MUSIC

"Rang Birangi: Colours Of Life" is an unreleased album featuring background music from the 1972 Indian film Pakeezah, composed by the legendary Kersi Lord. Known for pioneering the use of synthesizers and glockenspiel in Indian film music, Kersi Lord worked with iconic composers like Naushad, Madan Mohan, S.D. Burman, R.D. Burman, Kalyanji-Anandji, and Usha Khanna. This album captures the rich atmosphere of India more vividly than even classical music, showcasing the emotional depth and unique value of Bollywood’s golden era sound. Released by Mumbai-based Tara Disc Record, the album reflects a deep love and insider understanding of Indian musical culture. The deluxe jacket design features an intricate gold gatefold cover that opens to reveal a hidden sleeve—an imaginative and charmingly Indian touch. (Note: As these are dirctly from India, some light wear may be present on arrival.)

Following their collaboration on 2021’s Oscar winning Drive My Car, Eiko Ishibashi & filmmaker Ryusuke Hamaguchi up the ante with a deeply inspired synergistic exchange: music for images, visuals for sounds. Eiko’s score initiated the project that has become his celebrated new film (Best Picture – BFI London Film Fest, Asian Film Awards, Silver Lion – Venice Film Fest, Best Score – Asia Film Awards). Every nuance mixed & mastered by Jim O’Rourke.

Al Wootton samples a museum-worthy haul of vintage drum machines on this sick Library Record for his Trule label - big one for anyone into his work in Holy Tongue, or curios from Tolerance, Freedom To Spend, R.N.A. Organism. Tip!

Wootton was invited to Melbourne's Electronic Sound Studio where he got to work sampling their collection of rare vintage drum machines. And it's those boxes that laid the groundwork to 'Rhythm Archives', the prolific producer's most satisfying full-length to date. Wootton's been at this long enough to realise that restraint is the key, and playing with Holy Tongue has no doubt sharpened his skills. There's not much going on here, but that's what makes it so enticing - Wootton lets the machines set the pace for each track, and adds only the sparsest additional instrumentation for colour. On 'March', the plasticky beatbox pattern is fascinating because it's so weedy compared to the sounds of more modern machines - the kicks are like fingers on wet cardboard, and Wootton shadows them with bone-rattling rim shots, filling in the silence with cinematic piano twangs, white noise and a snake-charming flute.

In the wrong hands, this material would creep towards cringe - there's more than enough artists making canned library music or hauntological slop. But Wootton vaults over the pitfalls, staying on the right side of kitsch. The dissociated voices on 'Slow Rock' that shiver next to his new wave-patented Roland CR-78 take us to the seedy world of 'Liquid Sky', not the postmodern sampledelia that followed, and the footwork-inspired 150bpm whirr of 'Shuffle' is sneakily anachronistic, only echoing the Chicago genre's polyrhythmic patterns, not repeating them to the letter. Wootton does a good job staying away from very obvious genre signifiers; there's the character of each machine that's present, of course, but he sounds like he's trying to subvert the application, wondering how these decaying rhythms might react to his various processes.

If there's any real reverence here, it's for dub, and the genre's influence on everything that followed: post-punk, bleep techno, industrial music, whatever - Wootton sounds right at home threading tape echo trails thru his stuttering cycles. It's a love letter to the drum machine, and it doesn't lag for a moment.

O’Rourke’s process – sourcing resonant sounds to enmesh together into a music that supersedes their resident parts – makes a fitting soundtrack for Kyle Armstrong’s “prairie gothic” tale of down-on-the-farm horror way up north in Canada. His minimalist score inhabits the wide open, big sky landscape, flowing into suddenly-deep (and opaque) emotional waters, then panning out to a chilly omniscient remove.

Edward Artemiev's re-recording of his scores to Andrei Tarkovsky's classic films Зеркало (Mirror) (1975) and Сталкер (Stalker) (1979), reissued on 180-gram vinyl. When Artemiev recorded these scores in Moscow in 1989 and '90, there were no legitimately available releases of the original soundtracks. Artemiev chose to fill that void himself with these recordings, released on Torso Kino in the Netherlands as part of a 1990 double-LP set also containing re-recordings of Artemiev's score to Солярис (Solaris) (1972). This set is now long out of print, and Mirumir is pleased to present the collection on two separate LP releases, remastered, with new artwork, and officially licensed by the artist himself.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** The first-ever reissue of Gianni Marchetti's 1978 LP "Solstitium", released as part of RCA's venerable "Original Cast" series in a handful of promo copies only, sits among the most rare and enigmatic artifacts of Italian library music, it is heralded by collectors as one of the greatest free-standing gestures in the entire genre.

Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Solstitium".

