MUSIC

A hitherto-unreleased electronic masterpiece from Roland Kayn, singular pioneer of cybernetic music.

Over a period spanning the late 70s through the early 80s, Kayn (1933–2011) issued a quintet of extended works that quietly but definitively redrew the map of electronic music. Informed by cybernetics and a desire to actualise analogue circuitry as an agency in the compositional process, this music adopted a form that can only be described as oceanic, as side after side of vinyl allowed a wholly new vocabulary of electronic sound to find its shape.

In the decades that followed, these multi-LP boxed-set releases became hallowed documents of contemporary music (as well as highly prized collectors’ items). Kayn’s initially subtle influence belied a gradual shift towards the widespread adoption of his ideas and practices in the 21st century, incorporating both the rise in popularity of modular synthesis as a music-making tool, and the huge advancements in machine learning and AI.

Following the recent reissue of ‘Simultan’ (1977) and the first-time release of late work ‘A Little Electronic Milky Way of Sound’ (2009), it was clear that a new generation of listeners and musicians were eager to discover Kayn’s vision in all its vastness.

Kayn's own label, Reiger Records Reeks, has been reawakened by his daughter Ilse, and her long-cherished dream of releasing this music is now finally a reality. Across 10 CDs of immersive audio, expertly remastered by Kayn aficionado Jim O’Rourke, listeners are now finally able to digest Kayn's little-known masterpiece, and to inhabit sonic territory that has waited unspoilt for decades.
 

Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) (Mesías Maiguashca: Music for magnetic tape (+) instruments 1967-1989) Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin’s popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: “During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist.” Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.

Following the incredible (and successful) compilation Taiwan Disco, the master minds behind Aberrant Records present this delicious record. Subtitled Disco Divas, Funky Queens and Psych Ladies from Asia from the 70s to the Early 90s you don't have to take a wild guess to figure out what you'll find here, a treasure trove filled with exotic jewels from Thailand, Taiwan, Malaysia, Singapore, Hong Kong, Indonesia, and South Korea, from Asian funk to psych-tinged awesomeness, disco madness and much more. Features Chailai & Sawanee, Chantana Kittiyapan, Lei Si Si, Ding Dai, Yasmin, Wong Foong Foong, XYZ, Fatimah Razak, Chen Qiong Mei, Sum Sum & Pan Pan, Grace Simon, and Hit Girls.

French multi-instrumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways that he approached the craft of composing and experimenting with sounds and sonics. Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition. Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking albums during the early 1970s (According to former member Laurent Thibault, their LP Mëkanïk ‘Dëstruktïẁ Kömmandöh‘ and its sound were strong influences on David Bowie during the recording of ‘Low‘ and Iggy Pop’s ‘The Idiot‘ at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades. Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths). To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his side, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving "Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the ’e=mc2’ album, closes the comp, and is a fitting way to end this journey. To sit through this compilation is to listen to a musician at ease with his abilities and his eagerness, with the music taking the listener one way before building upon that anticipation and guiding it beyond the realms of reality - and into a sphere where the imagination is allowed to run free. Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes. credits

Daphne Oram is best-known for the design of her Oramics system, and also for co-founding the BBC Radiophonic Workshop in 1957, but until the release of this material, the only easily-available piece of music by her on CD was the 8-minute long "Four Aspects." There was also a 7" EP from 1962 on HMV, released as part of the Listen, Move and Dance series that was specifically designed to help children dance. Although the short pieces on this record are very basic, it could be argued that this is the first-ever electronic dance record! This is a survey of nearly all the major pieces that she produced since her departure from the BBC in January 1959 until her final tape piece in 1977. During this time, she worked independently in her home studio, and thanks to a grant from the Gulbenkian Foundation in 1962, she was able to pursue her interests. In Britain there were no state-funded studios other than the Radiophonic Workshop, which mainly existed at the behest of the drama studio and was not generally seen as a place to develop personal artistic ideas. There were also no university studios at this time, so it was necessary for British electronic composers to be self-funded. Throughout this period, she devoted her attention to developing her Oramics "drawn sound" system, which consisted of a large machine that enabled drawn patterns to be converted into sound. This system was eventually fully realized in the late '60s and several pieces here incorporate its use. The two and-a-half hours of music on this 2CD set covers the whole range of Oram's post-BBC output. All of the music is electronic with some occasional use of real instruments, especially small percussion and piano frame. There is also some use of musique concrète techniques. The works fall roughly into the following categories: works for TV and cinema advertising, film soundtracks, music for theater productions, installations and exhibitions as well as concert pieces and several studio experiments. There are also a few short pieces that resulted from an experimental music course given by Oram at a high school in Yorkshire in 1967.

