MUSIC
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“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.


Glossy Mistakes is proud to unveil Ecstasy Boys Selections, a carefully curated collection of three mesmerizing tracks from the pioneering Japanese electronic trio Ecstasy Boys. These tracks released originally between 1990 and 1994, curated by Glossy Mario, revisits the innovative sounds of the group that shaped underground Japanese club culture during the 90s. While their influence remained largely within Japan, their music resonates far beyond borders, standing as a testament to the creativity and innovation that defined an era.
The Ecstasy Boys-formed by Mitsuru Kotaki, Shiro Amamiya, and Tatsuro Amamiya-were a driving force in the Japanese electronic music scene. Known for their eclectic productions and boundary-pushing performances, the trio captivated audiences and influenced a generation of local DJs, producers, and club-goers.
Ecstasy Boys Selections pays homage to this vital chapter in Japanese dance music history, highlighting the trio's creativity. The compilation includes three tracks that exemplify their unique blend of Balearic, leftfield house, and progressive sounds.
Ecstasy Boys Selections breathes new life into these timeless tracks while preserving their original character and depth. Licensed courtesy of Shiro Amamiya and Avex Inc. this release is an essential addition to the libraries of Balearic, house, and experimental music heads.

Although Yoshimura was undoubtedly an important figure in the history of Japanese ambient music, Yoshimura was hardly known overseas because only the Japanese version was released, but the recent New Age re-evaluation. I have finally come to the point where I can see the light of day. The sound of the highest peak of creative and aesthetic Japanese ambient music that evokes the concept of "wave notation" contained in nine postcards. A mysterious sound world that connects the history of ambient music / ambient spun by Erik Satie, Brian Eno, Roederius, etc. in the dimension of Japanese emotion and spiritual cosmo. A miraculous recording of homemade ambient attempted with a minimal set of Fender Rhodes and keyboards.


This work consists of a roll of cardboard with holes punched with a punching tool, installed in a toy piano, and plays music when a switch is activated. This mysterious sound work is a direct descendant of Eno's ambient works and Erik Satie's furniture music. Once you close your eyes and listen to it, you will feel as if you are returning to the nostalgia of your childhood.



Susumu Yokota’s glyding mid ‘90s acid works for Dr. Motte and co’s Space Teddy revived for a 30 year anniversary reissue with Transmigration, dovetailing their interests in early Goan dance and ‘90s trance with this double album set of lush, SAW-like bubblers.
Replete with liner notes by top flight ‘90s trance producer Mijk Van Dijk, the ‘Space Teddy Collection’ scans a seam of Susumu Yokota’s work circa his albums for Harthouse and the legendary ‘Acid Mt. Fuji’ for Sublime. This posthumous retrospective hails his purest acid works, inflected with the rhythmelodic lilt and aerodynamic elegance that distinguished Yokota’s work from his contemporary milieu. Sifted from two albums, ‘Zen’ (1994) and ‘ten’ (1996), the nine cuts are all characterised by a pursuit of hypnotic club sensuality, and scale between FM feathered ambient acid house and more urgent acid trance.
Beginning slow and spacious with the resonant 303 tweaks and wide open pads of ‘Sou’, the set toggles the intensity of Susumu’s Ebi output between the lip-smacking upness of ‘San’ to the sand-trample triplet wiggle of ‘Tsuru’ and proper yoghurt-weaver tackle in ‘Hi’. At the set’s core he takes the longview with the near 9 minute slow mo drug chug of ‘Zen’ and the Plastikman-esque ambient acid crawler ‘Chuu’, saving the beatific bliss of ‘Kaze’ and ‘Tsuki’ to play out on the back of fluttering eyelids.





release date June 7th. Formed in 2018 by Takujuro Iwade, film director and drummer Kaya Koike and Mayumi Sakurai with the theme of " Lovers Rock from the other side," Love Wonderland performs reggae with a unique interpretation influenced by psychedelia and synth-pop.
The Best Twilights LP compiles tracks from three demos released between 2019 and 2024 and reflects their full spectrum from electronic dub to pop tinted reinterpretation of their peers.
Considered as the best kept secret of the Japanese dub scene, they continue to grow at each live performance with faith and passion.
Love Wonderland's main aspiration is to keep their motto alive.
Mastered by Krikor Kouchain and limited to 400 copies.

