, atmospheric shadows and echoes are unfurled. On ‘Sanctum’ Storey creates a mesmeric form of ceremonial indigenous music and with ‘Iron Path’ combines ramshackle, automotive percussion and distant zither-like emanations. Intensities are heightened with the title track, as Storey delivers a sidereal melee of barrelling drum sequences, gleaming ambient vapours, and stuttering glossolalia. In these opening exchanges, as with much of ‘Fallen Gods’, archaic modes of musical performance are uniquely reconstructed, as organic elements are subjected to inventive technological processes; primitivism made mechanical. Presenting a pure vista of celestial drone on ‘Breathing Gold’, the album resumes a hypnotic, scrupulous exploration of perpetual drum cadences, deep modulations of traditional instrumentation and prodigious ripples of spectral, otherworldly resonances on ‘Sataranum’ and ‘Sacrement’. Works of infinite circular rhythms. From here the unadorned ancient tones of ‘Khomat’ and the chasmal nomadic roots music of ‘Dusk Red Walls’ present a shift in momentum, a sense of pause and suspended reflection, before the ascendant finale of ‘Valley’, a coda of undulating keys, expansive FX, and condensed surges of sampled percussion. Altogether these compositions form a deeply arresting body of work that is arguably considered one of Storey’s finest works, a record that still sounds both completely original and remarkably timeless. An enigmatic landmark in Storey’s early solo output, ‘Fallen Gods’ sees the sound world of the Rapoon project reiterated, expanded and memorably enriched. Across nine tracks Storey weaves together indeterminate, sonorous currents of ambient and experimental electronics with magnetic, sprawling passages of acoustic instrumentation, creating a profound work of entrancing, ritualistic minimalism. Comparisons could be drawn with the panoramic soundscapes of Lustmord, the fourth world ambitions of Jon Hassell, the heavy outernational psychedelia of Psychick Warriors ov Gaia but really ‘Fallen Gods’ illustrates an artist establishing their own trajectory, a distinct indication that Storey had moved way beyond :zoviet*france:. into the flourishing territories and intricate sound environments of the Rapoon project. Limited edition of 500 copies. Remastered by Colin Potter (Nurse With Wound).

Jame’s Newton’s 1977 self-released solo-debut, ‘Flute Music’ is an unheralded gem of the 70’s jazz underground. An album that showcases a diverse range of styles and fervent cross-pollination, while retaining a clear sense of direction and cohesion. An artist funnelling their wild expression into multiple facets of “The New Music”, crafting an auspicious and artistic debut. Newton would later go on to record with revered jazz labels like India Navigation and ECM, and collaborate with fellow creative luminaries like Sam Rivers, Anthony Davis, Andrew Cyrille, David Murray, and John Carter. But ‘Flute Music’ captures Newton’s fiery creativity and experimental nature in its earliest blossom. The album’s opener, Arkansas Suite, finds Newton’s flute unaccompanied, but densely layered. Folding and cascading upon itself, he creates a ricocheting web of dense woodwind harmonics. The effect is deeply immersive and meditative. From first blush, it seems this could be an album of blissful new age. But after this track, Newton’s influences explode outwards. On the same LP side, Darlene’s Bossa welcomes a full band into the fold. The track expounds upon a latin-jazz groove as if the group were seasoned experts of the form. The next track once again finds Newton’s flute on its own as he upends Duke Ellington’s jazz standard, Sophisticated Lady. And finally, on the sidelong b-side track, Poor Theron, the band is suffused with free-jazz electricity - quietly roiling in the midst of musique concrete clatter, and exploding into a din of spiritual fervor. Flute Music pushes in many directions at once, and yet it revolves firmly around a singular smoldering core. That core is Newton’s unmistakable talent and musicianship. His flute anchors the whole affair, whether it’s in cascading sheets of unaccompanied wind, or flitting between the breathmarks of his backing band. With ‘Flute Music’, James Newton casts himself as a potent force on the creative-jazz scene, and the rest of his career has certainly given credence to that promise. Reissued for the first time since its scarce private-press issue in 1977, Morning Trip are exceedingly proud to present the debut solo work by a renowned and prestigious jazz luminary.

Welcome denizens of disaster, one and all - please make yourselves uncomfortable. Did anyone ever tap you on the shoulder as you were walking through an unfamiliar land, just to tell you to watch where you’re going? In this interlinked age of protocol-onies and networked nations, the only territory you can’t rely on is your own state of mind. Mapped-out by a series of second guesses and double takes, Catastropheland is a diminished reality. In Catastropheland, the road signs are all traps, the charts are the wrong way round, and the jokes fall flat. Meanwhile, nine tracks of virtual shapes are bounced off the dishes of an orbiting Syncom 7 and beamed straight into your personal space. The quest for the augmented self might not lead to the results you expect, but as a citizen of Catastropheland, your residency permit is never up for review, and you’re only a shipwreck away from being washed-up on a melting shoreline.