Bola Sete - Samba in Seattle : Live at the Penthouse, 1966-1968 is the first official release of the legendary and influential Brazilian acoustic guitarist BOLA SETE's live recordings at the Penthouse jazz club in Seattle, WA featuring bassist SEBASTIÃO NETO and drummer PAULINHO MAGALHÃES. Produced by Grammy-nominated jazz detective ZEV FELDMAN, and remastered from the original tape reels in cooperation with THE BOLA SETE ESTATE, this deluxe 3-CD set includes an extensive 40 page booklet with rare photos from THE PENTHOUSE; essay by music critic GREG CASSEUS (aka GREG CAZ); new interviews and statements by guitar icon CARLOS SANTANA, legendary composer/pianist LALO SCHIFRIN, Sete's friend, pianist and producer, GEORGE WINSTON, and Bola Sete's widow ANNE SETE; plus an effusive tribute by the late guitar great JOHN FAHEY. Samba in Seattle is a significant addition to the recorded legacy of an oft–sampled musician (A Tribe Called Quest, J Dilla and Dan The Automator) whose career straddled bossa nova, jazz–pop and early New Age.

A Certain Frank is the Düsseldorf based duo of Frank Fenstermacher and Kurt “Pyrolater” Dalhke. Through the 80s and early 90s, they made speedy, wild coldwave as Der Plan, releasing music on their own label Ata Tak (which also released Oval’s wonderful debut ‘Wohnton’!). In the mid-90s, influenced by a lifelong love for the exotica and tiki bar jazz of Martin Deny and Les Baxter, the two formed A Certain Frank. Hence, the sounds of A Certain Frank are far warmer, sensual and sultry than that of Der Plan. “Without You,” from their 2001 album ‘Nothing,’ approaches something like Sade across its pulsating, truly gorgeous six minutes. And the New Age composition “Naïve,” from A Certain Frank’s 1996 debut ‘No End No…’ (and appearing on DSPs for the first time courtesy of your friends here at ULYSSA), drifts back-and-forth between enchanting flute lines and brooding, synth stabs. And then, there’s “Nothing,” a shadowy triphop earworm that stands confidently alongside the work of Skalpel or Portishead. Yes, A Certain Frank is that good and, sadly, that overlooked. In fact, taken altogether on ‘Ulyssa presents: A Certain Frank,’ it becomes quite clear that their austere dada experiments in electronic lounge and jazz are as curious and captivating as more celebrated albums like Nuno Canavarro’s ‘Plux Quba’ and Björk’s ‘Debut.’ The time has come to give A Certain Frank its due. ‘ULYSSA presents: A Certain Frank’ is the first time any of these songs have been released on cassette and the first time songs from ‘No End No…’ have come to streaming services. ULYSSA Season 2 begins here. Sploosh.

Architecture, music, mathematics. From the series Recollection GRM, which reissues the INA-GRM works, the history of Greek-French people who controlled a large amount of uncontrollable sounds by architecture and mathematical methodologies and transformed them into music with unparalleled strength. Introducing contemporary music composer Iannis Xenakis (1922-2001).

Constructed the Philips Pavilion at the Brussels World's Fair (1958). Also included is'Concret PH', which was performed using 400 speakers, along with Edgard Varese's blockbuster electronic music "Poem Electronique" at the Philips Hall. You can't taste this tingling sensation that is ejected from a very esoteric and incomprehensible range that incorporates mathematics into music. Others, such as the chaotic concrète'Bohor'dedicated to Pierre Schaeffer, are a number of sound images that make you feel as if you are looking at a complete building in front of you.

