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Elodie - Traces Ephémères (LP)
Elodie - Traces Ephémères (LP)La Scie Dorée
¥2,896

Eclectic ensemble of 18 instrumental arrangements evoking an epic and existential 
soundtrack determined by the power of momentary destiny and reflective sentiment. 

Originally released on LP in 2014

Aphex Twin - Come to Daddy (12")
Aphex Twin - Come to Daddy (12")WARP
¥1,815
This is the second album after the transfer of the company, which was released in 1995, and is a compilation of songs created between 1990 and 1994. The album is a work that encompasses the dichotomy and diversity of the Aphex Twin, with acid, noise, and broken beats that could be described as "drill'n'bass," while following the ambient, IDM, and hardcore techno of the early days. The album contains 12 tracks, including the single "Ventolin," which is a strong industrial downtempo explosion, and "Alberto Balsalm," a song that is often mentioned alongside "Xtal. 180g vinyl.

Finis Africae - A Last Discovery: The Essential Recordings, 1984-2001 (2LP)
Finis Africae - A Last Discovery: The Essential Recordings, 1984-2001 (2LP)Em Records
¥2,530
The long-awaited repress! The world's first compilation that covers the miracle of Spanish NEW WAVE-ambient-progressive music, the masterpiece of Finis Africae, and the footprints of 17 years!
This is a must-listen work with a number of spiritual, deep, afro and ambient spiritual organic grooves!

Spiritual Afro, NEW WAVE, Ambient Dance Music! A number of miraculous sound sources that include African music, contemporary music, natural sounds from NEW WAVE and field recording, and even jazz and folklore tastes from Spain. It seems that he was influenced by many music genres, but the music is a beautiful combination of ambient and spiritual extracts, and the track with the synthesizer has a new age that is similar to that of IASOS! Great content that would not have been possible without an aesthetic eye for sharp music. 16P booklet included. Commentary posted in Spanish / English / Japanese.
Wilson Tanner - II (LP+DL)
Wilson Tanner - II (LP+DL)Efficient Space
¥3,471
Two sheets to the wind, Perishable, not tinned, Two hands the better, Wet weather and feather. Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay. The seafarers head out to My Gull’s poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium. Known for navigating individual courses as solo musicians, Wilson and Tanner’s collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists’ most accomplished material.
Robert Stillman - Portals (2022 Remaster LP)Robert Stillman - Portals (2022 Remaster LP)
Robert Stillman - Portals (2022 Remaster LP)Orindal Records
¥2,867
Portals is an album of minimal electric piano improvisations by UK-based multi-instrumentalist & composer Robert Stillman. Inspired by American ‘new-age’ luminaries like Laraaji, Iasos, and Stephen Halpern, Stillman’s layers of playful, meditative electric piano figures, saturated by warm tape hiss & psychedelic delay effects, are occasionally accompanied by “found sound” field recordings, creating a compelling yet calming listening experience. Portals was recorded at home in Broadstairs, Kent during the winter of 2016-2017 & originally released on cassette in December 2017 by Orindal Records. Three subsequent represses followed, & Portals became the most repressed cassette release in Orindal’s 11 year history. This new vinyl edition, co-released by UK label KIT Records, is remastered by Matt Barnhart & includes bonus track “Portal 8 (The Stranger).” Here’s Robert Stillman’s original statement on the original cassette release of Portals: Portals is an album of multi-tracked improvisations on Fender Rhodes electric piano. The music’s repetitive structure is intended to encourage a state of ‘no-mind’ in the listener, acting as a gateway out of thoughts and into the present moment. Headphones are recommended for the ideal listening experience.
Brian Eno - Ambient 4 (On Land) (LP)
Brian Eno - Ambient 4 (On Land) (LP)Virgin EMI Records
¥3,789
This unique work was released in 1982 as the final chapter in Brian Eno's Ambient series that began in 1978.
The Orb - U.F.Orb (CS)
The Orb - U.F.Orb (CS)Big Life
¥956
Deadstock cassette version of the masterful second album, released in 1992, which was hailed by All Music as "the commercial and artistic peak of the ambient house movement" and was #1 on the UK charts at the time. sealed with a small drill hole.
