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The long-awaited LP reissue of the insane masterpiece "My Hometown is Far Away Like a Story," which was produced by poet Taeko Tomioka and the young Ryuichi Sakamoto, and made a name for itself in music history! The cover by Nobuyoshi Araki, also known as Araki, is a must-have!
The poet Tomioka Taeko's insane masterpiece "Monogatarinoyouni Furusatohatoi" (originally released on CD by Victor in 1977 and P-Vine in 2005) is finally coming to light on a limited edition analog LP! It's too avant-garde and fantastical to be called psychedelic. A masterpiece of insanity that will drive the vestibular canals of all who listen to it crazy!
The music was produced by a young Ryuichi Sakamoto, and the cover was photographed by Nobuyoshi Araki, also known as Araki.




“BLADE N” is the long-awaited new album from Japanese rapper Karavi Roushi, who appeared on the Japanese hip-hop scene with his debut solo album “Kiyosumi Kurokawa”. This, his second solo album, is a collaborative release with Aquadab, the Japanese track maker/sound designer who co-produced “Kiyosumi Kurokawa”. The album showcases the preternatural mind-meld between rapper and track maker.
Karavi Roushi came before the public as a member of Nagoya hip-hop collective Hydro Brain Gang on Nero Imai's album “Return Of Acid King” (2017). He then launched the label Super Lights with Aquadab and released his first solo album “Kiyosumi Kurokawa” in 2019 with graphic design by Takara Ohashi. Although an unknown newcomer, the album reached #15 on the iTunes Hip Hop Japan album chart and received plaudits not only for its music but also for the artwork by Ohashi. After the album, Karavi Roushi dropped his first collaboration tune with Aquadab on “S.D.S =Zero=” (2020), a compilation of Generation Z Japanese underground artists produced during the Covid pandemic. That tune, “Tokyoite”, became a favorite of the participating artists.
"BLADE N” was created by the three-person team of Karavi Roushi, Aquadab & Ohashi. Consciously developing their musical methodology, they intentionally use instrumental tracks to interrupt the rappers' voices and flows, something which has traditionally been avoided, and explore the possibility of creating a style that puts the rapper and track maker on equal footing in complex, woven tracks. On the album, Karavi Roushi's paranormal voice, which sometimes sounds like a mutant synthesizer, adds incisiveness, and in the artwork Ohashi visually extracts the story world hidden in “BLADE N”, giving the cover art the same impact as that of “Kiyosumi Kurokawa”.


“Horizons” is an album by COMPUMA, developed from his 2023 digital-only “Horizons EP” released via Bandcamp. Inspired by his roots in Kumamoto and the landscapes he encountered during walks in various locations, the album captures the calm and comfort of everyday life. Blending ambient, downtempo electronic, and imaginary environmental sounds, it offers a minimal yet richly atmospheric listening experience.

In your face new 8 track LP of vicious beat driven warehouse electronics from the L.I.E.S. boss. Straight and to the point, "Extinctionist" stands very much in line and continues further in the sonically unapologetic L.I.E.S. Records tradition of the last 15 years. This is music made with the artist, not the public in mind. No concessions made. End times music.

Allchival’s admirable, ongoing Roger Doyle retrospective takes in his brace of rudely glitching piano scapes and subtly febrile dream sequences written between 2011-2017 and comparable to everyone from the Eno siblings to K. Leimer or aspects of Alva Noto & Ryuichi Sakamoto.
Chasing invaluable reissue reminders of Doyle’s pioneering post-punk classics with Operating Theatre and The Threat in recent times, the languid and restless airs of ‘Homemade Ivory Dreams’ weighs in as a Doyle’s second solo curio to be dusted down and redressed by new ears increasingly attuned to Ireland’s lesser-covered past. More sublime and spacious than the expansive yet dense and delirious ‘Babel’ suite, which covered his late C.20th computer-based scores for theatre, the elegant and labyrinthine corridors of ‘Homemade Ivory Dreams’ spotlight farther sides to the Irish composer who is considered among the leading, progressive and experimental voices of his country and generation.
Doyle typically parses a range of extra-musical cues from literature, poetry, and film within the 10 tracks on show, variously navigating fissures of memory and figments of figurative forms with a poetic grasp of musical metaphor that has long been his calling card. The notion of dreams seeded in the title guides him thru parallel dimensions of cuboid chamber classical in ‘CBG’ to ruder bouts of offbeat Autechrian electronica on ‘Skunk Hours in the Demon Mist’, and spur him to more rage dervishes of keys and guitar on ‘Enniode’, a tribute to Ennio Morricone, or setting of Irish language poem ‘Urnaí Maidne’ to a sort of brooding Euro film score vernacular on ‘The Nenuphar of Nina.’
He is perhaps most effective when more simply bask in the half light of memory on ‘Growing Up In Formaldehyde’, whose title is canny transliteration of a friend’s comment, “’what would you know - you grew up in formaldehyde”, which is a “benign reference to the village of Malahide where I spent my youth. Embalmed memory” and redolent of his shortcircuiting of the musical links between dialect, accent, and memory in the title and music of his classic ’Oizzo No’. Along with the feathered nuance of ’The Long Take’ and melancholia of ‘No Lone Man’ it’s a quietly charming 44’ in Doyle’s presence.

