MUSIC

BJ4 is a pivotal album in the development of jazz-funk and early smooth jazz, marking a more confident and groove-oriented phase in Bob James’s career. Released in 1977, the album balances sophisticated jazz harmony with funk rhythms, helping to define the sound that would later become widely influential in jazz-fusion and crossover jazz. Compared to his earlier, more experimental or orchestral works, BJ4 places a stronger emphasis on electric keyboards, steady bass lines, and laid-back funk grooves. Overall, BJ4 represents Bob James’s transition from jazz pianist and arranger to a key architect of accessible, groove-based jazz, influencing generations of musicians in jazz, funk, and hip-hop sampling culture. This is the first vinyl edition of this album since 1987.

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities : Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

LP version on CLEAR vinyl in PVC sleeve with double-sided printed clear plastic insert. CD version is the mini replica of the vinyl version, in slim plastic case with clear insert.

“Love Will Tear Us Apart” should have been the band’s most shining moment…instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy.

This special edition LP features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the “radio version”) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time).

The remaining tracks include “These Days” (which appeared on the original “Love Will Tear Us Apart” single), along with “Transmission” (their debut single released in 1979) and “Atmosphere” (originally released as a France-only single) in 1980.

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive.

We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy-duty shelf containing 213 reel-to-reel tapes.

All of the chosen material on The Preservation Tapes is unreleased, and has only been heard by a handful of people.

The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton, Alberta, Canada.

"Minami-kaze α Wave (Southerly wind alpha wave)“ is a very rare ‘vocal piece’ that Henry Kawahara has produced, and released under the name HMD (H Music Deperception) in 1993. The song is a vocal version of the cyber-occult exotic instrumental piece "Nanpu“ included in the compilation “Cybernetic Defiance and Orgasm: The Essential Henry Kawahara” [EM1197TCD/DLP]. This track is a rare example that proves he had also a genius for producing ‘pops’ in the general sense of the word, and which seems to have challenged head-on the pop songs produced by Haruomi Hosono or Tetsuya Komuro in the 80s-90s. 

The Henry Kawahara project on EM Records was developed only with the enthusiasm of proving Kawahara's existence if he is to be erased as nothing in the current art context, and we have confirmed that there are a lot of supporters all over the world for our opinion when we released "Cybernetic Defiance and Orgasm" (several articles and interviews have been given). This single is a 'prescription' for the sequel, tentatively titled "Cybernetic Defiance and Orgasm 2: Other Sides of Henry Kawahara," which is currently in the process of being prepared. This 7” is a limited one-off release, not included in the compilation.

A peerless debut album by Jacks, born in the dawn of Japanese rock, reissued as a colored vinyl modeled after the original red pressing released by Toshiba Musical Industries on September 10, 1968.

An album Maximum Rock 'N' Roll deemed not punk enough to review, Unwound’s 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of “Entirely Different Matters” to the neck-snapping velocity of “What Was Wound” to the relentless pounding at the end of “All Souls Day,” New Plastic Ideas is the Sonic Youth loving older sister to Fake Train's post-punk-obsessed little brother.

At first, Gia Margaret called her new album ‘Romantic Piano’ to be a bit cheeky. Its spare, gentle piano works share more spirit with Erik Satie, Emahoy Tsegué-Maryam Guébrou and the ‘Marginalia’ releases of Masakatsu Takagi than they do with, say, a cozy and candlelit date night. But in that cheekiness lies hidden intention: across the gorgeous set, “Romantic” is suggested in a more classic sense, what the Germans call waldeinsamkeit. Its compositions conjure the sublime themes of the Romantic poets: solitude in nature; nature’s ability to heal and to teach; a sense of contented melancholy. "I wanted to make music that was useful,” says Margaret, vastly understating the power of the record. ‘Romantic Piano’ is curious, calming, patient and incredibly moving — but it doesn’t overstay its welcome for more than a second. Margaret’s debut, ‘There’s Always Glimmer,’ was a lyrical wonder, but when an illness on tour left her unable to sing, she made her ambient album ‘Mia Gargaret’ (another cheeky title!) which revealed a keen intuition for arrangement and composition not fully shown on ‘There’s Always Glimmer’s lyrical songs. ‘Romantic Piano’, too, is almost totally without words. “Writing instrumental music, in general, is a much more joyful process than I find in lyrical songwriting,” she says. “The process ultimately effects my songwriting.” And while Margaret has more songwriterly material on the way, ‘Romantic Piano’ solidifies her as a compositional force. Originally pursuing a degree in composition, Margaret dropped out of music school halfway through. “I really didn’t want to play in an orchestra,” she said of her decision, “I really just wanted to write movie scores. Then, I started to focus more and more on being a songwriter. ‘Romantic Piano’ scratched an old itch.” ‘Romantic Piano’ does indeed touch on a rare feeling in art often only reserved for the cinema — a simultaneous wide-lens awe of existence and the post-language intimate inner monologue of being marooned in these skulls of ours. How very Romantic!