Le Petit (Donato Dozzy & Stefano Ghittoni) - Le Petit (LP)
Le Petit (Donato Dozzy & Stefano Ghittoni) - Le Petit (LP)Maga Circe Musica
¥4,297
Donato Dozzy and Milanese veteran Stefano Ghittoni mint a new series on Dozzy's Mage Circe Musica imprint, channeling Daniele Baldelli's cosmic disco manifesto and exploring screwed rhythms, psychedelic electronix and blunted dub atmospheres. So good - imagine a half-speed Shinichi Atobe or Rrose spliced with GRM-damaged concréte FX and percussion courtesy of Konono No.1. Basically it's peak Dozzy syrup - Tip! Alicia Carrera and Donato Dozzy's Maga Circe Musica label has quickly established itself as an outlet for some of the most impressively tight experimental slop we've heard in ages. Dozzy and Ghittoni's first La Petit plate is no different, using the enduring influence of Northeastern Italian electronic music (think Baldelli and Marco Dionigi) to help transform and repurpose dub techno, folk, ambient music, jazz and global sounds. If Baldelli and Dionigi were best known for pushing disco's tempo down to a crawl, Dozzy and Ghittoni do the same with their wealth of diggers' influences, dipping hollow 4/4 percussion and syncopated hand drums to a chug on 'Sukia' and slowly building an atmosphere with low-slung bass and spooked electronics. Imagine holding down the pitch slider on a Badalamenti score and a Funkadelic 12” playing at the same time, for the gist. On 'Lanquidity' the duo pull in horizontal dub pads and place them against a resinous thud and swirling dub FX, played slower than it should be and somehow operating in the same gloopy zone as Newworldaquarium to emphasise mood and texture over technical trickery. 'Niento’ is even better, using smeared LM1 claps for a sort of assymetric, purple funk played at -8 while taking a fourth world-inspired rhythm and welding it to lysurgic synth drones and nipped kicks - it's a mid-point between vintage bleep techno, cosmic disco and rhythmic psychedelia. 'Le Petit' is over too soon, but gives us plenty to chew on: anyone who enjoys Dozzy's genre-agnostic DJ sets or the fertile area between hazy ambience and half-speed dancefloor zones - this one’s a killer.
Racine - Amitiés (CD)Racine - Amitiés (CD)
Racine - Amitiés (CD)Danse Noire
¥2,551
There’s a lived-in quality to the sound of Racine’s Amitiés. Named after the French word for friendship, the Montréal-based Quebecois artist follows an extended time spent indoors to contemplate what it means to be isolated and in one’s own body, while also staying connected. The album is a follow-up of sorts to Quelque chose tombe (“Something Falls”), released in February 2020 and a kind of accidental prophecy for the crisis that was to come. Amitiés disintegrates before your very eyes. Opening with a roughshod iPhone recording of Racine playing his parent’s harmonium, the creaky acoustics of "Mon amour je ne guéris jamais" slowly degrade into digital simulations of dreadful organic beauty. That track and the rest of the LP gives the feeling of an abandoned building; a sense of frayed, earthiness dusted with the wisdom of time. And yet, it’s almost entirely made from simulations. Clipped Native Instruments violin patches punctuate the churning atmospherics of “Arête coincée dans une amygdale”. The lonely gongs and bells of “Grosso” resonate in a gust of synthesised ambient. Vocal plugins and the very occasional YouTube samples of a recorded voice are sped-up, glitched, pitched and scrambled into indecipherability. These vocal apparitions rise and fall into the sonic ether like individual ghosts of human contact. They’re bold and expressive, deeply melancholy and yet full of the potential for joy and an awareness of life’s beauty. It’s in this dearth of social interaction—the heady psychosis of too much solitude—that Amitiés’s tone and mood lies. A score for the numb dissociation from internal chaos and alienation, the album’s sense of acute distress is assuaged only by the small network of collaborators and influences it draws from. Long-time friend and peer Justin Leduc-Frenette (aka Keru Not Ever) contributes drum programming to “Mon amour je ne guéris jamais”. A last-minute reworking of the untitled “Sans titre” by German duo Arigto matches the weight and timbre of Racine’s sooty post-classical soundscapes. Ultimately, Amitiés is a very human response to an inhuman environment. It’s an intimate homage to friends and the mysterious effects of distance, while somehow finding healing in hardship.