The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi, and of course Gianni Marchetti.

If ever there was an LP to expand the notions of Library music’s vast potential and scope, Gianni Marchetti’s Solstitium has to be it. Nearly 50 years on, it feels as fresh and forward thinking as anything that has come since.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** "Equinox", Gianni Marchetti's 1977 twin album of "Solstitium", released in a handful of promo copies by RCA in their renowned "Original Cast" series, takes us on a journey through the author's groovier and wilder temperament, feeling as fresh and surprising today as the day it was made, offering immediate understanding of the reasons why it has remained one of his most sought after - and virtually impossible to find - titles over the decades.

Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Equinox".

The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi - and of course Gianni Marchetti.

Flirting with the cinematic through its depth of emotiveness and scale, dynamics ding behind an aural shroud, is a stunning and ambitious, freestanding work which, had it been made in another context, would likely have been celebrated for decades, far and wide. Absolutely engrossing and creatively challenging at every turn.

For the first time on vinyl, Yo La Tengo’s understated, lonesome score to Kelly Reichardt’s classic “Old Joy.”

Recorded in a single afternoon at Yo La Tengo’s studio in Hoboken, Old Joy is a drifting, improvisatory journey, born out of years-long friendship between the band and the film’s director. 

The six instrumental tracks, created in collaboration with legendary guitarist Smokey Hormel, carry that unmistakable Yo La Tengo sound, but delivered in service of another great work of art. The music, like so much of Reichardt’s film work, is low-key yet arresting, stripped down to the essentials, warm and unpretentious. The record includes two variations on the beloved “Leaving Home” theme, released for the first time on vinyl after years traveling in Yo La Tengo fan circles. 

This music is a balm, remarkably full of emotion despite (or maybe because of) its restraint and minimalism. Originally released on They Shoot, We Score, a CD compiling several of the band’s soundtracks, Old Joy stands as a cohesive whole here, blooming and rewarding repeat listens. Sliding reverbed guitars, muted piano and percussion, the hum of an old amp - the blurry memory of an afternoon in the studio, or a short-lived road trip through the backwoods of Oregon. 

Small-run, high-quality LP pressed at Smashed Plastic in Chicago, on black and transparent pink vinyl.</p><iframe style="border: 0; width: 350px; height: 340px;" src="https://bandcamp.com/EmbeddedPlayer/album=853350/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://mississippirecords.bandcamp.com/album/old-joy-official-soundtrack">Old Joy (Official Soundtrack) by Yo La Tengo</a></iframe>

ドイツのミュージシャン/作曲家のDaniel Rosenfeldが変名C418にて製作した傑作！物理世界とピクセル化された世界の両方で響くサウンドを描き上げた『マインクラフト』のオリジナルサウンドトラック盤『Minecraft Volume Beta』が〈Ghostly International〉からアナログ・リプレス。前作『Alpha』には未収録の楽曲だけでなく、ゲーム内では使用されたなかった楽曲も収録したC418自身のオリジナル・アルバム的一枚！牧歌的で穏やかなサウンドスケープに仕立てられた前作と比してよりダークで内省的な側面もクローズアップされた魅惑のアンビエント/エレクトロニック・ミュージックが収められています。

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood’s “Golden Age,” thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry’s history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan’s most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

— Gary Sullivan (Bodega Pop)

"It may surprise some that, after two decades of silent films, when Alam Ara broke the silence in 1931, it and every South Asian talkie that followed was what we in the West think of as a “musical.” Music had been integral to the culture’s staged drama going back to the Gupta Dynasty — sometime between the 4 th and 6 th Century CE. Since its inception, South Asian cinema drew heavily from Marathi, Parsi, and Bengali musical theatre and silent film screenings were often accompanied by live music to mimic a live staged experience.

When sound films arrived, actors with serious singing skills became the next wave of stars. Songs were performed live while shooting, with musicians hidden off-camera, to the side or sometimes even in trees. Playback singing — the practice of dubbing a real singer’s voice over a lip-syncing actor — didn’t become standard until the 1940s.

Thus, the biggest stars of the 1930s were also the greatest singers, with some, like Govindrao Tembe and Pankaj Mullick, excelling as both composers and vocalists. None, however, were more beloved than K.L. Saigal, whose emotional, untrained crooning captivated audiences across the subcontinent. Saigal’s voice inspired a young Lata Mangeshkar, who vowed to become India’s greatest filmi singer to win his heart. Sadly, Saigal grew increasingly addicted to alcohol, unable to perform without it, and passed away at age 42, seven months before the Partition. Lata never married.