This is the second collaboration on Offen by the French post-industrial experimental artist Thierry Mérigout of Geins't Naït, composer and multi-instrumentalist Laurent Petitgand, and the UK composer and sound designer Robin Rimbaud AKA Scanner, whose prolific catalogue includes scores for dance works by the London Royal Ballet and Merce Cunningham, and who has performed and installed his music in venues ranging from the Bolshoi Theatre in Moscow to the Pompidou Centre in Paris and a hospital morgue in Garches.
Vitio is a repository of memory: Coastal plateaus and city streets evoked and cracked open by glowering basslines and jumbled rhythms made for ragged walking. Thierry and Laurent have been collaborating together since 1987, the year after Thierry co-founded Geins’t Naït while at the Architecture School of Nancy. Their work together is dense and textural, influenced by Situationists and Surrealists; the raw loops of Geins’t Naït meeting the musicality of Petitgand, a soundtrack composer for film, dance and theatre who has worked closely with director Wim Wenders. Thierry and Laurent first collaborated with Scanner on OFFEN015, a set of otherworldly collaged slow-mo soundscapes. Here, on tracks like Vitio and Austral, threads of sampled dialogue interweave with melodic fragments or repeating piano lines, like the sun breaking through above a tangle of golden wrack and rockweed. On Acid and 63, divine industrial shoegaze sweeps across the windscreen like water washed from trees. Elsewhere, on SIO, submerged clicks surface amid foghorn-like electrostatic charges, an introspective aeromancy. On J’Appartiens, stabs of samples dart back and forth over the ominous time keeping of a sparse beat and pulsing bass. On Sunday and NNSS, we, the invisible listeners, rise to the surface, where there is rain. Both the sounds of NNSS and the rainfall were installed in the 21st Century Museum of Contemporary Art in Kanazawa, Japan, as captured in a lovely video made by Thierry’s daughter. Beneath the rain, in a building designed by SANAA architects, paving stones can be seen. Beneath the stones - we can only guess - a cloud.

We have the attached ACTRESS TRANZKRIPT 1 release on Modern Obscure Music available in a CRYSTAL CLEAR vinyl edition, exclusively for Japan, limited to 100.



視聴-Acid Trax N (All Alkalis are Bases but All Bases are not Alkalis) remix by DJ Sprinkles
視聴-Acid Trax B (Acid Dog) remix by DJ Sprinkles
視聴-Acid Trax A
視聴-Acid Trax H
視聴-Acid Trax S (w/DJ Sprinkles)










Multila was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the Huone and Ranta 12" EPs Ripatti released on Basic Channel's Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey "Huone". 20 years after its original release as a full-length CD album (Chain Reaction), these timeless recordings of modern electronic music are now finally available for the first time as a double-vinyl edition. The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the '90s and '00s, as well as new recordings by momentous electronic and ambient artists. Drawings by Kaisa Kemikoski; Layout by Marco Ciceri. Remaster by Rashad Becker and vinyl cut by Kassian Troyer at Dubplates & Mastering. Includes download code.
"Life films us exactly. Our experience of it, though, lies beyond images and descriptions. Emotions, coming in irrational flashes, are non-figurable. We lose our little connection to them very quickly. We look for forms which promise to take us to our own experience. We construct forms with this in mind: that they can take us to meet the subconscious. Multila's construction is principled this way. Fragments of experience, moments without definition or localization are captured within tiny fragments of time and then within one's mind space. We can look into it and see that experience has left some of its data to us. As we receive it, again and again, we are connected and reconnected to certain indefinable moments. Both during and after its recording, Multila is a tool to learn about the unintentional states of us. It is a way to see our own emotional loops. Multila is a soundtrack for vision." --Vladislav Delay (2000)

A bearhug of chill-out room gouching gear from MFM spanning the golden era of ‘90s ambient dance music with gems from David Moufang, LFO, Global Communication, Kirsty Hawkshaw, Sun Electric and many more notables of that era. Since the world turned into a big chill out room in early 2020, albeit with a heavy sense of anxiety, this set could hardly be better placed for downtime in the comfort of your own home, rolling out mystic highlights such as LFO’s MDMA-tingle arps and pads in ‘Helen’ and the sublime suspension systems of Global Communication’s remix of ‘Arcadian’, along with Move D’s early nugget ‘Sergio Leone’s Wet Dream’, and the lush pads of his close spar Jonah Sharp’s Spacetime Continuum, plus a strip of killer slow acid in Sideral’s ‘Mare Nostrum’, and the blissed romance of ‘Love 2 Love’ by Sun Electric. One for the lovers and the ravers.


The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.
The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.
'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.
'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.
Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,