Elektro Nova - Electro Nova (2LP)
Elektro Nova - Electro Nova (2LP)Smalltown Supersound
¥4,577
Like a rediscovered Viking burial ship, Electro Nova compiles near-mythical drone recordings produced in 1998 and described by Helge Sten aka Deathprod as some of the most important music to ever come out of Norway. It's the work of Kåre Dehlie Thorstad and compiles two of the earliest releases on Smalltown Supersound, back when it was basically no more than a bedroom operation. It’s taken over two decades, but finally the label have given the material a first ever proper release on vinyl, complete with mixing and mastering by Deathprod. If you’re into the ice cold swells of anyone from Thomas Köner to Harley Gaber, Biosphere, Kali Malone or, of course, Deathprod - this one's as essential as they come. Kaare Dehlie Thorstad's Elektro Nova produced just two releases during the late ‘90s that have since slipped into drone lore - Trans-Inter-Ference and Elektro Nova/Electro Nova. Admired not only by Deathprod and Joakim Haugland of Smalltown, but also by his contemporaries Lasse Marhaug and Biosphere, his work has evaded pretty much any attention outside of Norway these last two decades. Following a chance meeting with Thorstad at Oslo airport a few years back, Smalltown were prompted to give the recordings a second wind, presenting what is essentially a captivating new release, and crucial addition to the Norsk drone canon. As the story goes, Thorstad was studying photography in the late 90’s in Scotland, but instead of delivering a photo for his final exam he made a record - a double album (2CDs) and a 10” to be precise. That should provide some idea of the textural synaesthetic and landscaping qualities evoked by his music, which he ended up sending to a then-young Smalltown label, who were mostly issuing tapes at the time. With no proper distribution the records largely bypassed wider attention, and become a personal favourite of Smalltown’s Joakim Haugland, as well as avowed fan Helge Sten (Deathprod), who helped render its diaphanous scale in mix down, and Lasse Marhaug who describes them as "two perfect records that deserved much bigger attention”. Between its jaw-dropping opener; the post-apocalyptic vision of its untitled part; and the cinematic white-out of the 10” tracks; Thorstad comes as close as we’ve ever heard to evoking the inhospitable nature and stark beauty of the wild far north. We can hear those landscapes palpably internalised and alchemically transmuted into its coarse grained textural swells and a reverberating multi-dimensionality, variously sustained to extents that evoke an abandonment of the senses, or likewise squashed and isolated to imply the relative anxiety relief of atmospheric flux, where a few degrees temperature rise or a drop in the wind speed can make the difference between life and death. Impressively, Thorstad realised after the release of Elektro Nova and just two live shows that he couldn’t really follow up the work and instead pursued a career as professional cyclist, eventually combining his visual skills to become a pro cycling photographer. In that sense, he’s a bit like composer-turned-tennis coach Harley Gaber, whose almighty ‘The Winds Rise In The North’ (1976) is in some ways richly prescient of this work. Like Gaber, Thorstad can remain safe in the knowledge that his contribution to the drone sphere will endure for the ages, especially with this important, impressive new edition.
Lynn Avery & Cole Pulice - Belt of Venus (CS+DL)
Lynn Avery & Cole Pulice - Belt of Venus (CS+DL)Moon Glyph
¥1,939
Lynn Avery and Cole Pulice return with a new album of piano, synthesizers, tenor sax, wind synths and electronics. Following their excellent previous albums (Iceblink’s "Carpet Cocoon" and Cole Pulice’s "Gloam") the duo moves into otherworldly ambience that straddles acoustic and digital spaces, evoking an uncanny world both strange and familiar. “To Live & Die In Space & Time” began with an improvised set at the 2020 Drone Not Drones festival in Minneapolis that unveiled new worlds of sonic possibilities the duo wanted to reapproach. Lynn and Cole continued exploring this palette of sounds and ideas in the months that followed, a practice that continued as they relocated across the country and settled in their now home of Oakland, California. Lynn and Cole were not initially intending to create an "album" - instead, they were just committed to a regular practice of improvising, recording, forgetting, reapproaching, alchemizing old & new ideas, and allowing material to shapeshift. Eventually, something like an album revealed itself, which Lynn and Cole honed into “To Live & Die in Space & Time.” The sounds of TL&DIS&T are elegant, transportive and vast, like being wrapped in a blanket of stars, finding warmth and comfort in the unknown spaces of transition that don't immediately reveal meaning or purpose. In other words, the constellation of sounds on TL&DIS&T approach floating in "the void" as something less than ominous, perhaps even enchanting.