Sold out at the distributor and featured in the New Age Music Disc Guide! The Norwegian guitarist Erik Wøllo, who has been described as the heir to ECM's seminal writer Terje Rypdal, is back with a 2021 extended edition of his masterpiece Silver Beach! The publisher is Abstrakce Records, a key experimental label in Barcelona, Spain. A crystalline and heavenly ethno-new age masterpiece, richly framed with emotional ups and downs!

‘Eighteen Movements’ is a collection of recordings captured at live performances between 2017 – 2019. The record’s rich textures combine ambient, tribal rhythms, field recordings, ritualistic vibes, and a meditative feeling that runs through the entire LP. Đ.K. is in full flight mode, illustrating the project’s aptitude for deep transcendence. Đ.K. is a DJ, composer & producer based in Paris, France. A versatile and prolific artist, D.K. has cultivated an eclectic body of work in recent years, with acclaimed output on renowned labels including Antinote, Melody As Truth, 12th Isle, Good Morning Tapes, Music From Memory’s Second Circle imprint, and L.I.E.S. (as 45 ACP). Luminous and mesmeric, D.K.’s work combines finetuned traces of house, synth pop, ambient, balearic, minimalism, and fourth world music, creating energies and soundscapes which aim to invoke elevated forms of consciousness. Prismatic tones exchange space with devotional drums on ‘Clarity’ and ‘Echo Chamber’, as Đ.K. hits a hypnotic stride somewhere between Jon Hassell, HTRK & a Folkways percussion ensemble. With ‘Full Consciousness’ meditation bells ring out across a progression of gleaming new age emanations, conjuring an entrancing spell. Movements of pulse and ether. On ‘Mirror’, sonorous, elaborate percussive phrases are interwoven with drifting ambient vapours, while ‘The Other Side’ veers into broad, rolling blasts of dub and Antipodean drone, a cavernous trance evoking the early roots of Ras Michael and Yabby You, pared back to resolute drum sequences and infused with esoteric chimes and sultry synthesis. The finale of ‘Eighteen Movements’ represents one of Đ.K..’s most ambitious recordings. ‘Awakening’ is an epic tone poem of aqueous, outer planetary resonance that completes this mercurial cycle with a poignant, euphoric fadeout. Chronicled in the moment, alternating between rhythm and repose, momentum and aviation, 'Eighteen Movements' sees Đ.K. voyaging further, into vast, uncharted outskirts of sound. A collection of movements for heightened states and new diversions.

Like the 1963 LP Nina Simone at Carnegie Hall, Folksy Nina was also recorded there on May 12, 1963, but duplicates little of the material found on that prior album. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation. It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); "Twelfth of Never" (which had also appeared on the Carnegie Hall LP) certainly isn't folk music. However, there was also an uptempo piano blues, Lead Belly's "Silver City Bound," covers of the Israeli "Erets Zavat Chalav" and "Vanetihu" (which served as further proof that Simone's eclecticism knew no bounds), and the stark, moody, spiritually shaded ballads at which she excelled ("When I Was a Young Girl," "Hush Little Baby"). "Lass of the Low Country" is as exquisitely sad and beautiful as it gets. ~ Richie Unterberger

The fusion of African and Brazilian culture and rhythm has deeply penetrated into the roots of Brazil, creating an unprecedented source of diverse sounds ……… Marco Bosco, a cosmic presence of Brazilian percussion who has left a masterpiece in the great sacred place of spiritual music , which has received a huge re-evaluation in the obscure context. The original released in 1986 is an analog reprint of a super rare title that does not fall below $100!! From the synthesized world of digital electronics / musical instruments, a very great second world that antagonizes acoustic aesthetics and maximizes the charm of percussion tones, expanding the world of extraordinary sounds and fantasies. album. This is the first vinyl reissue. Don't miss it.

Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) (Mesías Maiguashca: Music for magnetic tape (+) instruments 1967-1989) Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin’s popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: “During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist.” Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.

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!

Following the incredible (and successful) compilation Taiwan Disco, the master minds behind Aberrant Records present this delicious record. Subtitled Disco Divas, Funky Queens and Psych Ladies from Asia from the 70s to the Early 90s you don't have to take a wild guess to figure out what you'll find here, a treasure trove filled with exotic jewels from Thailand, Taiwan, Malaysia, Singapore, Hong Kong, Indonesia, and South Korea, from Asian funk to psych-tinged awesomeness, disco madness and much more. Features Chailai & Sawanee, Chantana Kittiyapan, Lei Si Si, Ding Dai, Yasmin, Wong Foong Foong, XYZ, Fatimah Razak, Chen Qiong Mei, Sum Sum & Pan Pan, Grace Simon, and Hit Girls.

