MUSIC

Triángulos De Luz Y Espacios De Sombra (Triangles of Light and Spaces of Shadow) is a collection of visionary Mexican electronic music sourced from obscure cassettes, CDs, private pressings, and personal archives, presented by Séance Centre and Smiling C. These works trace an expansive scene of prescient musicians who created a unique speculative cosmology, forging Mesoamerican mythologies with innovative sonic technologies. From the mid-80s through the 90s, a network of Mexican musicians embarked on a journey to craft a musical expression distinct from the mainstream musical culture that dominated the airwaves and record industry. Based around practices of collaboration, ethnomusicology, electronic experimentation and home-recording, these artists traversed territories at the very edges of genre and musical form. Myth-scientists Antonio Zepeda, José Luis Fernández Ledesma, Jorge Reyes, Isaac Alva, and La Fábula venture into the periphery of the new age, incorporating Pre-Columbian rhythms and melodies into their dream-like compositions. Vistas Fijas, Armando Velasco, Eblen Macari, and Gabo move through radical new wave territories, utilizing guitars and drum machines to map their musical chronicles. Germán Bringas and Eugenio Toussaint traverse the jazz landscape, blending horns with electronics, improvising long uncharted expeditions. Pinning down a unified sound for these artists is challenging, yet they collectively cohabitate the capacious space of "ambient," employing diverse expressions through various imaginative modalities. What distinguishes these artists is a distinctly transhistorical approach which vividly imagines sonic possible worlds. In an attempt to situate themselves within a culturally and historically complex landscape, many of the artists on the compilation reactivate ancient Mesoamerican music traditions, those of the Aztecs, Maya, and Olmecs. Their electronic compositions are intricate tapestries woven with the haunting melodies of pre-Hispanic flutes and ocarinas, resonating alongside the echoes of ancient percussive marvels like the teponaztli and huéhuetl. Ritualistic chants, undulating synths, and atavistic rhythms intertwine, conjuring a hypnotic mosaic of chimeric sound. Natural and acoustic sounds are juxtaposed within a synthetic habitat, as if towering skyscrapers cast a shadow across ancient pyramids. Rather than longing for an impossible past, these works evoke fantastical visions suspended in dreams, glimpses into the mythical realm of the hummingbirds. The title "Triángulos De Luz Y Espacios De Sombra" (Triangles of Light and Spaces of Shadow) is inspired by a public access TV show of the same name that showcased several artists featured in this compilation. Imagining triangular prisms of light superimposed on otherworldly shadows feels apt for these illusory and phantasmagoric sounds. The space between these two opposing but interdependent images is the resonant juncture where these artists create their auditory oracles. This compilation highlights the prophetic luminaries of this underground community of musicians, with many of these songs previously unreleased or only available on fugitive formats until now. This double LP release features 17 tracks remastered from reel-to-reel, DAT, and cassette masters. It includes two inserts with an essay by Mexico City based music journalist David Cortés on both Spanish and English, accompanied by archival photos of the artists and artifacts featured on the compilation. The first edition comes adorned in a luminescent sticker illustrating a solar eclipse. RIYL: Outro Tempo, Durutti Column, Jon Hassell, Música Esporádica, Finis Africae

An official re-issue of the 1996 album, Beyond the Circle, from Dr. Osamu Kitajima presented by Forest Jams on vinyl for the first time. As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. “Beyond the Circle” is music that is as energizing as it is spiritual and melodic.