Carcascara - Carcascara II (LP)Carcascara - Carcascara II (LP)
Carcascara - Carcascara II (LP)Hegoa Records
¥2,961
"Applying elements of minimalism or electronic music to their compositions, Carcascara's second studio album is deeply rooted in folk, blues or jazz. Borrowing from American primitivism, this acoustic guitar trio based half way between London and Zumaia, stretch the boundaries of tradition with a fluid and developed command of the string instrument. Coming out 14 years after their self-titled debut, highly recommended for fans of Robbie Basho, Steve Reich or John Fahey."
Organ Tapes - 唱着那无人问津的歌谣 / Chang Zhe Na Wu Ren Wen Jin De Ge Yao (LP)Organ Tapes - 唱着那无人问津的歌谣 / Chang Zhe Na Wu Ren Wen Jin De Ge Yao (LP)
Organ Tapes - 唱着那无人问津的歌谣 / Chang Zhe Na Wu Ren Wen Jin De Ge Yao (LP)Worldwide Unlimited
¥3,987
Tim Zha aka Organ Tapes makes a hyperjump to DJ Python's Worldwide Unlimited label with an emotionally slushed set of singer-songwriter pearls spiked with his own idiosyncratic production moves. An investigation into avant pop, it sounds like a DIY inversion filtered thru the autotuned hypersonix of Ecco2K, Yves Tumor or Palmistry. For over a decade now, Organ Tapes has been masterminding his own obsessively-curated and unique style, attempting to reconcile not just his interests in pop and experimental modes, but also his identity as a British-Chinese artist who's spent his life between Shanghai and London. Through production work for Triad God and releases for Tobago Tracks, Genome6.66Mbp and Berlin’s much loved Creamcake, he’s developed a style that’s pretty much inimitable, with autotuned vocals informed by a long-term love of dancehall, afrobeats and Soundcloud rap, and songs that slip into folk and country, with a compositional mindset that’s unmistakably non-Western. "Chang Zhe Na Wu Ren Wen Jin De Ge Yao" (sing the song that no one cares about) expands on the misty landscapes of 2019's TT-released "Hunger In Me Living”, but while that album retained a wisp of R&B and a vague whiff of ambient, this new one feels firmly grounded in a bedroom pop aesthetic, allowing beams of sunlight to crack through his usually dense, textured clouds. Weft around guitar and vox, Organ Tapes bends the form by employing muffled field recordings, squashed drums and dreamy synths, assembling his tracks with the sort of diaristic warmth you’d expect to find on a claire rousay record. Zha positions himself a few feet away from indie and emo, instead channeling more sparkling influences like TV themes and advertising jingles. His earworm compositions drip with familiar-but-alien riffs, with hooky choruses rendered personal and heartfelt through low-key, lo-fi production smarts. In different hands, it might have all sounded overly exuberant, but anchored by Zha’s muted voice and shaved arpeggios, it's touching and indelible. There’s no cynicism here - the songs work because they come from a genuine place. Just listen to 'Heaven can wait' and tell us you ain't feeling it.
