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Ghanaian hiplife phenom Yaw Atta-Owusu presents charming results of his first studio session since 1994’s sleeper hit ‘Obaa Sima’, which found an overdue, cult audience via the blogosphere as one of Awesome Tapes From Africa’s earliest and greatest drops in 2015. If you weren’t snagged on the ohrwurming keys, vox, and groove of the title tune to Ata Kak’s ‘Obaa Sima’ in 2015, you probably weren’t going to the right clubs and checking the right sites. 10 years later it still kills and is set to be joined by this fresh haul from the Bishop Beatz recording studio in Kumasi, Ghana, where Ata Kak laid down ‘Batakari’, his 1st recordings in three decades, recapturing the moxie of his original sound on six cuts that betray time and space travelled within more ambitious arrangements of signature fast chat factored by layered harmonies and rhythmic variegation. “Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer’s acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak’s new songs are also the natural expression of a restless artist—he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter. Born in Ghana in 1960, Ata Kak wasn’t always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded “Obaa Sima” there at his home studio and released it in Ghana in 1994. He didn’t participate in music much in the intervening years until “Obaa Sima” was reissued in 2015. He started performing his song live with the help of a brilliant cast of London-based musicians and has toured three continents and played to thousands of fans in venues of all kinds.”
It may be tempting to reduce Convocations into a longform ambient anomaly within Sufjan Stevens’ vast catalogue. It is, however, neither an anomaly nor entirely ambient. This is not a side project. From his numerous dance scores for New York City Ballet to instrumental albums such as Enjoy Your Rabbit, Aporia, and The BQE, Stevens spends at least half his working life making largely instrumental music, as he has for decades. And though the first ten pieces, dubbed “Meditations,” unfurl as gorgeous states of reflective new-age grace, this is by no means an ambient enterprise. Stevens invokes the lessons of Morton Subotnick, Maryanne Amacher, Christian Fennesz, Brian Eno, and Wolfgang Voigt here. As musically erudite as it is emotionally experienced, Convocations can be dissonant, vertiginous, rhythmic, repetitive, urgent, or calm—that is, all the things we undergo when we inevitably live through loss, isolation, and anxiety. Indeed, Convocations moves like a two-and-a-half-hour requiem mass for our present times of difficulty, its 49 tracks allowing for all these feelings to be felt. The album is divided into five sonic cycles, each replicating a different stage of mourning. Convocations occasionally soothes and sometimes hurts; when it’s done, you’re left with a renewed sense of wonder for being here at all. In fact, Stevens made Convocations in response to (and as an homage to) the life and death of his biological father, who died in September last year, two days following the release of The Ascension. It is, then, ultimately an album about loss, and an album that reflects a year in which we have all lost so much. One could easily compare this project to Stevens’ album Carrie & Lowell, which he wrote following his mother’s death. But this is something entirely different. A new time, a new season, a new life lost, a new reckoning, a new kind of isolation, grief, despair, frustration, confusion, and the search for happiness and hope for the future. This is not a personal record, but a universal one. Convocations is built on a shared experience that seeks to be honest about how complicated grief can be in these difficult times—the pain, the anxiety, the unknown, the absolute joy of memory. This is also an album made in lockdown, when we were all cloistered in whatever space we had. So long as the science and statistics hold, Convocations arrives just as we begin to emerge from a year whose losses we will calculate for a lifetime. It is, then, right on time, as we begin to process our grief and try to carry on with it. —Grayson Haver Currin
Duori is an imaginary word. It combines the ideas “dentro” (inside) and “fuori (outside) invoking a place between. Heith and Tarawangsawelas met in Bandung in 2017, since then their collaboration has been evolving, both in person and remotely. The result is ‘Duori’ an album of 5th world music in low data mode that travelled inside lost and found portable recorders, on defunct hard drives and expired e-sim cards. Recording and arranging songs over a long period of time and across a vast geographical distance has lent their practice a distinct character. This distance allows the possibility to see things from different perspectives and creates music that hovers both inside the Sundanese Land, and outside of it, both on the European continent and not. This record carries compositions from one side of the globe to the other, catching spirits and energies from different places, societies and rituals. Their first sketches were influenced while witnessing the Reak ceremonies in Bandung and they were recorded at Tesla Manaf (Kuntari) studio in Bandung. They found inspiration on nights spent at the jaipong clubs, smoking cigarettes and talking about ghosts. The songs then developed while on tours around Europe, playing separately and together. Their song titles are in Indonesian, Italian and English, underling the linguistic shapeshifting of the project, and showing how any linguistic barrier was surpassed by a strong spiritual connection between them as artists. This record is also the story of a friendship, a spiritual bond that goes beyond the differences in their backgrounds and practices. A bond that redefines geographies and creates new psycho-geographies.