The seductive sounds of Portugal swing to Dark Entries on Rock Rendez Vous: Música Moderna Portuguesa 1985-1986, a compilation of vintage Iberian synth, wave, and postpunk gems. The legendary club Rock Rendez Vous (RRV) opened its doors in Lisbon in 1980, heralding a new era in the Portuguese underground. Although touring acts like Killing Joke, Danse Society, or Echo & the Bunnymen graced its stage, RRV more vitally served as ground zero for a new generation of Portuguese bands, one simultaneously in touch with broader international musical movements while being invested in establishing a national sonic identity. Rock Rendez Vous culls 9 tracks of prime Portuguese indie tunes from the Música Moderna Portuguesa compilations released in 1985 and 1986, documenting the heyday of this movement. Jangly and brooding postpunk gems like “Levante” from Jovem Guarda, Projecto Azul’s “New Sides,” and Essa Entente’s “Festa Final” are well-represented here. Meanwhile, quirky Balearic-laced synthpop gems like D. W. Art’s “Mate” or Zona Proibida’s “Musak” add a subtly regional flare. Rock Rendez Vous: Música Moderna Portuguesa comes housed in a sleeve designed by Eloise Leigh featuring a photo of the club RRV, and also includes a double-sided insert with lyrics, photos, and liner notes.

ドイツ・ハンブルクを拠点にニューエイジ・リバイバルを牽引したBasso主宰の名門レーベル〈Growing Bin Records〉や、ギリシャ系ニューエイジを掘り起こした〈Into The Light〉などからのリリースや、アンビエント・ダンス・ユニットEarth TraxやPtakiなどの名義でも活動するポーランド・ワルシャワのバレアリック／アンビエント鬼才ことBartosz Kruczynskiによる最新ソロアルバム、今回も凄い才能＆内容！16年リリースの『Baltic Beat』が当店でも大ヒットを記録した人気アクトによる、4年振り最新アルバム！温かみのあるビブラフォン、張り詰めたアルペジオ、重なり合うストリングス、孤独なディレイチェーンなど、アンビエントの重なり合うスタイルに、常に独自のスピンを加えてきた名手による、安定のバレアリック／アンビエント作品！

Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there’s a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code. Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It’s chillout music with a chilly edge, ambient with a darkly ironic undertone. (The briefest glance at your news outlet of choice should be enough to confirm that the title—Great Times—ought to be taken with a healthy dose of skepticism.) Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. (He has also performed and recorded with Amen Dunes, and has co-production credits on Amen Dunes’ forthcoming Sub Pop album Death Jokes.) Panoram’s output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of “bio-acoustic transmissions” came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down. Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas—the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram’s approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost—and an invitation to remain in the maze as long as you like.

Strut presents an exclusive new collaboration between UK jazz keyboardist Greg Foat and Venetian ambient / electronic maestro Gigi Masin on ‘Dolphin’. Recorded remotely during 2021-2022 the album took shape in the form of mutual compositions, gradually developed and embellished online. Final recording sessions took place at the majestic Chale Abbey Studios on the Isle Of Wight with Moses Boyd (drums), Tom Herbert (bass) and Siobhan Cosgrove (flute, clarinet) adding elements to several pieces. Tracks include the reflective, wistful single ‘Viento Calido’ and drifting ambient piece ‘Sabena’, a beautiful tribute to Gigi’s wife who sadly passed away during 2022. Greg Foat has recorded prolifically in recent years for Athens Of The North, Jazzman and Strut including acclaimed albums Symphonie Pacifique (2020) and The Mage (2019). Best known for his 1986 ambient masterpiece Wind and as a member of Gaussian Curve, Gigi Masin has enjoyed a revival in recent years through his Calypso album on R&S’s Apollo label and renewed touring. Dolphin represents Greg and Gigi’s first landmark recording collaboration together. “I first heard Gigi’s album Wind in 2016,” remembers Greg. “I was living in Miami and I heard it playing one Summer evening. Since then, it has always been in my mind to be able to record together.” Dolphin is mastered by Mark Ashfield at Cosmic Audio with newly commissioned artwork by Niul Foat. The LP comes as transparent vinyl in a thick card outer sleeve.