The long-awaited repress! The world's first compilation that covers the miracle of Spanish NEW WAVE-ambient-progressive music, the masterpiece of Finis Africae, and the footprints of 17 years!
This is a must-listen work with a number of spiritual, deep, afro and ambient spiritual organic grooves!

Spiritual Afro, NEW WAVE, Ambient Dance Music! A number of miraculous sound sources that include African music, contemporary music, natural sounds from NEW WAVE and field recording, and even jazz and folklore tastes from Spain. It seems that he was influenced by many music genres, but the music is a beautiful combination of ambient and spiritual extracts, and the track with the synthesizer has a new age that is similar to that of IASOS! Great content that would not have been possible without an aesthetic eye for sharp music. 16P booklet included. Commentary posted in Spanish / English / Japanese.

These 28 tracks, 72 minutes in total, cover a wide range of musical styles and eras, from the 60s to the present, urban to rural, primarily by Thai vocalists and musicians, with contributions from Japan and the Philippines. 60s-America-style pop by Suri Yamuhi and the Babylon Band as well as contemporary EDM, trap and hip hop sounds are all present, but the core of this soundtrack are luk thung and molam classics from the 70s and 80s by Angkhanang Khunchai, On-uma Singsiri, Dao Bandon, Khwanta Fasawang and “The Countryside is Great” by Rungphet Laemsing, a pivotal song in the film. All tracks are complete versions, some incorporating dialogue from the film. This CD-only OST features English lyrics, and liner notes by the film’s directors Katsuya Tomita and Toranosuke Aizawa, plus Iwao Yamazaki, Young-G and MMM of the Kuzok team, and Soi 48. This is the first soundtrack release by EM Records. 

TRACKS: 

01. Pai Tuktuk Dwai - DJ Pai Dwai 
02. Pai Massage Dwai - Young-G (stillichimiya/ Omiyuki CHANNEL) 
03. The Smell of Money - Suri Yamuhi & The Babylon Band 
04. You've Left Me Alone - Suri Yamuhi & The Babylon Band 
05. Porra - XXXSSS Tokyo 
06. Only Som Tam - On-uma Singsiri 
07. The Countryside is Great - Rungphet Laemsing 
08. Isan Radio 
09. Bong Ja Bong (Pipe, oh Pipe!) - Dao Bandon 
10. Burn! Burn! Burn! ~ Surfin' Dien Bien Phu - Suri Yamuhi & The Babylon Band 
11. I Will Buy You Back - Bar Nong Khai Band 
12. Samet Love - DJ Pai Dwai 
13. That Goddam Motorsai - Khwanta Fasawang 
14. The Stench of Night – from Chit Phumisak's poem - Surachai Jantimathawn 
15. Saramanda - DJ Pai Dwai 
16. Tamarind Leaf (molam) - Angkhanang Khunchai 
17. Bahn Swairon - Khun Narin's Electric Phin Band 
18. Khaen Whistle Reprise (JRP Tondo mix) - DJ Kensei feat. Tondo Tribe 
19. Vang Vieng Bank (Change Yen to Lao) OST mix - DJ Kensei 
20. Xieng Khouang's Daughter - Thong Boonma (lam), Le Boonma (khaen) 
21. Get Em - XLII 
22. Paun's House - Suri Yamuhi & The Babylon Band 
23. Xanadu - Young-G (stillichimiya/ Omiyuki CHANNEL) 
24. Kanom Party - Young-G (stillichimiya/ Omiyuki CHANNEL) 
25. The Song of an Angel - Suri Yamuhi & The Babylon Band 
26. Ying's Story - Subenja Pongkon 
27. Isan Lam Phloen - Angkhanang Khunchai & The Ubon Phatthana Band 
28. Full Moon (Atsani Phonlachan) - Yuzo Toyoda, Takeshi Yamamura 

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts. 