Grace & Raffaella is the first collaborative release by ML and Vittoria Totale. Over nine tracks, the album strikes a deceptively minimalist tone, taking in a ton of musical as well as literary references. An elegy on a journey back to the present, with all the hushed intensity of an informed fever dream, Grace & Raffaella has a magic-realist feel. Its vocal parts serve as loopy self-fulfilling prophecies. Cut off from the sun, the gorge grows darker. Using an electroacoustic sense of spacing, as well as abstracted current-day club influences, with scraps of background noise fading in and out, this album's use and treatment of a snippet-like narrative is its core aesthetic. A digital gleam drenches the spoken bits into instances of subtle surrealism. Like a kitchen sink drama stripped of all deadweight. We are on the edge of relinquishing all control here. Rip up your diary and let go of the language of the old ones. Grace & Raffaella is a seductive slice of modern hyper-pop that defines its own intentions over and over again.
Another pair of Ricardo Villalobos mixes of Building Instrument (Mari Kvien Brunvoll’s Band) via Villalobos' own Sei Es Drum imprint."If it is nice, collaborate twice. Once again a track from the Building Instrument gets the Ricardo Villalobos treatment.It's all about the frequencies."
Written and produced by Mika Vainio in Turku in 1993
Muutaja is written and produced by Mika Vainio and Ilpo Väisänen
Street Druid merges acoustic, manipulated and electronic sound using saxophone, synth, voice, guitars & drum machine, and features drum kit from Mercury-nominated artist, Moses Boyd.
It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.
A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia's rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.
Paulownia by Merzbow is a 2025 full-length statement comprising two lengthy compositions that fuse intense electronic manipulation with Merzbow’s enduring fascination for natural phenomena. Across both pieces, the album merges organic inspiration and harsh digital process, producing a hypnotic yet confrontational experience. **Edition of 200** With Paulownia, Merzbow (Masami Akita) delivers a formidable new addition to a catalog already legendary in the experimental music world. The 2025 release spans two extended pieces—“Paulownia part1” and “Paulownia part2”—each developing a dense matrix of sound where digital noise entwines with subtle references to organic structures. The album’s name, drawn from the paulownia tree, hints at Merzbow’s long-standing environmental preoccupations; here, they are rendered less as representational themes and more as evocative textures and forms. The compositions surge with layered feedback, haunting drones, and micro-rhythmic fluctuations, evoking an ambiguous, immersive environment that rewards attentive listening. What distinguishes Paulownia is its ability to generate tension and release from the interplay between ferocity and fragility. The music neither settles into a predictable assault nor dissipates into formless ambience; instead, it sustains a meticulously sculpted intensity. As always, Merzbow’s commitment to tonality, texture, and structure resists easy classification, maintaining a delicate balance between repetition and change, aggression and atmosphere. For those prepared to let sound define its own territory, Paulownia is a compelling testament to Merzbow’s ongoing innovation, fortifying his place at the core of the noise tradition while persistently opening new vistas for exploration.