Misha Sultan - Roots (CS)Misha Sultan - Roots (CS)
Misha Sultan - Roots (CS)Hive Mind Records
¥2,355
Misha Sultan is a multi-instrumentalist originally from Novosibirsk in the heart of Siberia. His hometown's location, in the hinterlands between Europe and Asia provides a deep well of inspiration for his music. Hive Mind have been happy to work with Misha to bring you this stunning collection of recordings made between 2015 and 2022 which we hope will serve as a great introduction to Misha's unique sound which appropriates elements of Eurasian folk music, psychedelia, 90's chill-out, breakbeat, dub, and field recording to produce something stunning and singular. Whilst we were working on this release P*t*n invaded Ukraine and Misha was forced to leave the country quite suddenly. All money from sales of the digital album will go straight to the artist in order to help through this difficult time.
Synergetic Voice Orchestra - MIOS (Purple Vinyl LP)
Synergetic Voice Orchestra - MIOS (Purple Vinyl LP)Métron Records
¥2,592
In 1989, pianist and composer Yumiko Morioka put together a group of diverse street musicians and semi-professional players for a project that would come to be called the Synergetic Voice Orchestra. Inspired by Yumiko’s love of different musical cultures from around the globe, the band drew on influences from India, Ethiopia, Mali, Korea and China to create an album that merged these sonic identities with more traditional sounds from the southern Japanese city of Okinawa. Having released her solo piano record Resonance a couple of years earlier, Yumiko was thrilled when offered the chance to make an album of ‘any kind of music she wanted’. She pulled together artists she knew or had seen playing from in and around Tokyo, many of whom were self-taught and could not read music. It wasn’t always easy for Yumiko, a classically taught musician, to work with others who lacked her formal training. But by employing the synergetic principles of American architect and theorist Buckminster Fuller, she fostered an environment where the results of the group had a larger impact than that of the individual. This approach brought a real energy to her compositions and the resulting recording sessions produced MIOS, an exploratory, creative work that felt alive with free-wheeling creativity. Nothing was off limits. The drummer, who ran a vegetable stall by day and practiced in a cemetery at night as to not disturb his neighbours, utilised old washing machine parts for some of the percussive elements. Although Synergetic Voice Orchestra would eventually morph into a new band, leaving MIOS to exist as a singular moment in time, the album remains as one of Japan’s true hidden treasures. Originally a CD only release, MIOS now comes to vinyl for the very first time, complete with brand new artwork by Elvis Barlow-Smith.
Susumu Yokota Presents Stevia - Greenpeace (2x12")Susumu Yokota Presents Stevia - Greenpeace (2x12")
Susumu Yokota Presents Stevia - Greenpeace (2x12")Glossy Mistakes
¥4,705
In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan. This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius. When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air. By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”
Suso Sáiz - Resonant Bodies (2LP)
Suso Sáiz - Resonant Bodies (2LP)Music From Memory
¥4,431
Music From Memory are excited to present the latest chapter in their ongoing collaboration with seminal Spanish ambient musician Suso Saiz. 'Resonant Bodies’ is Suso’s seventh album project with the label and again raises the bar of his musical output, embracing a conceptual approach of which Suso himself says the following: “A body vibrates producing a sound that reaches another body and makes it vibrate and generate a new sound that makes another body vibrate that generates another sound... Imagine an infinite orchestra of bodies multiplying their sound vibrations creating the symphony of RESONANT BODIES. Resonance as a principle of COMMUNICATION; sound as a builder of ties and interrelations between men. RESONANT BODIES pieces are part of a whole and are both generators of it. Unlike other works, during the approximately two years it took me to finish RESONANT BODIES, the pieces were gradually completed and small sound particles were added caused by the vibrations generated by the previous layers until creating imperfect and synchronized sound objects. COMMUNICATION.”