Ultra-positive consciousness from Afro-Caribbean London, circa 1979. Members of the legendary 20th Century Steel Band (one of Grand Master Flash's favourites) sailing Trinidad-wise over gratifyingly intricate African ritual rhythms. Strong vocals compliment reggae, funk, disco and soul influences to form a relentless groove machine. 

Steel an' Skin, a unit composed of young nightclub musicians born in Ghana, Nigeria, St. Kitts, Trinidad and the U.K., who once performed with Ginger Johnson's Afrikan Drummers, a highlife band under the tutelage of the late Ginger Johnson and played at Johnson's Iroko Country Club in Hampstead, London. Steel an' Skin began activities giving concerts and workshops in London schools, expanding nationwide to schools, prisons, psychiatric hospitals and summer festivals, including the world-famous Notting Hill Carnival. The group combined an admirably brave, open and unironic mix of musical forms with community outreach, non-cynical and untainted by preachiness or "social work." Good feelings from good hearts. 

This EM reissue consists of Steel an' Skin's 1979 debut 12 inch single "Reggae is Here Once Again", featuring "Afro Punk Reggae (Dub)", a fine disco-dub workout, plus some tracks from their 1984 recordings, as well as one unissued track.

"Rhythmic Brutalism" is the title of this release, available also as a double CD set or two separate 12" vinyl LPs; the title is also a very apt description of the music itself. Romania-born Alexandra Atnif is fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnifs music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

Whether it’s Hip Hop, it’s face pointed reverentially to the Old School, or House stealing Disco riffs by the truck load, people are increasingly intrigued by back-in-the-day. And common to both the aforementioned scenes and much more is one person, Arthur Russell, a man some regard as the best songwriter of the 20th century. In 1981 Arthur set up Sleeping Bag Records with Will Socolov. The first release was the album “24-24 Music” as Dinosaur L. If you’re wondering about the name it would appear Arthur would often use the names of extinct or near-extinct animals. On one production credit he’s “Killer Whale, whilst the logo for Sleeping Bag is a Koala bear! Will remembers how they came up with the name for their label. “We were joking about names, and James Brown was on with “Papa’s Got A Brand New Bag” and I was sleeping in a sleeping bag in my apartment and I kind of made a joke about that, and Arthur said that was a great idea for the name of the company!” The line up was pretty much the same as the Loose Joints sessions, (which boasted the Ingram Brothers rhythm section) and a similar stream-of-conscience approach was taken with the recording itself. Russell arranged the beats so there’d be a change every 24 bars (hence the title) and the band would have to improvise the songs over the top. He also made sure he went into the studio when there was a full moon! The album is again very experimental, and makes occasional uneasy listening but the same magic is very much in evidence. Arthur would continue to be involved in production and mixing duties for the label, but parted company with Socolov in 1985. Arthur sadly died of AIDS in 1992 leaving behind many songs; as one obituary put it, it was though he simply vanished into his music.

Weirdo-rockabilly, early pop-electro, great drums, haunting. from collection of 45s

The culmination of big sounds created by the small label with a sense and spirit!
Is this "No New York" in Japan in 2020? Is it "Pillows & Prayers"? No, it's not like that. Visit the first label compilation of "Birdfriend", a sublime (reckless) DIY label run by YPY / goat's Koshiro Hino. When you hear this, you want to create asexually!

"It's too experimental and challenging to release, but there are still many great ones" (by Koshiro Hino)

Birdfriend, a label of Koshiro Hino (YPY / goat) who continues to release DIY music of electronics and self-made remodeled musical instrument creators based on a thorough writer's standard of choosing by sound instead of name. From the start in 2013, DIY handmade with enthusiasm, patience and sincerity, special personalities such as Bonno Nomukuro, UNBE, Futoshi Moriyama, Wet Dog, NEW MANUKE, OPQ, Inoue Shirabe, JMT Synth, H. Takahashi, Sofheso・ Dropped into a cassette and released 38 original works to date. Overcoming various problems, we made 5,000 pieces!