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces... Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in restrained rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling. If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" FABIO ORSI's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

[Enji’s] return is spellbinding, her dreamy voice searching over tender piano and weighty double bass. - The Guardian on 'Ulbar'

For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.

Sonor is a record full of life and optimism, from an artist finding the beauty of existing between two worlds, much as a sunset does. Between the cultures of Mongolia and Germany, tradition and innovation, nostalgia and excitement for the future. Sonor is a musical journey marked by personal growth, introspection and acknowledgment of the bittersweet feeling of change.
Enji's life has been a tapestry woven with threads from diverse cultures. Born in Ulaanbaatar, Mongolia, she was immersed in the rich traditions of Mongolian folk music from a young age. Her early exposure to urtiin duu, or "long song", a traditional Mongolian singing style characterized by extended syllables and free-form melodies, instilled in her a deep appreciation for her cultural roots.
In 2014, Enji's musical journey took a transformative turn when she participated in a program at the Goethe-Institut in Ulaanbaatar. Here, under the guidance of German bassist Martin Zenker, she was introduced to the world of jazz. The improvisational nature and emotional depth of jazz resonated with her, leading her to pursue a master's degree in jazz singing at the University of Music and Theatre in Munich. This move marked the beginning of her life between cultures, as she navigated the landscapes of both her native Mongolia and her new home in Germany.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes.

With Sonor, Enji continues to evolve as an artist, expanding her sound into something more fluid and accessible. Whilst Enji’s musical foundations remain sturdy, with a band of world renowned jazz artists and all tracks on the record sung in Mongolian, save the obligatory standard ‘Old Folks’, Sonor leans into melody and storytelling with a newfound clarity, opening her music to a wider audience. It reflects not just a shift in style, but a deepening of her artistic voice, one that embraces accessibility without losing depth, allowing her songs to resonate on an even more universal level.
Despite being colourful and optimistic, the album is tinged with a sense of bittersweet nostalgia. This duality is perhaps best illustrated by track “Ulbar”, the Mongolian word for the colour the sky is cast during sunset. A phenomenon that is vibrant and beautiful, yet signifies the end of daylight and the transition into nighttime. Similarly, Enji's music captures the joy of new experiences and growth, while acknowledging that, as you go through life, previous experiences may no longer feel familiar.
On Sonor, Enji breathes new life into the traditional Mongolian song “Eejiinhee Hairaar” ("With My Mother’s Love"), a piece woven with nostalgia and quiet joy. She recalls how her father would hum the tune while fixing his bicycle back home in Mongolia, a simple, unremarkable moment that, in hindsight, radiates warmth and meaning. This image of music interlaced with everyday life, of melodies passed down through generations, encapsulates the spirit of Sonor. Enji isn’t just revisiting tradition, she’s distilling the feeling of home, of small joys that reveal their significance only when viewed from afar. Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.
Elsewhere on the record, tracks such as “Much” truly capture the melancholy of fleeting moments, still hopeful in tone, Enji’s vocals implore the listener to slow down and appreciate the passing seconds. On track “Ergelt”, Enji focuses the theme of the album through her own lens, a meditation on nostalgia and shifting familiarity, with translated lyrics capturing this duality: “A gaze full of happiness saddens me / When I try to speak my sorrow, no words come to me / Unfamiliar, yet somehow known”
Sonor is enriched by the contributions of Enji's collaborators. Elias Stemeseder is an Austrian pianist and composer known for his work in contemporary jazz and avant-garde music. Stemeseder has previously collaborated with musicians such as John Zorn and Christian Lillinger. Robert Landfermann is a German double bassist widely recognized in European jazz and improvised music circles. His playing is characterized by technical virtuosity and a deep sense of rhythm. Julian Sartorius is a Swiss drummer and percussionist with a highly textural and rhythmic approach to his instrument. His work spans jazz, electronic, and experimental music. Whilst long time collaborator Paul Brändle is a German jazz guitarist with a warm, fluid style that blends classic jazz influences with modern sensibilities.
Enji's previous work has garnered international attention and critical acclaim. Her 2023 album, Ulaan, was praised by The Guardian as "An elegant and powerful twist on traditional Mongolian music," highlighting her ability to innovate within her cultural framework.
Her unique blend of jazz and Mongolian folk has also been recognized by The Washington Post, which noted that her songs "sound so inventive, so free, yet so grounded." This balance has become a hallmark of Enji's music, earning her a place among the most intriguing voices in contemporary jazz.
With Sonor, Enji invites listeners to join her on a journey through the landscapes of her experiences, bridging cultures, embracing change and finding beauty in the transitions that define our lives. Her music serves as a reminder that, like the sunset, moments of change can be both beautiful and poignant.
As she continues to navigate her path between Mongolia and Germany, tradition and innovation, Enji's Sonor stands as a testament to the enriching experience of living between worlds and the art that emerges from embracing one's multifaceted identity. 