This collection features some of the earliest songs from South Asian cinema, sourced from CDs and LPs found in Jackson Heights, Queens, Coney Island Avenue in Brooklyn, Lexington Avenue in Manhattan, and Oak Tree Road in Iselin, New Jersey — areas home to vibrant immigrant communities. South Asian immigration to New York and New Jersey surged after the 1965 Immigration and Nationality Act, which lifted non-European quotas. By the 1990s and 2000s, the region’s Indian, Pakistani, and Bangladeshi media outlets flourished, especially in Jackson Heights, where such stores outnumbered the total number of regular record shops throughout the five boroughs.

The nascent period of sound film featured a limited palette of musical styles, predominantly Marathi Bhagveet, like the Ghazal, but with greater flexibility of subject matter and rhythm, and Rabindra Sangeet, the approximately 2,000 songs and poems composed by Bengali Nobel laureate Rabindranath Tagore. But there was some evolution as well, with the success of South Asian cinema’s first woman composer, the classically trained Saraswati Devi, and the introduction of Western instruments including the piano and Hawaiian guitar.

While much of the music was dark and brooding, perhaps exemplified best by Devika Rani’s interpretation of Saraswati Devi’s “Udi Hawa Mein” from 1936’s Achhut Kannya (Untouchable Maiden), there were moments of brightness, such as R.C. Boral’s “Lachhmi Murat Daras Dikhaye” sung by Kanan Devi in Street Singer, an otherwise thoroughly depressing film from 1938 that cemented Devi’s and co-star K.L. Saigal’s superstardom.

This selection was chosen to emphasise a range of expressivity, instrumentation and style achieved even within the decade’s relatively limited scope, setting the listener up for the relative explosion of possibility in the 1940s, to be covered in the next installment of this series."

— Gary Sullivan (Bodega Pop)

Musician haruka nakamura will be in charge of in-store music at several Tsutaya stores in Japan for one year from 2023 to 2024. All music will be newly written for the Tsutaya project. Based on the concept of a bookstore and the theme of “forest,” the birthplace of pianos and musical instruments, four albums will be produced through the summer of 2024 under the title “Blue Forest,” which is connected to Nakamura's hometown, Aomori. The first album, the first synthesizer-only music, has become a topic of conversation and has been well received by many listeners. The second album is a piano ambient world. It was well received by listeners with its long-awaited musical worldview. This work is a world of blue like the dawn, as expressed in the jacket photo by Rinko Kawauchi. This is the third work in the series and the deepest blue sound as if diving into the deepest inner voice. The total conceptualization of the Blue Forest series has also been developed into a beautiful binding that you will want to keep with you.

Musician haruka nakamura will be in charge of in-store music at several Tsutaya stores in Japan for one year from 2023 to 2024. All music will be newly written for the Tsutaya project. Based on the concept of a bookstore and the theme of “forest,” the birthplace of pianos and musical instruments, four albums will be produced through the summer of 2024 under the title “Blue Forest,” which is connected to Nakamura's hometown, Aomori. The first album, the first synthesizer-only music, has become a topic of conversation and has been well received by many listeners. The second album is a piano ambient world. It was well received by listeners with its long-awaited musical worldview. This work is a world of blue like the dawn, as expressed in the jacket photo by Rinko Kawauchi. This is the third work in the series and the deepest blue sound as if diving into the deepest inner voice. The total conceptualization of the Blue Forest series has also been developed into a beautiful binding that you will want to keep with you.

This is a soundtrack created by haruka nakamura for THE NORTH FACE Sphere in response to a request for "one album for each of spring, summer, fall, and winter. This project, entitled "Light years," is a project to produce four albums over the course of one year.

This is a soundtrack created by haruka nakamura for THE NORTH FACE Sphere in response to a request for "one album for each of spring, summer, fall, and winter.
This project, entitled "Light years," is a project to produce four albums over the course of one year.

Sonor Music Editions is honored to announce the reissue of the very rare LP Aquarium Sounds by Italian composer Filippo Trecca. Originally released in 1979 as a promo-only item, “Aquarium Sounds” is a hybrid collection of tracks; some were used as the soundtrack to the thriller TV series “Così Per Gioco” (1979), directed by Leonardo Cortese; others from the talk show “Acquario” (1978-1979) hosted by Italian journalist and writer Maurizio Costanzo. The album also includes “Elena Tip” which features playful vocals by a young Ilona Staller (aka Cicciolina).

Aquarium Sounds were composed by Trecca himself, Achille Oliva (bass), Alessandro Alessandroni Jr. (keys), Giancarlo de Matteis (guitars), and Marco Parisi (drums), playing together for the creation of this progressive pop gem sought after by many collectors from around the world.

The album, recorded using simple acoustic elements and early synths, is a treasure buried deep into the ocean of time that Sonor Music Editions is bringing back to the surface; a journey into the depths of our music memory as well into the universe of Italian music heritage.

