MUSIC

Wave Field, released in 1995, was a departure from the first album into new composition methods involving the dirty textures of rock guitar, sounding in the open ears of many listeners (like Jim O'Rourke, who issued the disc in the US on dexter's cigar) as a synthesis of disparate elements — a nexus where Alvin Lucier, Sonic Youth, My Bloody Valentine and Eno blend together. Here, the clangorous potential of the guitar was emphasized, giving a metallic edge to the two extended pieces and "radio edit" coda. The jacket paid subtle tribute to My Bloody Valentine, which, along with the radio edit, suggested a harmony between musical directions as wildly disparate as minimalist experimental and rock. Today, such a paradoxical intent is more widely considered as a part of the artist's purview.

DJ Plead’s genre-defining album of slow and humid dance music, recorded almost entirely on a Yamaha ‘Oriental’ keyboard in the spring of 2020, finally lands back in print on this new vinyl edition made for anyone who missed it first time round, remastered by Rashad Becker. Giving us full classic/futureshock from the moment we first heard it, it’s one of those albums that’s stitched itself to the very fabric of our being over the last couple of years, becoming a sort of reference against which we’ve measured all weapons made for the sweatiest end of the night. If you’ve ever heard it out, you’ll know what we’re saying - it’s just supremely provocative, unhurried body music. Recorded at his home in Sydney during the height of that first lockdown with a wild creative energy only amplified by strict aesthetic control - almost all of the album was recorded on the one keyboard featured on the cover artwork - it’s ironic that at a time when we basically got several years worth of reflective home listening albums recorded in isolation, Plead made one of the definitive club albums of the 2020’s, even if it’s for the kinda club that keeps it on full slink. Equally influenced by vintage dancehall riddims and the inspirational glow of CS + Kreme's psycho-ambient heartmelters, Plead here dissolves his much-loved hard drum style, dropping the tempo and conserving energy levels across a suite of smutty, tense works, matching his waviest microtonal vamps with the signature, rhythmelodic lilt of his drums in a properly hypnotic style. A hazy introductory piece of autotuned vocals and subs seduces from the front, with feelings spilling out into delirious dancehall pressure with drums on some mad Mahraganat x Timbaland tip, closing on a mesmerising beatless highlight. Perfect music, made for slow dancing.

Wewantsounds is delighted to announce the release of one of Japan's most coveted albums of the 70s, "Mangekyou" by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time "Mangekyou" is available outside of Japan, featuring remastered audio, original artwork and a 4 page insert including new liner notes by Paul Bowler.

A double-LP vinyl edition of *Adan no Kaze*—Ichiko Aoba’s seventh original album, originally released in December 2020—has been confirmed for release. Conceived as a "soundtrack for a fictional film," this album has been highly anticipated on vinyl by fans both in Japan and abroad. Collaborating with musician Taro Umebayashi on composition and arrangement, Aoba moves beyond her signature classical guitar-and-voice style; the album features rich, intricate soundscapes—incorporating chamber music ensembles and classical influences—that transport the listener into the world of a make-believe movie. By blending Umebayashi’s profound interpretation with Aoba’s storytelling, the work achieves a new level of artistic expression and deep musical resonance. It is a vibrant, colorful soundtrack comprising 14 tracks.

2025 edition. Kali Malone’s The Sacrificial Code is the 2019 breakthrough album of the acclaimed composer’s pipe organ pieces. Her temporally informed studies of harmonics and intonation breathed life into a suite of compositions which leaves the heart moved and mind still. This 2025 edition was mastered by Rashad Becker and features a new track Sacrificial Code III.

Pitchfork praised the album for its "time-stretching properties" and "clean minimalism". Resident Advisor described the album as an "exercise in concentration, restraint, and focus". Tiny Mix Tapes emphasized the "intensity and intimacy" of the album, pointing out how Malone's close miking technique brings out every textural detail of the organ, creating a highly focused and immersive listening experience.

48k/32bit master by Rashad Becker

Future Development is Del the Funky Homosapien’s third album and, following his departure from major label Elektra, it was his first album on his independent label, Hieroglyphics Imperium Recordings. Originally released on cassette in 1997, and later reissued on CD and vinyl in 2002, the album largely relied on in-house production from Del along with contributions from Hiero crew members A-Plus, Opio, and Toure. The only guest feature on the album is from crew member Casual, who joins Del on the energetic “Checking Out The Rivalry.”Sonically, Future Development bridges the funk-heavy stylings of Del’s debut with the darker, more futuristic textures he explored on No Need for Alarm. Lyrically, Del refines his rapid-fire wordplay with sharper thematic focus, tackling life in Oakland, societal observations and hip-hop culture, all with a blend of humor, streetwise insight, and multi-syllabic dexterity. Ultimately, the album captures a snapshot of his progression from raw talent to a more conceptually matured songwriter. It remains a significant and under-appreciated chapter in Del’s evolution, showcasing early seeds of the creativity and independence that would come to define much of his career thereafter.