Light patterns in a glass dream Sound fountains in a gentle stream Smoked visions in another room Form and fade all too soon In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David had been playing in a few local bands. One evening, they jammed together, at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late 70s, the music scene in Manchester was bursting with new bands and music. Kevin and David, however, had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music. Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.” Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist. After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions on vinyl in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

French multi-instrumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways that he approached the craft of composing and experimenting with sounds and sonics. Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition. Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking albums during the early 1970s (According to former member Laurent Thibault, their LP Mëkanïk ‘Dëstruktïẁ Kömmandöh‘ and its sound were strong influences on David Bowie during the recording of ‘Low‘ and Iggy Pop’s ‘The Idiot‘ at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades. Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths). To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his side, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving "Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the ’e=mc2’ album, closes the comp, and is a fitting way to end this journey. To sit through this compilation is to listen to a musician at ease with his abilities and his eagerness, with the music taking the listener one way before building upon that anticipation and guiding it beyond the realms of reality - and into a sphere where the imagination is allowed to run free. Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes. credits

SKY H1 presents her long-awaited debut album, Azure, on AD 93. The widespread success of her first EPs and appearances captured the blurring lines between her foundational experiences in drum and bass, grime, dubstep, and techno, all tilted towards schematic bursts of pop. Azure builds on these foundations and explores a delicate medley of experiences, forms, and functions, culminating in an imaginative and evocative debut album. The title, Azure, was chosen to evoke memories of her mother, to whom the record is dedicated. The song titles reference the Access Virus synthesiser, an instrument series that made a deep and lasting impression on dance and electronic music in the early years of the new millennium.

Released three years later in 1975, “Continente Nero” - issued by the composer’s Omicronis imprint - is the perfect complement to “Africa”. Where the former channeled sounds and influences drawn from the African diaspora into decidedly abstract terms, with “Continente Nero” Umiliani pays a similar homage by incorporating a vast pallet of rhythmic variations into a visionary rethinking of the idiom of jazz, channeling Fela Kuti, Art Ensemble of Chicago, John Coltrane, Max Roach, Charles Mingus, Freddie Hubbard, and hundreds of others into a free-flowing vessel that’s entirely his own. Chugging and free flowing, driven by tonal and rhythmic depth that only large bands can achieve, “Continente Nero” possesses such a remarkable sense of emotiveness and creative honesty that the fact that it was made for use in films, rather than being issued within the broader context of jazz, seems to defy reason. It easily stands among the greatest documents of the idiom to have emerged from Italy during any period. Closely related to multiple threads of spiritual jazz that were emerging within the United States during roughly the same period, the band locks in and plows forward with African tinged melodies and carefully orchestrated distances, guided Umiliani’s startling vision, repetitive structures - often bordering on the minimalistic - and unique rhythmic sensibility that runs like a river beneath it all, sending the listener plunging into a deeply personal, imagined world; a hypothetical forth world concept of jazz. Impossible to sum up, “Continente Nero” is incredible from start to finish. Long deserving of wide recognition, if not outright celebration, Dialogo’s reissue of this masterpiece is nothing short of momentous event. Pressed onto glorious vinyl, the format for which it was conceived, remastered from the original analogue master tapes, and housed in a sleeve that immaculately reproduces the album’s stunning, original cover design and also include a obi-strip.

Africa, released by Liuto Records - the label founded in 1970 by Piero Umiliani and his wife Stefania - belongs to the canon of library music produced in Italy across the 1960s, 70s, and 80s, which encountered many of the country’s most talented composers employed within the film industry, where they were offered unparalleled creative freedom to experiment and produce radical and forward-thinking sounds. A long-standing holy grail for collectors of visionary Italian music, Africa emerged under Umiliani’s moniker M. Zalla, the pseudonym he used when tidying up uncompromising and avant-garde music textures. It was years ahead of its time upon release in 1972, encountering the maestro locked within the walls of his Sound Work Shop Studio, weaving complex narratives and sonic collisions, while incorporating dozens of influences from a life spent experimenting and discovering new sounds. Launching from the prog-tinged rhythms of “Africa To-Day”, the album immediately shifts toward radical waters with the glacially paced pulsing rhythms and abstract electronics of “Echos” and “Sortilege”, the rippling minimalism of Savana, and the ‘fourth world’ temperaments “Green Dawn”, but still refuses to be nailed down. Across the two sides, experimentation drives the sound, as the hypnotic drumming and bass lines of “Rhythmical Stress” break through, opening space for the flute driven works, Sadness”, “Folk Tune”, and “Mysterious, “ as much as diving, percussive and tonally rich works that make up the majority of the second side. If ever there was an LP to expand the notions of Library music’s vast potential and scope, M. Zalla’s Africa has to be it. Nearly 50 years on, it feels as fresh and forward thinking as anything that has come since. A true masterpiece of the genre, that stands with best of any other idiom of experimental music, it’s impossible to recommend enough. The album comes remastered from the original analogue master tapes, and housed in a sleeve that faithfully reproduces the original cover design and also include a obi-strip,

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!