Of Filipino descent, the expressive keyboardist, vocalist, and composer Flip Nuñez enjoyed a varied career in jazz. After backing Bev Kelly, Jon Hendricks, and others in the 1960s, Nuñez impacted in the Latin jazz-rock act Azteca. The marvelous My Own Time And Space, his only solo album, showcases his versatility; the Latin cadences of Willie Colon and former Santana bassist Tom Rutley and the keen jazz phrasings of guitarist Michael Howell and drummer Vince Lateano make superb backing for Nuñez's piano and synthesizer flourishes, bolstered by his emotive voice. A lost classic, and one that sounds better with every spin.

A trailblazing amalgam of elevator-friendly R&B and synth-forward smooth jazz, Tony Palkovic's 1986 debut goes down easy as a huff of dentist-issued nitrous. Born With A Desire's silky grooves and bursts of drum machine 1.0 endure as an '80s vision of future earth where 8-bit graphics and pastel palettes swath a synthesizer Shangri La.

Motion Ward’s ambient incubator drop shimmering shoegaze dream-pop and smudged downbeats for lovers of HTRK, A.R. Kane, Perila - issued in a limited CD edition. Pairing Kiwi musician Ike Zwanikken with vocalist Brooklyn Mellar, Hysterical Love Project subtly muddle the foggy memory banks of late ‘80s/early ‘90s shoegaze/dream-pop with prompts from Balearic downbeats and canny compression techniques that lend it a patina of micro-dosed psychedelic sensuality. Perfectly strung out on a late night tip, it flows from the bed-ways lullaby pop and back-combed partials of ‘Miracle-Mouthed’ to the beautifully out-of-reach gauze of ‘Cement’ via delectable highlights of ‘90s trip-pop in the slow-motion acidic lather and forlorn vox of ‘Ionian Sea’, and dreamily headlong wind-tunnel motion of ‘Boyracer’, while ‘Come 2 Me, My Baby’ and ’Sever/Strike’ are unmistakably redolent of HTRK, and likewise the weightless strums of ‘Lavender’ that show they can transfix attention without the beats. Definitely one to watch.

NTS presents European Primitive Guitar, a compilation of instrumental guitar compositions, mapping out European analogues of the American Primitive Guitar movement, spearheaded by John Fahey in the 1950s. European Primitive Guitar spans works directly influenced by and responding to Fahey’s approach to composition, alongside works by artists that arrived at similar conclusions independently. The music is, at once, both starkly traditional and contemporary. This is no more evident than with the opening song on the compilation, Spanish guitarist Albert Giménez’s 1982 composition Conte Xinès. The song draws on numerous idioms of music - flamenco, jazz, ambient music, and guitar soli - within its shimmering arpeggios, culminating as a decidedly Spanish music that has collected the ephemera of the guitar’s travels before returning home. The compilation also explores wider ideas around experimentalism happening in Europe during the time of this anthology. German composer Hans Reichel not only developed new ways of playing the instrument, but also new ways of building guitars - pushing the boundary of what a guitar could be and how it could sound. Ahead of its full release, listen/download material from Maurizio Angeletti (Italy, 1983), Albert Giménez (Spain, 1982) and Peter Finger (Germany, 1974). The physical release is accompanied by an extended essay from The Hum’s Bradford Bailey.