Junko Tange's second and final album is a minimalistic, phantasmagoric masterpiece of distant, dreamlike voices woven through pulsating, dubbed-out drum machines, synths and static, originally issued by Osaka's Vanity Records in 1981. Did this unassuming dental student (who vanished from the music world following this release) inadvertently invent dub techno? You be the judge. Label head Yuzuru Agi said this was his favorite Vanity release, and it's not hard to see why. Remastered by Stephan Mathieu from brand new transfers of the miraculously well preserved original analog tapes, this fully authorized 2LP (@45rpm) is the definitive edition of this landmark electronic work. Packaged in a deluxe, gatefold Stoughton tip-on jacket.
Matthew Herbert and drummer/ vocalist Momoko Gill announce the release of new album Clay via Strut in June 2025. A soulful, elastic collaboration, Clay treads nimbly between the dancefloor and the more introspective moods of the early hours, both reminiscent of Herbert’s iconic album Around The House while taking off in a compelling new direction. Agile and open-hearted, Clay is a thrilling, sonically adventurous record from two of the UK’s most forward-thinking artists.
Orbiting around Herbert’s fleet-footed productions and the ingenuity of Momoko Gill’s dexterous, melodic writing, Clay is at once stripped-back and rhythmically complex, drawing on a variety of found sources - from japanese kotos to basketballs - to give the sound an unmistakably organic feel.
Bringing together original sampling techniques, live improvisation and lush, expansive arrangements, Clay is lifted into higher realms by Momoko Gill’s intimate vocal performance, soaring wide-winged across the album’s eleven tracks, whether on the euphoric melancholia of ‘Mowing’ or the emotive duet ‘Heart’.
Clay follows the 2024 release of debut collaboration ‘Fallen’ and Momoko Gill’s remix of Matthew Herbert’s ‘The Horse Is Here’. And yet, although Clay marks the first full-length release between Herbert and Gill, the duo’s shared passion for pushing sonic boundaries has played a crucial role in their respective careers to date.
For Herbert that means treating the world as an instrument, making music using everything from the sounds of a bomb exploding in Libya, a horse skeleton, a tank driving over a meal made for Tony Blair, 20,000 dogs, 245 shops and countless other noises. His album ONE PIG – which follows the lifecycle of a pig from birth to plate – remains one of the most ambitious and provocative pieces of electronic music this century, cementing his reputation as an utterly singular composer, artist and producer.
Self-taught in drums and composition, Momoko Gill’s journey to Clay has been similarly experimental – cutting her teeth in South London’s multi-disciplinary music scene, embracing new challenges and collaborating with the likes of Coby Sey, Tirzah and Alabaster DePlume. Although drums and vocals are her mediums of choice, Gill’s multi-instrumental talents were on full show on 2024’s EP as An Alien Called Harmony with poet/rapper Nadeem Din-Gabisi, and she continues to hone her style in the frictions between genres.
With an intuitive feel for one another’s sound, Clay is a meeting of musical minds that resonates far beyond the sum of its parts - a startlingly fresh, beautifully conceived record from two artists who sound like they’ve been playing together all their lives.
Matthew Herbert and drummer/ vocalist Momoko Gill announce the release of new album Clay via Strut in June 2025. A soulful, elastic collaboration, Clay treads nimbly between the dancefloor and the more introspective moods of the early hours, both reminiscent of Herbert’s iconic album Around The House while taking off in a compelling new direction. Agile and open-hearted, Clay is a thrilling, sonically adventurous record from two of the UK’s most forward-thinking artists.
Orbiting around Herbert’s fleet-footed productions and the ingenuity of Momoko Gill’s dexterous, melodic writing, Clay is at once stripped-back and rhythmically complex, drawing on a variety of found sources - from japanese kotos to basketballs - to give the sound an unmistakably organic feel.
Bringing together original sampling techniques, live improvisation and lush, expansive arrangements, Clay is lifted into higher realms by Momoko Gill’s intimate vocal performance, soaring wide-winged across the album’s eleven tracks, whether on the euphoric melancholia of ‘Mowing’ or the emotive duet ‘Heart’.