After some name and label switching, George Clinton and Funkadelic landed at Westbound in the late 1960s and quickly recorded their debut album. Released at the dawn of the 1970s, Funkadelic’s self-titled release presents a staggering tour de force in psychedelic R&B that heralds a seismic change in the genre and music as a whole. Featuring a mélange of influences from Hendrix to Zeppelin to classic doo wop and country, the band’s debut album mixes traditional soul arrangements with fuzz guitar solos and far-out studio embellishments. It’s hard to imagine what the reactions of listeners at the time must have been, as the result is still startling to this day. Deeply, deeply funky, Funkadelic’s firs

No. 7 on Rolling Stone's list of the 50 greatest live albums of all time. The Grateful Dead's quintessential live energy exploded on this classic album released in 1969.

One year after the release of "Journey To The One", which was released after he moved to Theresa and showed a new brilliance, this album from 1981 is also undoubtedly a great album. The title track, "Rejoice", which makes all of jazz seem spiritual and colorful, and "Origin", with its light-hearted progression and haunting chorus, are all beautiful, bright songs that resonate honestly to us.

the 3rd album released in 1970 by the genius David Axelrod, who was loved by stars such as DJ Shadow, Madlib, and Jurassic 5 and became a treasure trove of sampling sources.

Saturday Night Special is certainly a contemporary jazz cult classic album if there ever was one. Merging the heart and soul of Detroit jazz and rhythm & blues while also tossing in a little Latin music, keyboardist Lyman Woodard was at the forefront of defining an instrumental identity for the Motor City on this recording. With top-notch guitarist Ron English, saxophonist Norma Jean Bell, drummer Leonard King, and percussionists Lorenzo Brown and Bud Spangler, Woodard provided solid, head-nodding groove music punctuated by heady, at times spacy jazz improvisation that set the standard for any rival or modern-day jam band. Although he became an organist exclusively, Woodard added Mellotron and electric piano to his arsenal for this date. The muddy production values diminish the overall quality of the sound, but the music itself is undeniably unique, and set apart from the CTI recordings or the fusion music Miles Davis was producing in this mid-'70s time period. The two-part title track is an industrial mythic anthem signifying a steadily streaming automobile production line within a slow, slinky melody via Woodard's various keyboards, flute, and handclaps, a chicken scratch synthesizer insert by the leader, followed by a funky electric bass solo and a jam. "Belle Isle Daze" and "Cheeba" are also dual part pieces, the former a light samba cum boogaloo with Woodard's organ and synth gliding alongside the guitar of English, the latter a straight Latin groove with Woodard's burning B-3 and the percussionists working out in Afro-Cuban fashion. The most beautiful track is "Joy Road," a soul ballad with sighing, serene synth and the lilting alto sax of Bell. King wrote the song of self-determination "Creative Musicians" in a choppy beat as he sings "keep on rollin' right along," while "Allen Barnes," a tribute to Detroit's enduring saxophonist , is a mix of Milestones meeting Jimmy Smith. English, an unsung hero of post-Kenny Burrell guitardom, penned and leads out on the melodies of the commercial tune "On Your Mind" and the more complex "Help Me Get Away," a complex, churning, jazz-oriented piece in 5/4 time that reflects the bop aesthetic of the '50s that brought so many Detroit musicians into prominence. Immediately after Woodard's death in 2009, the Wax Poetics label reissued this recording on limited-edition vinyl, made the tracks and unreleased material available for downloading, and reissued Saturday Night Special on CD. It's a testament not only to the vibrancy of the Detroit scene and what Woodard offered as one of the forefathers of the burgeoning fusion movement, but more importantly, it signifies how local Detroit musicians prevailed against adversity to keep their traditions very much alive and well. ~ Michael G. Nastos

In the endless ocean of Sun Ra recordings, Space Is The Place ranks among the very best but more importantly stands as the most immediately understandable of his records. This masterpiece touches flawlessly on elements of many of Ra's multiple phases and provides both a mission statement for and a gateway to his immaculate body of work. Originally released in 1973; Tip-on Gatefold Jacket; Original Artwork; Limited Transparent Blue Colored Vinyl.