Birdcage's first label compilation, "Bird Cage," was an attempt to put these Birdfriend friends in one place by abusing Hino's authority. When I forcibly compiled those people who couldn't be edited quietly in the first place, what appeared there was an unexpectedly fresh story! Now is the time to ask the world about the feats (variants) of mysterious bird friends. When you hear this, you will be surrounded by feelings (impression?) That you do not understand, and you will probably want to create asexually!

・ 2 CDs / Jewel case
・ Booklet included
・ Japanese / English notation
・ Artist profile and photo posted

Compiled and the cover art design by Kōshirō Hino
Cover drawings by Yūko Kureyama and Kōshirō Hino
All tracks originally mastered by Bunsho Nishikawa
2nd mastering by Takuto Kuratani
(c) 2013, 2014, 2015, 2016, 2017 Birdfriend

TRACKS:

= Disc 1 =
1. Sofheso --M.N.L
2. Wet Dog-Bird Peck at Dead Dog
3. NEW MANUKE --Fastest Motor
4. YPY --BFMIX B-3
5. JMT Synth Pinosaku --Tansun
6. Wet dogs-Dog is Surrounded by Birds
7. UNBE --Vector Milk
8. YPY --The Damo UFO
9. Micro-Futoshi --Reforest 1
10. Inoue Shirabe --Sleep Talk

= Disc 2 =
1. Futoshi Moriyama-Time Limit
2. OPQ --ENT
3. Futoshi Moriyama-Niko Electro
4. H. Takahashi ―― 4
5. Micro-Futoshi --Reforest 2
6. UNBE -5 Ritsumai
7. Bonnounomukuro --Enter the Exit
8. Futoshi Moriyama --Piano and Sampler

Enter a world unknown! Birdfriend is a cassette label run by Japanese musician/composer Koshiro Hino, aka YPY, who is also a founding member of the Osaka band goat. This compilation, available on CD and double vinyl, features 18 tracks by Japanese artists, from 2013-2017, previously available only on hard-to-find cassettes on the Birdfriend label, now available to you, the curious and courageous listener, worldwide on EM Records. Rejoice and enjoy the fractured rhythms and future-now timbres, questing intelligences and D.I.Y. energy, conveyed to you through hand-made synths, custom electronics, synths and samplers. Compiled by Hino, who also provides liner notes and cover art, these Japanese artists share a love of texture, semi-skewed rhythm, simple-yet-evolving structure, and a sense of humour; yet despite these similarities, there is a great variety across this release, making for an exciting and cohesive musical experience.

+ Double 12" set
+ Gatefold sleeve
+ English liner notes
+ Artist bio/photo/discography

Tracks:

Side A:
1. Sofheso - M.N.L
2. Shimetta-inu - Bird Peck at Dead Dog
3. NEW MANUKE - Fastest Motor
4. YPY - BFMIX B-3
5. JMT Synth Pinosaku - Tansun

Side B:
1. Shimettainu - Dog is Surrounded by Birds
2. UNBE - Vector Milk
3. YPY - The Damo UFO
4. Micro Futoshi - Reforest 1
5. Inoue Shirabe - Sleep Talk

Side C:
1. Futoshi Moriyama - Time Limit
2. OPQ - ENT
3. Futoshi Moriyama - Nico Electro
4. H. Takahashi - 4
5. Micro Futoshi - Reforest 2
6. UNBE - 5 Cubic Meters

Side D:
1. Bonnounomukuro - Enter the Exit
2. Futoshi Moriyama - Piano and Sampler

The first compilation of M and Soi48's Thai music series is a collection of works by Doi Inthanon, a big-name producer who has transformed Thai pop since the 1970s! Bogan!