Hailu Mergia is a one-man band. In 1985, master accordionist and veteran bandleader, arranger and keyboardist released the Hailu Mergia & His Classical Instrument cassette. In a nostalgic effort to bring back the vintage accordion sound of his youth, Hailu gave Ethiopian music a sonic makeover. He was already celebrated for his work with the groundbreaking Addis Ababa ethio-jazz and funk outfit Walias Band. With imagination and a visionary sense of the self-contained possibilities of modern music, he captured the popular sounds of the past using the modern tools of the day. Hailu Mergia weaves Moog and DX7 synthesizers, Rhodes electric piano and rhythm machine into the rich harmonic layering of his accordion, creating hauntingly psychedelic, elegantly arranged instrumentals. These tunes draw from famous traditional and modern Ethiopian songs, as Hailu brilliantly matches lush Amhara, Tigrinya and Oromo melodies with otherworldly flavors soaked in jazz and blues, synthesizing a futuristic landscape. He balances Ethiopian music's signature melodic shape with beautiful analog synth touches, floating upon clouds of hypnotically minimal rhythm tracks. Hailu Mergia was born in Debre Birhan, Showa Province, Ethiopia in 1938 (1946 in the European calendar) to parents Tewabech Ezineh and Mergia Lulessa, who were of Amhara and Oromo ancestry, respectively. His mother took him to Aynemisa, close to Addis, where he grew up from age 3 until he was 10 when they moved to the capital Addis Ababa. Hailu went to Shimelis Habte high school but dropped out before graduating. In 1952 (1960 in European calendar), he joined the army music department as a boy scout to support his mother. Mergia stayed in the army almost two years, learning how to read and write music. After Hailu left the army, he started singing in small bars as a freelance musician. He joined various pick-up bands, touring across the Ethiopian provinces as a singer and accordion player for almost a year. After the group broke up, he started performing in nightclubs like Addis Ababa, Patrice Lumumba, Asegedech Alamrew, Sombrero, Zula Club and others. At Zula Club he and his mates formed Walias Band and did something no other band in Ethiopian nightclub history had done: they started buying their own musical instruments. Until then the club owners were supplying the instruments and had the power to fire musicians at will. For the first time ever Walias Band signed a contract with the owner of Venus Club as a group thereby protecting themselves from club owners. Mergia and Walias Band went on to do gigs at hotels like Wabi Shebele and the Hilton. After playing almost eight years at the Hilton Hotel, Mergia and Walias Band came to the United States and toured widely in 1982-1983. Afterwards, some of of the band stayed in America while others went back to Addis. That was a heartbreaking time for the band. They considered themselves a family, and they knew they had broken new ground in the history of Addis nightclub musicians. They had helped make the Ashantis Band from Kenya famous in Addis. They were the first private band who played for state dinners at the palace for the Derg government (twice). And, they were the first private band to tour the USA. After the break-up of Walias Band, Mergia settled in the States and formed Zula Band with Moges Habte and Tamiru Ayele, playing in different restaurants and touring in the States and Europe. At that time, Mergia made a one-man band recording with accordion for the first time, mixing in Rhodes electric piano, Moog synthesizer and a rhythm machine. That was 1985. This recording was inspired by the early memories of his first instrument, the accordion. After the break-up of Zula Band in 1992, he quit performing and ran Soukous Club for seven years with his partners Moges and Tamiru. Nowadays he's making his living as a self-employed taxi driver at Dulles International Airport while continuing to record his music and practice as often as possible. The reissue of this recording brings back a moment when Ethiopian music was shifting from acoustic-based performances to recordings using more and more synthesized elements. While the results of that shift have their critics Hailu Mergia's initial experiments with solo instrumental music based on Ethiopian folk and popular music captures a singular feeling dripping in ambiance and very human emotional energy.

Future Development is Del the Funky Homosapien’s third album and, following his departure from major label Elektra, it was his first album on his independent label, Hieroglyphics Imperium Recordings. Originally released on cassette in 1997, and later reissued on CD and vinyl in 2002, the album largely relied on in-house production from Del along with contributions from Hiero crew members A-Plus, Opio, and Toure. The only guest feature on the album is from crew member Casual, who joins Del on the energetic “Checking Out The Rivalry.”Sonically, Future Development bridges the funk-heavy stylings of Del’s debut with the darker, more futuristic textures he explored on No Need for Alarm. Lyrically, Del refines his rapid-fire wordplay with sharper thematic focus, tackling life in Oakland, societal observations and hip-hop culture, all with a blend of humor, streetwise insight, and multi-syllabic dexterity. Ultimately, the album captures a snapshot of his progression from raw talent to a more conceptually matured songwriter. It remains a significant and under-appreciated chapter in Del’s evolution, showcasing early seeds of the creativity and independence that would come to define much of his career thereafter.