Outside of the international house underground, where his early ‘90s works for the Far East Recording label he co-founded with Shinichiro Yokota are rightly celebrated as bona-fide classics, Soichi Terada is best-known for his work composing music for video games. Yet until now, few of his productions for video games have been released outside of Japan, especially on vinyl. Apes In The Net, a six-track EP featuring music composed for the popular PlayStation 1 series Ape Escape, sets the record straight. It not only showcases Terada’s quality as a composer and producer, but also his versatility. Like much of Terada’s work on the Ape Escape series, the tracks featured don’t explore deep, New York and New Jersey influenced house sounds, but rather his lesser-celebrated love of jungle and drum & bass – a sound he fully explored on 1996 album Sumo Jungle. “The producer of the Ape Escape games heard that and got in touch,” Soichi remembers. “They asked me to make the soundtrack, and then work on the music for the sequels after that. I used to love making music with AKAI hardware samplers, synthesisers, and computers, so I played and recorded the tracks using almost the same methods as I did when I made house music. Using breakbeats and audio samples with a sampler was the most useful way to make the soundtracks.” The six tracks on show, which were originally recorded in the ‘90s but reconstructed and remastered for Japan-only CD and digital releases over a decade ago, mix elements of Terada’s familiar deep house style – think warming chords and pads, memorable melodies, and emotive musical motifs – with blistering D&B breakbeats, 16-bit synth sounds, electronic bleeps and undeniably weighty basslines. They’ve stood the test of time and arguably sound just as fresh now as they did at the turn of the millennium.

Collision Drive is Alan Vega’s second solo studio album, originally released in 1981. If his debut laid the groundwork for a raw, minimalist take on rockabilly and blues, Collision Drive expands the palette with a grittier, more layered, and unfiltered energy. Here Vega’s lyrics channel universal themes deeply rooted in his fascination with street life, science fiction, politics, comics, love and the mysteries of the universe. It’s a record that pulses with feeling and rebellion, displaying the full spectrum of human experience and Vega’s evolving vision.

Alan was always reinventing himself, creating and refining his mastery of variation while maintaining his own unparalleled and identifiable aesthetic. Sonically, this album is more dynamic than his first. Ditching drum machines for a live drummer, and enlisting a hard rock band to back him, Collision Drive offered a different view of Vega’s artistic vision. The aching punk rockabilly of “Magdalena 82” unfolds with a hypnotic blend of guitar slides and frenetic energy, while Vega’s cover of “Be Bop A Lula” transforms Gene Vincent’s classic into an aggressively charged, manic howl. Elsewhere, tracks like the hard-driving cosmic rock n roll “Raver” push into psychobilly territory. Vega was relentlessly innovative, continuously paving new ground.