Recorded in 1970 during the same period of "Overground", UNDERGROUND was recorded into 2 volumes (RT 104 and RT 16), both released in the same year in may and june at Dirmaphon studios, Roma. Together with Overground these records are really fascinating instrumental Free Jazzy/Psych Library, released with the auxiliary of historical Rai session musicians like guitarist Silvano Chimenti and organist Giorgio Carnini. This record collects all Underground' tracks in 1 LP. Established Jazz composer, Sandro Brugnolini written some among the greatest Italian soundtracks and Library music ever.

Opening Night is a collection of instrumental music composed for the opening gala of the New Theater Hollywood by Danish composers MK Velsorf & Aase Nielsen. A cycle of minimal pieces for e-guitar, e-piano and backing tracks, the music was performed and recorded live from the stage balcony during the dress rehearsal, arrival of the guests and between speeches throughout the night.

The music is patient, minimal and groovy – consisting of sparse guitar vamps, drum and synth loops, it establishes a mood, or a tone: one of sun-soaked dreams, ecological dread and never-ending anticipation. Opening Night evokes the environmental furniture music of Erik Satie, as well as the light melancholia of Arthur Russell, the procedural TV score of Mike Post, and the sleazy atmospheres of certain Michael Mann films.

Designed to weave in and out of the listener’s consciousness, Opening Night is light in feel yet with a deep pull, breezily conjuring feelings of banality, pleasurable dissociation, and eerie repetition. The listener is invited to get in the car and stay for a while.

The New Theater Hollywood is a performance space run by artists Calla Henkel and Max Pitegoff, housed in the historic 49-seat 2nd Stage Theater in Hollywood’s largely defunct Theater Row, conceived as a space to develop and stage original theatrical productions in the crosswinds of performance, literature, contemporary art, film and television.

Dig deeper into the realm of italian jazz/funk libraries with this sought after holy grail ! Originally released in 1977 this collaboration has all the elements of the cinematic golden era, plus some amazing orchestral moments with walking basslines and lushy horn arrangements

 

Blow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks. The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. Rumours go that either the fabled Jimmy Smith or Paul Griffin played the Hammond organ on this record. Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, "Stroll On" (actually, a Hard Rock adaptation of Tiny Bradshaw's Jump Blues"The Train Kept A-Rollin'" from 1951), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. The bassline to "Bring Down The Birds" was sampled by Deee-Lite for their 1990 hit single "Groove Is In The Heart" featuring Bootsy Collins. </p><iframe width="560" height="315" src="https://www.youtube.com/embed/tADslgXuYig?si=hzyp2_KaPHul2Oua" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

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.
 

Full HD re-creation/restoration of the legendary soundtrack for 1994 Exploration / Action-Adventure / Sci-Fi / Alien video game Super Metroid by Louisiana-based composer and producer Jammin' Sam Miller. Jammin' Sam Miller explains: "Composed by Kenji Yamamoto. Recreated by me. This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience." *For fans of Video Games, SNES, Samus Aran, Atmospheric Sounds, Zebes Music*

“Do you need samples?”

We all ask ourselves this from time to time, and thankfully, Frollen Music Library (FML) has you covered.

‘001-015’ is a “best of” compilation celebrating the first 15 sample packs made by Naarm/Melbourne (AUS) based Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more.

This retrospective “best of” traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it’s bouncing Hip Hop beats or evocative cinematic etudes, FML’s 3-piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML’s diverse catalogue takes cues from the ‘Third Stream’ composer David Axelrod on their ‘Sharpen Your Axe’ (FML009) pack, as well as drawing upon cinematic themes from 60’s and 70’s Italian film score composers a la Ennio Morricone and Riz Ortolani, as heard on ‘The Fretted Neck’ (FML006). There are 90’s New York boom bap beats found in ‘Golden’ (FML013), as well as synthesiser music inspired by Tonto, which is showcased in the ‘Nina’s Exploding Brain’ (FML014) pack, utilising a locally made synthesiser from Melbourne Instruments.

Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo’Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

Winter/Summer
THE NORTH FACE Sphere, an ambitious new store building to be opened in Harajuku, Tokyo in 2022.

In response to a request for "one album for each of the four seasons, spring, summer, fall, and winter," haruka nakamura created "Light years" as the soundtrack for the new building, which became a project to produce four albums over one year.
The LP is divided into "Spring and Autumn" and "Winter and Summer" based on the world view of the production timeline, and is the best of the four original albums.

The "Winter/Summer" album is the best of the first album "Light years" and the third album "from dusk to the sun".
（The "Spring and Autumn" version will be released at the same time.)