This second album was recorded about a year after "Scenery. The delicate yet emotionally rich playing is still there, but this time it is more powerful, and the world that Fukui has depicted comes to life with clearer contours and a greater sense of depth. The sweet and sad melody of "Mellow Dream" and the dynamic and fast-paced "Horizon" are among the dazzling performances. In addition, the album features three original songs, compared to only one on the previous album, which allows the listener to enjoy Fukui's musicality even more. Considering its maturity and rich content, it is safe to say that this is a masterpiece that surpasses the first album. Ryo Fukui regrettably passed away in 2016. His delicate touch, rich tone, and beautiful compositions. We are deeply grateful for the "pleasant dream" he showed us.

Ryo Fukui is a renowned pianist born in Hokkaido, Japan. His fresh and delicate playing has attracted many listeners, and his first album, "Scenery," has been highly acclaimed worldwide. The earnest performance of his youthful days shakes the listener's emotions pleasantly. It Could Happen To You" swings as if strutting, "Early Summer" is exhilarating and joyful, and "Scenery" seems to contain the night air of late autumn. The "Hokkaido-like emotion" that blends with Fukui's qualities and combines a large scale and subtlety is pleasant to listen to. The green leaves sprouting, the dazzling clear stream, the clear sky, the snow falling without a sound.... Here, the beautiful scenery spun by Ryo Fukui lives on forever.

Between 1999 and 2000, Merzbow entered a new artistic phase, embracing digital production and refining his sonic language. He moved away from the tape collages and improvised circuitry of his earlier years. In their place arose monumental sound structures, dense and meticulously sculpted. Harsh noise, tribal rhythms, and corrosive textures merged into a single, overwhelming sonic body.Yoshinotsune emerged during this especially fertile period and stands as one of Masami Akita’s most evocative works. The album weaves together historical, mythological, and personal references, drawing inspiration from the figure of Minamoto no Yoshitsune. From the outset, bird calls, radio interference, and electronic signals create an enigmatic atmosphere. The result is an unsettling soundscape suspended between nature and technology.Throughout the album, the sound continually transforms, alternating between ominous beats, unearthly moans, and ritualistic pulses. These elements evoke tribal rhythms filtered through circuitry and digital distortion. The music drives forward with relentless force while maintaining a constant tension between motion and stillness. Rather than simply overwhelming, it invites the listener to become immersed in its intricate details.What makes Yoshinotsune so compelling is its perfect balance between technical precision and creative instinct. Though meticulously constructed, its structures retain a raw and immediate vitality. Akita’s hand can always be felt, shaping the sound with intensity and sensitivity. This reissue fully restores the grandeur of one of Merzbow’s richest and most immersive recordings of mid 2000.

For it's 4th instalment and final addition to the May batch, Vaknar is enthralled to present 60+ minutes of selected organ music over two set of tapes, all coming courtesy of none other then Danish collage artist and musician øjeRum. øjeRum has been a favourite of the Vaagner/Vaknar hub for years, and it is with the utmost honour that we were given the chance to comply some old, new and unreleased organ works for this upcoming release, all of which will be presented via a double cassette box that will include a riso printed, fold out sleeve and feature work by both the label and the artist himself. -Vaagner What we listen to in this anthology of more than an hour are textures related to the minimalism of masters like Terry Riley, La Monte Young and Phill Niblock, as well as a fervent passion for the neo-classicism ambient of Erik Satie and Brian Eno . A reflexive maridation prone to states of static and decidedly spiritual interpenetration. Far away from the New age pseudo mysticism so in vogue. Here one can hear falls in profane and sweeping chasms built with an obscene simplicity. It´s not music (only) to listen to but with which to surround oneself and live forever. The word and concept music has been outdated for a long time. - Perú Avangarde

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1997 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1992 as M-Series by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

Meditations best seller! A Japanese talent who attracts attention from all over the world. Commissioned work for the Museum of Contemporary Art, Kanagawa. Hiroshi Yoshimura, a composer who has made significant contributions mainly in the fields of environmental music design and contemporary art, released his last album in 2003, a collection of music for the Kanagawa Prefectural Museum of Contemporary Art in Hayama and Kamakura. The album contains four pieces for the opening and closing of the museums in Hayama and Kamakura respectively, and two "special versions" that incorporate waves and human voices. The tones blend casually into the art space. The wind blows over the hills overlooking the ocean. A time when the sun is slowly setting. The gentle and tranquil ambient sounds depict various scenes seen from the museum.