Alice Damon - Windsong (LP)
Alice Damon - Windsong (LP)Morning Trip
¥3,771
Morning Trip & Yoga Records are proud to finally reveal one of the ultimate lost masterworks of new age music: Alice Damon’s Windsong. Gently propelled by Damon's haunting breath-of-life vocal winds reminiscent of Joan La Barbara underscored by field recordings and Damon's fretless bass sound calling to mind mid-70 Joni Mitchell, Windsong is traveling music, for the roads or for the skies. Instantly moving, it conjures vistas both romantically familiar and cosmically mysterious — waterfalls and wind, the voice of the earth, as heard through heavenly prisms. Damon attended college in Massachusetts, where she formed and fronted the all-female garage band called The Moppets in the late 60s. The band began to garner national attention, but Damon moved instead to the wilds of northern Vermont to homestead and raise a family. In 1981 or thereabouts she was able to gain use of an early Sony digital home recorder, and created her masterwork, Windsong. But Damon waited until 1990 to release a packaged version of this album, now titled "Windsong II", and sent samples to regional distributors like Vermont’s fabled Silo-Alcazar, where a copy of the album was first discovered, but little evidence exists of a proper commercial release. Alice Damon passed on in 2011 and remained essentially unknown until the landmark I Am The Center: Private Issue New Age In America 1950-1990 first revealed her genius to a wider audience two years later. Now, just in time for the recording's 40th anniversary, Alice Damon's Windsong may at last be heard as one of the most singular, moving and profound examples of new age music's psychedelic essence. Morning Trip & Yoga Records proudly present Windsong.
Lowtec - Old Economy (LP)
Lowtec - Old Economy (LP)Workshop
¥3,288
Workshop caretaker Lowtec returns with two extended, collage-like tapestries of abstract house and disjointed electronics spanning early electronic intimations and hazy house structures. Stitched from studio research over the past few years, ‘Old Economy’ is presented as a reflection “of the end of the old economy” according to the pivotal Berlin producer and label owner. A sort of last signal from the transition between two eras, it balances classically searching, radiophonic optimism, with a more melancholic, even foreboding feel that could be taken as a Janus-faced metaphor for the artist’s feelings on the precariousness of a new decade. Perhaps more akin to Burial’s collage tekkerz or a long lost ambient house mix from Berlin’s halcyon days than a typical album, ‘Old Economy’ deeply absorbs in the lokey nuance of its layers and eddying flow. On the first side we hear him transition from intercepted dream signals and outta reach field recordings to plumb depths of murky house abstraction with a wonderfully groggy logic that sloshes between all its aspects, pooling into lush passages and flowing out into odder parts, on the B-side’s untangled fronds of electro-dub, bleary-eyed dub chords and beautifully blunted Berlin-style sensuality.
Chisako & Junta - (Kon'nan) Difficulty (7")Chisako & Junta - (Kon'nan) Difficulty (7")
Chisako & Junta - (Kon'nan) Difficulty (7")Em Records
¥1,485
EM Records is proud to present a new tune from Chisako and Junta. Osaka-based Chisako and Junta is a vocal unit of MTG (Chisako), a member of Casio Toruko Onsen, and BIOMAN (Junta), a musician/DJ/designer and member of Neco-nemuru. In this duo, Chisako is in charge of vocals, while Junta is in charge of song production, visuals, etc. The song 'Yume no Umi' released in 2016 received a strong response and was followed by the first album “Chisako, Junta and You”. Their tunes are highly acclaimed for its works, which have the appearance of just ‘J-Pop’ but are embedded with strange musical details, including a sense of acoustics.
V.A. - XKatedral Anthology Series I (An Anthology Of Slowly Evolving Timbral Music) (2LP)V.A. - XKatedral Anthology Series I (An Anthology Of Slowly Evolving Timbral Music) (2LP)
V.A. - XKatedral Anthology Series I (An Anthology Of Slowly Evolving Timbral Music) (2LP)XKatedral
¥5,644
XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette early on in the label's history, while the two remaining pieces are presented by the label for the first time.
Keith Fullerton Whitman - GRM [Generators] (LP)
Keith Fullerton Whitman - GRM [Generators] (LP)Nakid
¥4,153
Genius-level, fractal re-arrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving ‘Generators' project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mindgames of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game. Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his ‘Generators' set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators' was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno. In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators' patch. Recorded in a single take using luxe analog-to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release. "Very little manual interaction happened," Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece's 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose-limbed and deadly variety. General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor's quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all-important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously. KFW is without question one of the greatest contemporary artists to prize electronic music for electronic music’s sake, addressing its fundamentals and relishing its capacity to generate peculiar forms and trigger hard-to-place feelings. ‘Generators (GRM)’ is an ideal case in point, providing essential brainfloss for anyone who appreciates the concept, but ultimately connects to the visceral, fluid energy of anything from Parmegiani to Autechre to DJ Nate. Unreal.