Clay follows the 2024 release of debut collaboration ‘Fallen’ and Momoko Gill’s remix of Matthew Herbert’s ‘The Horse Is Here’. And yet, although Clay marks the first full-length release between Herbert and Gill, the duo’s shared passion for pushing sonic boundaries has played a crucial role in their respective careers to date.
For Herbert that means treating the world as an instrument, making music using everything from the sounds of a bomb exploding in Libya, a horse skeleton, a tank driving over a meal made for Tony Blair, 20,000 dogs, 245 shops and countless other noises. His album ONE PIG – which follows the lifecycle of a pig from birth to plate – remains one of the most ambitious and provocative pieces of electronic music this century, cementing his reputation as an utterly singular composer, artist and producer.
Self-taught in drums and composition, Momoko Gill’s journey to Clay has been similarly experimental – cutting her teeth in South London’s multi-disciplinary music scene, embracing new challenges and collaborating with the likes of Coby Sey, Tirzah and Alabaster DePlume. Although drums and vocals are her mediums of choice, Gill’s multi-instrumental talents were on full show on 2024’s EP as An Alien Called Harmony with poet/rapper Nadeem Din-Gabisi, and she continues to hone her style in the frictions between genres.
With an intuitive feel for one another’s sound, Clay is a meeting of musical minds that resonates far beyond the sum of its parts - a startlingly fresh, beautifully conceived record from two artists who sound like they’ve been playing together all their lives.
An electrified meeting of minds, Candy Girl is a lost 1975 session by jazz pianist Mal Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the American funk unit who had made France their home and whose deep grooves would later be mined by generations of hip-hop producers.
By 1975, Waldron was a decade into his self-imposed exile from the United States—a transformed musician who had reassembled his sound in Europe and Japan after a devastating breakdown in the early '60s. His post-1969 output had stripped jazz down to its core elements: modal intensity, locked grooves, and hypnotic repetition. Candy Girl doesn’t interrupt this trajectory—it extends it, wrapping Waldron’s minimalist mantras around the funked-up chassis of the Lafayette rhythm section.
Originally released in microscopic quantities on the Calumet label and long shrouded in obscurity, Candy Girl was recorded spontaneously in the studio of French producer Pierre Jaubert, whose Paris HQ had become the workshop for both avant-garde jazz (Archie Shepp, Art Ensemble of Chicago, Steve Lacy) and psychedelic funk (Lafayette Afro Rock Band AKA Ice). This session finds Waldron jamming freely with bassist Lafayette Hudson, drummer Donny Donable, and keyboardist Frank Abel on clavinet, Moog and more—laying down raw, unfiltered instrumental funk with an experimental edge.
Highlights include the low-slung vamp of “Home Again”, the crisp, break-laden groove of “Red Match Box”, and the mesmeric swirl of the title track “Candy Girl”—a minor-key electric piano waltz with hints of cosmic soul. There's even a deep cut for the crate diggers: the somber yet meditative “Dedication to Brahms”, where Waldron deconstructs the Romantic composer’s third symphony into a sparse jazz reverie.
Unlike his polished sessions for Japanese labels or the avant-garde swing of his earlier Prestige work, Candy Girl feels more spontaneous, even accidental — and that’s part of its power. It’s a document of Waldron as bandleader, collaborator, and explorer, captured in the midst of a vibrant, cross-cultural scene in mid-70s Paris. Never officially issued with a cover and barely released at all, Candy Girl is a rare convergence of two underground traditions: Waldron’s Euro-exile electric jazz and the raw, sampled-future funk of the Lafayette Afro Rock Band. Now finally resurfaced, it deserves its rightful place in both stories.
This official edition features audio remastered by The Carvery, new liner notes by Francis Gooding, and packaging that pays tribute to the obscure original release, complete with replica Calumet label artwork. For years it lived in the shadows; now Candy Girl finally steps into the light — a vital rediscovery from one of jazz’s most distinctive voices.