Newly remastered by Josh Bonati from the original tapes, Collision Drive receives a reverent reissue from Sacred Bones Records.

Here we witness the full ascension into his own mythology: part rockabilly outlaw, part cosmic preacher, part outsider visionary. Broader in scope than his debut but just as uncompromising, Collision Drive is a bold and personal exploration of sound and identity. Raw, electrifying, and groundbreaking, it remains a cult cornerstone of outsider rock and a touchstone in the evolution of art-punk and experimental pop from one of New York’s most fearless icons.

Alan Vega’s self-titled debut solo album was released in 1980 during the same period Suicide released their second album, Suicide: Alan Vega and Martin Rev. While Suicide’s label ZE Records was interested in pushing the duo toward a synthetic disco sound inspired by Moroder’s production on Donna Summer’s “I Feel Love,” Vega felt a pull in a different direction. He wanted to dig deeper into the roots of his own sonic identity, fueled by rockabilly, early rock n roll, and his enduring love for Elvis Presley. Filling the gaps between recording with Suicide, and fleshing out the songs he was writing on his own, Vega started to create his first record and performing live to develop this sound.

As with his visual art, Vega layered sound in a minimalist, dynamic and intentional way. The result was a fiercely singular album built from raw materials and deeply rooted in Vega’s artistic vision. Tracks like the classic anthem “Jukebox Babe” with its jiving rhythm and minimalist swagger, captured that approach completely and went on to become a hit in France. “Kung Foo Cowboy” takes on a southern twist, strongly leaning into the blues, while the golden pop shine of “Ice Drummer” rings in melodic yet plaintive vocals, marching drums and a tasteful harmonica solo. “Bye Bye Bayou” is a haunted slice of mutant rockabilly that fuses 50s rock with Vega’s eccentric performance style and was later reimagined in the 2009 cover by LCD Soundsystem, introducing Vega’s solo work to a new generation. Similarly, The Flaming Lips’s 1994 cover of “Ice Drummer” paid homage to Vega’s outsider spirit.

Now remastered by Josh Bonati from the original tapes and available on streaming services for the first time, Alan Vega has been faithfully reissued by Sacred Bones Records, preserving the raw intensity of Vega’s original recordings while making them newly accessible to listeners around the world.

Alan Vega is more than a solo debut, it’s a declaration of artistic independence and freedom from one of New York’s most influential and uncompromising artists. Stripped of Suicide’s intense electronics yet retaining Vega’s outsider energy and edge, the album translates early rock 'n roll through an art-punk filter that stands the test of time as a cult masterpiece in its own right.

A crate staple for any lover of feminine funk, Beehive Breaks gathers 15 sultry singles from across the Numero-verse. From Sandy Gaye's Cruella-synched "Watch The Dog That Brings The Bone" to James Brown's soul sister #1 Marva Whitney, teenage girl gangs The Trinikas and Promise, Miami's queen of soul Betty Wright, plus a previously unissued belter from Chicago's Sonics Band, Beehive Breaks picks up where sister funk left off.

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

"You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970. Please note: Physical items are o

Late night '60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatch-rare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xLP tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

A longtime favorite at our shop, El Michels Affair—New York-based instrumental funk/soul band renowned for their unique “cinematic soul” sound and a flagship act of the esteemed Big Crown Records—returns with a brand new album, featuring none other than Shintaro Sakamoto as a guest! Rooted in funk and soul yet infused with a breezy, urban summer feel, this exquisite release blossoms into a light and airy indie pop-soul masterpiece. A refreshing soundscape full of timeless musical elegance, perfect for strolling through sun-drenched city streets.

Winding through cavernous passages of sound, Rod Modell builds a patient, tactile world shaped by low-end pulsations, drifting electronics and finely observed environmental detail. Gurgling currents, rustling textures and crystalline drips move in and out of focus, giving way to heavier sound masses before opening onto unexpectedly calm, almost soothing spaces.