Akira Rabelais - À La Recherche Du Temps Perdu (4CD)
Akira Rabelais - À La Recherche Du Temps Perdu (4CD)Argeïphontes
¥4,153
Perennially bewildering polymath Akira Rabelais unveils the most impressive durational work of his career thus far with a 4 hour smudge of classical works by the musical zeitgeist of the late 19th and early 20th century Belle Époque. It’s a highly enigmatic erosion x sublimation of the familiar in a way that's by now etched into modern canon thanks to works by The Caretaker, but Rabelais has been weaving his own uncanny shroud of infidelity over our collective memory for over two decades now, with this extended set somehow managing to play like a homage to the mixtape, to the novel, to French pre-war culture and to the modern malaise all at once. Deeply immersive, stunning work that’s essential listening if yr into works by The Caretaker x William Basinski. The focus of the set covers the time period and culture around Proust’s 'À la recherche du temps perdu’ novels, and attempts to unravel his fascination with the illusive qualities of memory - most famously identified in his notion of “Proust’s madelaines”, outlined in the eponymous novels that inspired this release. Taking fifty-one works by Bartók, Bellini, Berg, Brahms, Caccini, Chausson, Chopin, Debussy, Delibes, Donizetti, Franck, Hahn, Jungmann, Lully, Ravel, Saint-Saëns, Satie, Schoenberg, Schubert, Schumann, Scriabin, Strauss, Tchaikovsky, Verdi, Wagner, and Weber, Rabelais uses his Argeïphontes Lyre software, as well as specially commissioned new recordings (Bartók's String Quartet No. 2 was recorded specifically for this album at half speed with minimal dynamics) to play with our perception of time via a prism of distortions and subliminal refractions. In an attempt to breathe in the same creative air as the French author, Rabelais’ distils the creative potential of sound in relation to our cultural fabric; everyone knows these pieces, despite precious few of us having lived in Paris in the 1920s. They're the background sound and building blocks of our culture, from cinema to advertising, but secreted in the music’s play of decaying reverbs, you get an uneasy sense of some unknown spectre floating thru the mists of time. Stunning, multidimensional work from a master of the artform.
Iury Lech – Musica Para El Fin De Los Cantos (LP)
Iury Lech – Musica Para El Fin De Los Cantos (LP)Wah Wah Records
¥3,664
Following on from one of the most sought after reissues of recent years ‘MUSICA PARA EL FIN DE LOS CANTOS’ on Berlins Cocktail D’amore, Iury Lechs debut LP ‘Otra Rumorosa Superficie’ is made available for the very first time on Vinyl and digital launching the reissue division of London based Utopia Records set up in 2015 by Alexander Bradley. This cassette only release from 1989 is a minimal masterpiece practically unheard until now. Arguably a more complete album than De Los Cantos, Originally composed for two short films ‘Final Sin Pausas’ and ‘Bocetos Para Un Sueno’ as a full score the arrangement is a beautiful listening experience spanning through ambient, meditational and cinematic minimalism of real depth, romanticism and sincerity. Iury Lech is a Ukrainian born multidisciplinary artist, whose main focus now is as the curator of ‘Madatac’ a festival based in Madrid focused on new media art, video art and audio visual technologies which has featured the work of Brian Eno amongst many others. During the late 1970’s and 80’s he rose as a pioneer within a moment focussed on electronically generated audio and visual media. Drawing on the ground gained by Minimalist pioneers like Steve Reich, Terry Riley, and Philip Glass - built from repetitive rhythm and sheets of rippling resonance, drone, and ambience, Lech’s work of the period is so striking and beautiful, that it seems shockingly unjust that it was overlooked until now. The album comes in 180 gram vinyl edit form with full cassette version on USB on purchase of record. Utopia Originals sets out to promote and reinvigorate music and artists in the most authentic way possible. 'OTRA RUMOROSA SUPERFICIE’ has been remastered from original master tapes at Central Dubs, Bern Switzerland and the original artwork licensed through argentine visual artist Pablo Siquier.

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