Award-winning composer and producer Sarathy Korwar to release new album celebrating the melodic power of the drum ensemble Sarathy Korwar, genre-breaking drummer, producer and composer, announces the release of his seventh album, There Is Beauty, There Already, out on Otherland on 7th November 2025. Celebrating the melodic power of the drum ensemble, the album follows his 2022 Indofuturist manifesto KALAK with a deeply immersive longform suite of percussion-led compositions. Playing as a 40-minute suite of hypnotic and transcendent drum improvisations, the album beats through a repetitive, circular structure that brings to mind Indian folk music, jazz drum ensembles like Max Roach’s M’Boom and the contemporary classical minimalism of Terry Riley and Steve Reich. From the undulating bass tones of the tabla to the tonal varieties of South Indian clay pot ghatam, the snare drum snap of the drum kit, and shades of electronic texture through the Buchla Easel, Korwar’s ensemble bubbles and flows through a stream of steady rhythm, forever in motion like the ceaseless energy of a river.
“The album is me finding my voice as a composer again and going back to the thing I know best, which is the drums,” Korwar says. “It’s me falling back in love with percussion and expressing just how melodic and emotive it can be. Unlike my other albums that have often engaged with weighty themes like migration, identity and futurism, this is a raw act of placing myself front and centre – letting the drums speak instead.”
Written and recorded over four days at Peter Gabriel's Real World Studios, Korwar is joined by drummers Photay, Magnus Mehta, and Joost Hendrickx. Setting up an array of drums in the live room – from drum kit to tabla, marimba, balafon, udu and ghatam – Korwar gave himself and his instrumentalists free reign to flow through and play whatever complimented their ever-developing music, while triggered attachments to synthesisers and the Buchla Easel added unexpected elements of electronic texture. "By day three, we realised that we kept coming back to this single, repeated 40-minute pattern, which was locking us in and making us hypnotised by its rhythm," Korwar says. "I decided to do multiple takes of that idea to build a structure – and that’s what you ultimately hear on the record." A riposte to our flitting attention spans, the album is designed to be played from start to finish as a singular, longform suite of music, evoking a constant sense of motion and intent. Drawing on the idea of repetition to the point of going beyond monotony and into the unknown – like a word repeated so many times it loses meaning – the record becomes a remarkable exploration of rhythm as trance and transformation. Exploding onto the international jazz scene with his 2016 Ninja Tune debut Day to Day, Korwar has released four albums exploring everything from the folk music of the Indian Sidi community to hip-hop, electronics, contemporary jazz and Indian classical music. He won the 2020 AIM Award for Best Independent Album and MOJO’s Jazz Album of the Year for 2019’s spoken word-influenced More Arriving, as well as being nominated at the Jazz FM and Worldwide Awards and in 2023 won the Songlines Award for Best Album (Asia/Pacific) with KALAK.
As a musician and producer, meanwhile, he has collaborated with Shabaka Hutchings and producer Hieroglyphic Being on 2017’s A.R.E. Project, as well as releasing a collaborative album with Auntie Flo in 2022, and forming jazz supergroup FLOCK with Bex Burch, Tamar Osborn, Danalogue and Al MacSween. He is also currently a member of sitarist Anoushka Shankar’s band and produced and co-wrote her 2025 album, Chapter III: Return to Light. Almost a decade on from his debut, There Is Beauty, There Already sees Korwar producing some of his most personal and vulnerable work to date. From the album cover – a grid of self-portraits taken at his local Co-Op checkout over the past five years, “a ritual story of my life in images” – to an accompanying, self-written poem reflecting on beauty, the record marks a new direction. It also signals the launch of Korwar’s own label, Otherland. “It’s a home for my own future music and music from others that doesn’t tick many boxes – that doesn’t have a motherland or fatherland of its own," he says. "It’s about embracing this music as it is, finding the beauty in it and recognising it, just as the album title says." The album will launch with an exclusive show at The ICA on 15 November 2025 as part of the London Jazz Festival, where Korwar will expand his ensemble to a dozen drummers, guiding live improvisations through the record’s percussive textures from start to finish. There Is Beauty, There Already is released on Otherland on 7th November 2025, distributed worldwide by !K7.