What appears abstract at first gradually reveals a strong emotional pull. Modell’s control of dynamics and pacing allows small shifts in tone and texture to carry real weight, with moments of darkness offset by sudden glimmers of light and stillness. Electronic spirals rise and dissolve, while quieter passages create a sense of suspension, as if time has briefly slowed.

The result is a deeply considered listening experience that rewards attention. Every nuance feels deliberate, each detail contributing to a broader sense of tension, release and atmosphere. Rather than overwhelming, the music draws the listener inward, balancing restraint and drama in a way that feels both immersive and quietly affecting.

*200 copies limited edition* Renowned Italian ambient composer Gigi Masin returns with his latest immersive creation, Imploding in a Blinding Darkness, Pt. 2. This new release deepens the evocative soundscapes and emotional textures that define his groundbreaking work. Blending ethereal melodies with rich ambient layers, Masin invites listeners on an intimate journey into mystery and introspection. The album continues the exploration initiated in the first part, delivering a captivating fusion of warmth and shadow. Each track unfolds like a meditative reflection, gracefully balancing light and darkness through seamlessly crafted synths and organic sounds. Imploding in a Blinding Darkness, Pt. 2 confirms Gigi Masin’s place as a visionary artist in contemporary ambient music, offering a profound listening experience that resonates deeply with both longtime fans and newcomers.

*200 copies limited edition* Italian ambient pioneer Gigi Masin returns with his captivating new album, Implodendo In Una Accecante Oscurità, Pt. 1. The title, which translates to "Imploding in a Blinding Darkness", hints at the immersive sonic journey within—a delicate balance between light and shadow, stillness and movement. This record showcases Masin’s signature blend of ethereal melodies and textures, weaving intricate soundscapes that echo the vastness of inner emotional landscapes. With subtle synths, gentle piano, and mesmerizing atmospheres, it invites listeners to dive deep into a reflective and transformative experience. Recognized for his influence on the ambient and electronic music scenes worldwide, Masin continues to push boundaries, crafting soundtracks that resonate with both intimacy and expansiveness. Implodendo In Una Accecante Oscurità, Pt. 1 is a profound meditation on emotion and space, perfect for introspective moments and immersive listening.

Flora is an album that is listened to perpetually,
Passed on from one listener to another,
And the charm of the sound- and music-loving figure 
known as Hiroshi Yoshimura,
Just might come drifting through.
Like the scent of a small flower.
—Junichi Konuma

Announcing the worldwide reissue of Flora, Hiroshi Yoshimura’s underrated work originally recorded and completed in 1987 and first released on CD in 2006, three years after his passing in 2003.

Flora is chronologically and stylistically a follow-up to Hiroshi Yoshimura’s acclaimed 1986 works Green and Surround, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Listening to Flora is like taking a stroll in a park, absorbing the colors and textures of the natural environment—flowers, insects, the swaying of the leaves—as Yoshimura often did at his beloved Edo-era park near his home in Tokyo. As Junichi Konuma describes in his liner notes, Yoshimura’s music “only begins to emerge as it exists at the intersection of passive and active.” Yoshimura's approach to sound and melody invites the listener to hear the intricacies of the music with intent, while simultaneously allowing the aural textures to exist as part of the background of our everyday life.

This reissue marks the first time the album will be available on vinyl (2LP, 45 rpm) and cassette, and includes liner notes written by music scholar Junichi Konuma and remastered audio by Grammy-nominated engineer John Baldwin. Reissue design and layout was handled by Tiffanie Tran. 

Don't miss it! Known for his collaborations with big names such as Ry Cooder, Vampire Weekend and Moses Sumney, and as the leader of the jazz trio Inga, he has been active in a variety of fields, from psychedelic to outsider to meditative. This is a follow up to his last album, which was self-pressed in 2018 and has been reprinted many times since then and is a huge best seller in our store. The collaboration with Sam Wilkes is now available on cassette from Leaving Records, and is a continuation of the previous album recorded between 2017 and 2018. The album is a confident work that combines a sophisticated jazz mind with a unique, experimental sound that is full of the free spirit of the West Coast, and sublimates it into a unique, even meditative, sound. The muffled sound image with a perfect balance makes the listener feel even better.