Two human national treasures, Morlam, who appeared in the movie "Y / OUR MUSIC" and Ankanan Kunchai who appeared in the air tribe "Bangkok Nights", will appear in this competition! The glittering names of Isan's stars are lined up on the work list only for the big names who have been active for many years from Isan in the northeastern region of Thailand, but this time, in the era when they were competing with music itself without PV or TV media exposure, Internon A selection of 70s-80s Morlam / Luk Thung / Thai Funk Nambar, whose production was glaring, mixed with hit songs and rare songs. This is also a textbook that automatically unravels modern Thai pop music from the Isan side. The memorable first work of the Mor lam type "Lamb Pane" that he made and popularized is also making its debut! When you look at Doi Inthanon's work, the expression "I attacked the center (Bangkok) from Isan" fits in, but let's see how much the demon trader Doi-sensei, who is unconventional, went wild! (Teacher, it's unreasonable ~)

* "Mor lam" Mo is a master, and Lam is a performing art that speaks with intonation in the tone. In other words, it is a "master of narrative" and is a name that refers to both the singer and the performing arts. Mor lam is not a "song". Isan (Northeastern Thailand) is the home.

* "Luke Thun": A Thai-specific song genre formed by absorbing Thai local music and music from rock, Latin, India, China, Japan, Hawaii, etc. Known as "Countryside Song". Early 1960s
The name was given to.

+ Song selection / commentary / binding: Soi48 (with English translation)
+ Japanese / English translation
+ CD version: Normal jewel case, 28-page booklet
+ LP version: Liner included

TRACKS:
1. Mont Muanneua "I hate Bangkok"
2. Chaberply Namwai "Chabaply Rum Prune"
3. Ankanan Kunchai "Empty Coconut"
4. Orn Ummer Shinsiri "Sorrowful Morlam Daughter"
5. Nuchanato Nantaner "Your Thor is the sound of love"
6. Hongtone Daoudong "Looking for Hongtone's Lover"
7. Tong Thai Tin Isan "The Weirdest Lamb Prune Part 1"
8. Thorper Chantratip "Boy of Motor Rhino"
9. Po Charat Tonneau Sung Soom "Attack on You"
10. Tone My Marley "Lamb Pane 4 High Man"
11. Quanter Farsawarn "Lamb Pane 4 High Woman"
12. Po Charat Tonneau & Quanter Farsawan "At Huadoon Turn Village"

The KlapYaHandz label, a long-running labour of love helmed by Sok Visal, has been at the forefront of a revitalization of contemporary Cambodian culture since the beginning of the 21st century; it was the very first independent hip hop label in Cambodia, nurturing an ecosystem of rappers, producers and engineers, male and female, fusing hard-hitting Khmer-language hip hop rhymes with samples of Khmer traditional music and Golden Age hits, propelled by relentless grooves. Returning to his Cambodian homeland after a youth spent absorbing hip hop in France and the U.S., Visal’s energy and focus inspired a new musical generation; his love of Cambodian music as well as hip hop melded with his ear for jazz, funk and soul, and led to the creation of some very cool music from the artists he brought to his label. The 12 tracks on this CD are the very finest from the first decade of the KlapYaHandz galaxy. Hip hop, yes, but very definitely Cambodian hip hop, with traditional and Golden Age musical elements very prominent. Very cool, very Cambodian, very cosmopolitan, and very contemporary, but the past is always present, a love of musical history lighting the way forward.

+ 36-page booklet
+ English liner notes and lyrics
+ Liner notes written by Sok Visal and Sorany Var

Tracks:
1. Rin / Hip Hop [2001]
2. Phnom Penh Playaz / Ride With Us [2002]
3. Aping / Ereva Chanoy [2005]
4. Aping / Sangsa Lek 1 (feat. Dina) [2005]
5. Khmer Rap Boyz / Berk Chak [2007]
6. Kelly / K. E. L. L. Y. [2007]
7. Pou Khlaing / Yeak (feat. Adda) [2008]
8. Yungsterz / Luk Ko Luk Krobey [2008]
9. Khmer Kid / Laut Doch Besdoung (feat. Lisha) [2010]
10. Lisha / Srok Sre [2008]
11. Nen Tum / Dey Srok Khmer [2011]
12. Yungsterz / A yap [2011]