2026 repress. With Dub Techno firmly back on the menu in clubs the world over, Deadbeat, at long last, resissues what is perhaps his greatest collaborative work with Paul St Hilaire aka Tikiman. A true genre masterclass, as the name suggests, the album infinitely showcases two titans of the form at their very best, and 10 years on, remains a stone-cold classic. Re-cut by their old friend Stefan Betke aka Pole at Scape Mastering who first cut it to wax so many years ago, this 10-year anniversary edition is a crucial showcase of two masters at work.

Works of the great Somei Satoh / Mandala Trilogy + 1 bonus track - Shomyo Buddhist chant vocalization and infinity ambient abyss transform into superb mystic and meditative harmonics.

"Mandala", "Mantra" and "Tantra" were recorded separately in 1982, 1986 and 1990. "Mandala" was included on the album Mandala/ Sumeru that was released on ALM (Kojima Recordings) and it was recorded at the NHK Studio of Electronic Music. "Mantra" was a NHK commissioned work (recorded at the same studio). "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording. Although each composition’s production comes from a different era, they all use Satoh’s own vocals as sound as well as electronics.

Includes bonus track "Mai", a composition commissioned by harpist Ayako Shinozaki recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Although it is not an electronic music piece, this composition complements the world that Satoh expresses in Mandala Trilogy.

Deep deep deep into the abyss.

In the midst of a series of great domestic new age/ambient reissues this year, including works by Mkwaju Ensemble, Motohiko Hamase, and Joe Hisaishi, here comes the long awaited pure ambient masterpiece! The monumental 1983 debut album by Inoyama Land, a synthesizer unit formed by Makoto Inoue and Yasushi Yamashita, former members of the still active techno-pop and avant-garde group Hikashu, has been digitally mixed down from the original multi-track tapes. The original 1983 album was digitally mixed down from the original multitrack tapes and reissued for the first time in 35 years.

The original 1983 album was released on MEDIUM, a subsidiary of the YEN label hosted by Haruomi Hosono. The original version of the album was released in 1983 on MEDIUM, a YEN label owned by Haruomi Hosono. The original version was known to be one of the most sought after by enthusiasts around the world, and both the LP and CD versions were extremely expensive. The origin of the album title comes from a childhood memory of Yamashita's friend playing with the song "Dan jin dan posidon! The title of the album was taken from the scene where Yamashita's friends used to play while saying "Dan jin dan posidon! The album was recorded using the "Water Delay System," a method devised by Hosono in which microphones and speakers are installed in a tank of water to create a unique, crystal-clear sound. From the ambient sounds colored by meditative synth layers, to the lovely home recordings, to the premature electronica feel, to the occasional avant-wave appearance, this is a masterpiece of originality and a playful piece of work. This is the pinnacle of unique music that lies somewhere between new wave and ambient. This is a masterpiece that is highly recommended for all environmental music and new age fans, including Hiroshi Yoshimura, Midori Takada, Yumiko Morioka and others!

In the 1980s, there was a unique music in between new wave and ambient. In the 1980's, there was a unique music between new wave and ambient, and Japanese music released in that period is now being heard around the world. Inoyamaland is one of the rarest of them all, and has not been forgotten. I was still involved in the release of the album 35 years ago, but the submission of the lost homework was a fresh surprise. The strange comfort of the region called Inoyamaland, like listening to a weather report, has not changed.
Harumi Hosono, July 11, 2018

Still Way" by Satoshi Ashikawa, one of the pioneers of Japanese environmental music, who founded the famous Sound Process label (Sound Process Design Co., Ltd.) and has brought out famous artists such as Hiroshi Yoshimura, Oscilation Circuit, and Satsuki Shibano, has been reissued on CD and LP! Finally, the new age revival/domestic ambient reevaluation has come to an end! Originally interested in contemporary music when he was in college, he worked at Art Vivant, a store specializing in art books and contemporary music, and has been active in experimental performances since the late 70s, collaborating with Mamoru Fujieda, Midori Takada, and Hiroshi Yoshimura. The following year, he passed away at the age of 30. This album has a clear concept of ambient music in the lineage of Brian Eno, and was created as a work that can be listened to casually as a "sound landscape" or "sound object. Four players, including Midori Takada, perform music composed by Satoshi Ashikawa. Although the composition varies from piece to piece, piano, harp, and vibraphone are used. It is a beautiful work that depicts an emotionally rich landscape that passes through contemporary/minimal music and is very simple, but also has the beauty of a Japanese pull. In his own words, the music is like a series of still moments. The cover design is by Hiroshi Yoshimura. Liner notes by Midori Takada, Satoshi Ashikawa and Gareth Quinn Redmond are included.

The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today. Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke. Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records. This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022. Much has been written about the record and band. Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music - the German variant which was later also named "Krautrock": Ash Ra Tempel´s self-titled first album "Ash Ra Tempel". "The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition. "Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.) AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms." Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following: "Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product. … On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions. Thank you for your attention." (Taken from the original A-R-T Bio 1970) Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank. The rest is history.