WRWTFWW Records is overjoyed to present the first ever vinyl release for the outstanding soundtrack of 1999 Japanese action-political-thriller anime Jin-Roh: The Wolf Brigade by Hajime Mizoguchi. The epic full-lenght album is available as a limited-edition LP cut at Emil Berliner Studios and housed in a heavyweight 350gsm sleeve.
Legendary animation film Jin-Roh was penned by Palme d’Or and Leone d’Oro award winning filmmaker, television director and writer Mamoru Oshii whose filmography includes Ghost in the Shell, Patlabor 2: The Movie, and Angel’s Egg – critically acclaimed works praised worldwide, notably by luminaries such as James Cameron, Steven Spielberg and The Wachowskis. The film was directed by leading studio Production I.G. affiliate Hiroyuki Okiura (Record of the Lodoss War, A Letter to Momo…)
The film’s score, courtesy of famed anime and tv score composer, cellist and arranger Hajime Mizoguchi, evokes the dystopian world in which Jin-Roh takes place and captures the Little Red Riding Hood theme that carries the story – a dark, atmospheric, and immensely emotional soundscape that takes you on a grand and immersive journey and stays with you forever. It blends classical, orchestrated ambient, and poignant melodies carried by ominous strings.
This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap, Violent Cop and precedes the upcoming release of Takeshi Kitano’s Sonatine soundtrack by Joe Hisaishi.



In the midst of a series of great domestic new age/ambient reissues this year, including works by Mkwaju Ensemble, Motohiko Hamase, and Joe Hisaishi, here comes the long awaited pure ambient masterpiece! The monumental 1983 debut album by Inoyama Land, a synthesizer unit formed by Makoto Inoue and Yasushi Yamashita, former members of the still active techno-pop and avant-garde group Hikashu, has been digitally mixed down from the original multi-track tapes. The original 1983 album was digitally mixed down from the original multitrack tapes and reissued for the first time in 35 years.
The original 1983 album was released on MEDIUM, a subsidiary of the YEN label hosted by Haruomi Hosono. The original version of the album was released in 1983 on MEDIUM, a YEN label owned by Haruomi Hosono. The original version was known to be one of the most sought after by enthusiasts around the world, and both the LP and CD versions were extremely expensive. The origin of the album title comes from a childhood memory of Yamashita's friend playing with the song "Dan jin dan posidon! The title of the album was taken from the scene where Yamashita's friends used to play while saying "Dan jin dan posidon! The album was recorded using the "Water Delay System," a method devised by Hosono in which microphones and speakers are installed in a tank of water to create a unique, crystal-clear sound. From the ambient sounds colored by meditative synth layers, to the lovely home recordings, to the premature electronica feel, to the occasional avant-wave appearance, this is a masterpiece of originality and a playful piece of work. This is the pinnacle of unique music that lies somewhere between new wave and ambient. This is a masterpiece that is highly recommended for all environmental music and new age fans, including Hiroshi Yoshimura, Midori Takada, Yumiko Morioka and others!
In the 1980s, there was a unique music in between new wave and ambient. In the 1980's, there was a unique music between new wave and ambient, and Japanese music released in that period is now being heard around the world. Inoyamaland is one of the rarest of them all, and has not been forgotten. I was still involved in the release of the album 35 years ago, but the submission of the lost homework was a fresh surprise. The strange comfort of the region called Inoyamaland, like listening to a weather report, has not changed.
Harumi Hosono, July 11, 2018


We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.
Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.
The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.
Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).

It's here!
Hiroshi Suzuki's CAT.
Recorded at Nippon-Columbia Daiichi Studio, on Oct 8-10, 1975.
Trombone: Hiroshi Suzuki.
Keyboards: Hiromasa Suzuki.
Bass: Kunimitsu Inaba.
Drums: Akira Ishikawa.
Saxophone: Takeru Muraoka.
The legendary jazz-funk masterpiece fully reissued on We Release Jazz.
Digipack CD.
With liner notes.
Super smooth, extra funky, indeniable grooves, this is the real deal!






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,