Bongo Joe records is pleased to present La Contra Ola, a compilation recording dedicated to the early 80’s Spanish Synth Wave and Post Punk scene. First to be published outside Spain, this anthology explores the electronic music side of the independent music produced in the days in the Iberian Peninsula: Synthetic pop music with industrial sounds including futurist Art Rock, dance-floor productions and low-fi experiments on cassettes. Classics or true hidden treasures, this selection of nineteen songs is symbolic of the musical dawn that Spain experienced during the decade marked by the return of democracy and by the creative freedom initiated by Punk music.
The album opens at dusk with an imagined final stop before departure, a roadside gas station just as daylight fades. This introductory scene, conceived as “Last Gas Station Before the Horizon,” places the listener amid passing cars, distant seagulls, and the low hum of anticipation. The idea is to frame the record as part of a radio program, potentially guided by a radio announcer’s voice drifting in and out of the soundscape. From there, the journey moves fully into night. Tracks progress like signals picked up along the drive, calm, reflective, and gently nostalgic, until the album’s closing moment. “Peaceful Blue” represents arrival at the final destination at dawn, when the sky shifts into a deep blue and the listener waits quietly for the sun to rise and a new day to begin. Transcoastal Night Drive is an album about motion, atmosphere, and memory, less a narrative than a feeling, inviting listeners to settle into the drive and let the night pass by.
Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya WWW. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.
視聴-k-s.h.e spirits, lose your hold(Excerpt 1)
視聴-k-s.h.e spirits, lose your hold(Excerpt 2)
視聴-k-s.h.e spirits, lose your hold(Excerpt 3)
視聴-k-s.h.e spirits, lose your hold(Excerpt 4)
視聴-k-s.h.e spirits, lose your hold(Excerpt 5)
視聴-k-s.h.e spirits, lose your hold(Excerpt 6)
視聴-k-s.h.e spirits, lose your hold(Excerpt 7)
Snowflakes & Dog Whistles: Best Electroacoustic Ambient & Sexpanic 1995-2017 is a double-CD compiling twenty-nine of Terre Thaemlitz' best electroacoustic ambient and computer music works produced between 1995 to 2017, including many special edits only available on this release. The majority of these tracks have been physically out of print for decades, and were originally released on a variety of labels including Mille Plateaux, Daisyworld Discs (Haruomi Hosono of YMO's private imprint), Instinct Ambient, Caipirinha Productions, and of course Thaemlitz' own Comatonse Recordings. The first disc, Snowflakes, focuses on tracks that are more conventionally ambient or perhaps even "pretty." Dog Whistles, the second disc, compiles tracks featuring a chaotic array of samples and sounds that are more overtly related to themes of gender- and sexual variance.
Thaemlitz frames the tracks with a new 9000 word essay spread across two large posters, providing a basic introduction to the underlying topics, ideas, contexts and histories behind electroacoustic ambient - both as a genre in the broader sense, and in specific relation to her own work. From the text:
Most of the questions posed over the years in these tracks remain in tension with contemporary mainstream views, including those coming from the LGBT establishment. In this way, one might say a thread running through my projects is that they remain "unlistenable" to most. Any potential critical use value of these tracks emerges from understanding how they are utterly symptomatic of a particular social system - even in their dissonance. Or, to be more precise, because of their dissonance.
Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with two double-sided insert cards (100mm x 100mm), phonograph style anti-static inner sleeves, and two 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-comatonse.000 comatonse.000.r3(Excerpt 1)
視聴-comatonse.000 comatonse.000.r3(Excerpt 2)
視聴-comatonse.000 comatonse.000.r3(Excerpt 3)
視聴-comatonse.000 comatonse.000.r3(Excerpt 4)
視聴-comatonse.000 comatonse.000.r3(Excerpt 5)
視聴-comatonse.000 comatonse.000.r3(Excerpt 6)
視聴-comatonse.000 comatonse.000.r3(Excerpt 7)
視聴-comatonse.000 comatonse.000.r3(Excerpt 8)