Three standout versions from the Lewin sisters and Marvin James, now available back-to-back on 12" EP for the first time. Classic soul turned reggae grooves produced by guitarist John Kpiaye and Adrian Joseph aka DJ Smokey Joe. Recorded in the mid-80s, a decade after the first advent of UK lovers rock and tailor-made for bass-heavy sound system playback, Christine Lewin’s cover of Tyrone Davis’s ‘In The Mood’ transformed his sensual after-hours classic into a female-led hit that became a staple on Lovers playlists both then and now. In an Echoes article in 1987, Christine describes both ‘In The Mood’ and her earlier cover hit of Mtume’s ‘Juicy Fruit’ as ‘reggae fusion’ “because it has a strong reggae drive to it but is also soul-orientated.” Similarly, Tricia Dean’s sought-after cover of Jean Carn’s soul favourite ‘Don’t Let It Go To Your Head’ follows the same formula from Kpiaye and Smokey, synth-led rhythms reflecting the times rooted firmly in a local London scene. Marvin James's under the radar vocal cover of The Spinners' 'I'll Be Around' gets a reissue on vinyl for the first time backed up by the sought-after Kpiaye instrumental mix aka 'Dub mix by Surgeon McEdit'. Renowned London-based broadcaster and DJ, Smokey Joe originally released the songs on his labels, Hot Vinyl and TJ Records. Whilst his various labels housed the largest soca catalogue in Europe since the 80s, Smokey Joe started out as a disc jockey playing soul music. His first residency was at the Pama brothers Apollo Club in Willesden in the early 70s before moving on to Count Suckle’s Q Club in the West End. Known for being open all weekend with a music policy that was dominated by soul and R&B, the club was an epicentre for an international clientele including the likes of Chaka Khan, Muhammed Ali, Bob Marley, The Jacksons, Dennis Brown, The Commodores, David Bowie, and Mick Jagger. Smokey’s DJ residency lasted the best part of the decade. “It was a full-time job six days a week. I loved it, we played everything that was popular and would play whatever soul and funk imports were hot at the time. Heatwave performed regularly before they were known. They sang ‘Always And Forever’ before it came out. Johnnie (Wilder) was a lovely guy. One time he handed me a record with a message on the sleeve, ’To Smokey, don’t forget the name... Heatwave, from Johnnie’, it was their first single.” Through his industry network, Smokey started producing and releasing various bands that performed at the Q Club such as the funk outfit, Reality band on Galactic Records, recorded at Eddy Grant’s Coach House studios. Under Smokey Joe Productions, he’s since released hundreds of titles. Amongst an output dominated by soca, collectors and DJs have long sought after a handful of funk, soul and reggae titles with S.J.P. behind the boards.

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream. Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization. These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs. Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating. Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Music From Memory is pleased to announce the upcoming release of ‘Salt And Sugar Look The Same’, a collaborative album from Tim Koh and Sun An. Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012. ‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens. Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need. Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories. ‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.

Eddie Ruscha, a founder member of ‘90s LA shoegaze band Medicine, and last seen on a zinger for Good Morning Tapes, envisions a soothingly semi-organic ambient microecology for Fourth Sounds in the glistening wake of a Peter Zummo collaboration. Swirling around the square root of Balearic, Kosmische, and 4th world ambient styles, but deftly smudged in between their shiny eyes, ‘Seeing Frequencies’ projects a sublime sound-bathing experience that arguably lives up to the intent to paint a music where “There’s this beautiful moment where everything coalesces, and you just don’t think about anything.” The links between his dual practices of music making and painting are clearly manifest and implied within his richly impressionistic sound imagery, continuing in a vein of work since his 2018 album ‘Who Are You’ with a close correlation between the geometries of his sleeve art and the music’s harmonised patterns of aqueous synth colours. It’s a refreshingly effortless listen that conjures its magic on a near subliminal level, chiming with his instinct toward making sounds that gently “forces you to forget.” It’s an ideal of effect close to our heart, as some of our favourite work in this style has the ability to dim the lights upstairs before we’ve even realised it. Under poetically evocative titles the suite sashays from the shimmering melodic fronds of ’Submersion’ to the coruscating baubles of ‘Slowblooms’ via standout charms such as the sublime grog of ‘Infinite Wheel’, an expansive ‘Oceans Rolling’, and quivering dub of ‘Evening Tremors’. But they’re all best taken in context of the wider picture, which best reveals itself in certain lights and barometric pressures.

2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists. To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”. Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past. In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish. Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.

Music From Memory are happy to announce the return of Gaussian Curve. Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'. Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve. The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine. On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve. MFM67 will be released in 12” vinyl and digital format, comes with artwork by Qiu Yang, design by Steele Bonus.

Sade’s “The Best of Sade” album was released on 31st October 1994. It is a compilation of her greatest hits and includes “Jesebel”, “Like a Tattoo” and “Pearls”.

WRWTFWW Records is proud to announce the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada’s MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD.

Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato’s debut album, Yasuaki Shimizu’s Kakashi, Colored Music self-titled LP and many more) MKWAJU is the fruit of the collaboration between Takada’s crew and world-famous composer/musical director Joe Hisaishi, the man behind most of of Hayao Miyazaki’s Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano’s Sonatine, Hana-Bi, and Kikujiro. The ensemble’s transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album. Historic.

Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada’s career and an all-around pioneering album.

Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa’s legendary Still Way - Wave Notation 2), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).

Forest Law's debut album, "Zero," is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK-styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer. Released in collaboration with the UK home for jazz and electronic sounds, Total Refreshment Centre, Zero is Forest Law’s first release since his debut EP on Brownswood Recordings four years ago, marking a new and exciting chapter for the up-and-coming talent. Crafted over seven years, "Zero" is deeply influenced by Law's experiences, from immersive stays in Porto where he delved into Portuguese music to an artist residency in a remote Icelandic fishing village. The album was finished, and recorded in his garden shed in Romford, East London. It’s a beautiful juxtaposition about a boy from Essex, who fell in love with international music, discovered the world, and then produced a musical treatise about his adventures from his shed.

Forest Law's debut album, "Zero," is a vibrant journey blending Balearic funk with urban Tropicalia, showcasing his adept guitar playing, old-school sampling, and UK-styled beats alongside his mellow yet sombre vocals. Recorded across eclectic locations from Icelandic fish net factories to a garden shed in Romford, this innovative release marks a new chapter for the multi-instrumentalist producer. Released in collaboration with the UK home for jazz and electronic sounds, Total Refreshment Centre, Zero is Forest Law’s first release since his debut EP on Brownswood Recordings four years ago, marking a new and exciting chapter for the up-and-coming talent. Crafted over seven years, "Zero" is deeply influenced by Law's experiences, from immersive stays in Porto where he delved into Portuguese music to an artist residency in a remote Icelandic fishing village. The album was finished, and recorded in his garden shed in Romford, East London. It’s a beautiful juxtaposition about a boy from Essex, who fell in love with international music, discovered the world, and then produced a musical treatise about his adventures from his shed.

Khotin by Vancouver producer Dylan Khotin-Foote is a reissue of the cassette release that sold out instantly at bandcamp in 2018! The profound ambient sound is a chill-out refinement of the unfathomable depth of the previous work, which is both immersive and sleepy, and has been beautifully incorporated into the lo-fi feel of the artwork while maintaining the vibrancy of the spiritual & naturalistic sound world. This is a masterpiece of beauty that cannot be described in words, with a profound sound world that creates a dreamy fantasy land on a windowsill in broad daylight, only to sink into the border between Hades and reality. A masterpiece of unspeakable beauty. Highly recommended for all music lovers from new age to ambient and Balearic.

A post-modern mixtape of 12 micro-genres created by The Numero Group. Bending the rules of the compilation with a selection of songs bound by their soaring spirit and adventurous approach, REACH is inspirational living for algorithmic times.

Dedicated to the Island -soundwalk & music for SAUNTER magazine- is a new work by DJ/musician Kaoru Inoue, also known as Chari Chari. The album was released in September 2023 as a limited edition bonus CD for the special feature "Yakushima Today" in the sixth issue of SAUNTER magazine, a travel magazine published by the Yakushima-based publishing company Kiltibooks, and is now available for the first time on vinyl! The album is a gem of organic electronic music, including 9 tracks such as "Mizukumi," "Nagareru," and "Hoshifuru," which were produced based on field recordings made in Yakushima. It will be released as an RSD limited edition LP record (180g vinyl with liner notes) on "RECORD STORE DAY" on Saturday, April 20, 2024.