MUSIC

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.

Hiroshi Yoshimura is a Japanese talent who is attracting attention from all over the world. In 1973, Hiroshi Yoshimura, who has made significant achievements in the fields of environmental music design and contemporary art, stocked the "Soft Wave for Automatic Music Box," a very early sound source that he had constructed using toy piano tones.

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

A memorable 1982 masterpiece first album left by Hiroshi Yoshimura, a Japanese talent who is attracting attention from all over the world, on the label Sound Process sponsored by the Museum of Contemporary Art Tokyo in Kita Shinagawa !!

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

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.

"Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."

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.

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.

Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.

The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.

Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).

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.

180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984. "As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork

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.

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Whatever industry savvy or musical virtuosity he lacked was made up for by unflinching resourcefulness and infectious charisma. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

The Atlantic City basement sessions are a low budget, high romance testament to Tossini’s character and the power of positive thinking. From the defiant, Casiotone samba of If I Should Fall In Love, to Wild Dream’s dizzying escapism and the native tongue croons of Sulla Luna and Sincerita, Lady Of Mine hums with the inimitable magic of a true original. Piercing the heart with an effectively sparse combination of humming keys, CompuRhythm drums, horn flourishes and backing divas, ample room was left for Tossini to frankly deliver his much-needed life lessons.

Underperforming commercially at the hands of short lived label IEA Records, Lady Of Mine has since earned a place in the outsider music canon. Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is now finally reissued on the artist’s own terms via Joe Tossini Music, in partnership with Efficient Space, restored from original master tapes with unseen photos, extensive liner notes and Tossini’s trademark wisdom. 



Devoutly independent, Tossini has previously self-released the 2015 instrumental album When You Love Someone as well as two books - a new fiction novel The Devil In White and his autobiography The Account of My Life. 

Meditations Bestseller! Steve Hiett's only album "At the Shore..." is still very popular as a masterpiece of AOR/light mellow with too much unusual transparency and floating feeling. The album has been co-released by Melbourne's Efficient Space and Be With Records for the first time on vinyl! Steve Hiett has worked as an art director and designer, and has also worked as a photographer for top fashion magazines such as VOGUE and MARIE CLAIRE. The original album, released by CBS/Sony in 1983, is known to be extremely rare and hard to find. The album was released only in Japan and was not distributed worldwide, despite the fact that it featured a superb lineup that represented the Japanese music scene at the time: Toru Okada of the Moonriders, Hirofumi Suzuki, Masahiro Mukawa, and Kazuhiko Kato. This is a very rare album. Remastered from the original master tapes. Don't miss it!

"People who are sort of more the outcasts of society tend to tell it like it is" – Scott Seskind, 2015. Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by Noise In My Head offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe.

Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.

This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.

An EP released in 2015 featuring an experimental concept of computer-controlled acoustic instruments. Its minimal, fragmentary compositions retain the physical resonance of piano and drums while crafting rhythms and phrases impossible for human hands. This peculiar sonic world, like a robot's improvised performance, possesses an avant-garde quality resonating with contemporary music and sound art. An important work regarded as emblematic of Aphex Twin's “experimental spirit.”

Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O’Shea was forced to create his own handmade answer to the sitars and zelochords he’d become accustomed to playing on his travels around the globe. 

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more. 

A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982. 

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home. 

Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara [Irish for "My Friend"]. 

He later described the process on the back of the LP himself saying: "Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen" 

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels. 

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation. 

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers. 

His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on. 

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the first half of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after. 

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound. 

Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.” 

After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world . His brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London. 

This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings. 

Compiled by Hunee, 'Sounds from the Far East' features highly sought after material by legendary Japanese house producer Soichi Terada and fellow producers Shinichiro Yokota, Manabu Nagayama!

Soichi Terada is an adventurous multitalent and over all a good sport. He was born in the sixties, and as a child he loved to play on his fathers’ electric organ. Terada majored in Computer Science and Electric Organ and after he graduated, he founded his Far East Recording in 1989, because he couldn't find a label for his compositions at that time.

The sound of Far East Recording is very much inspired by early nineties US deep house. Soichi Terada went out to parties in the late eighties, were he was equally influenced by house and hip-hop. A few years later, Terada took on producing music by using digital sampling. In the early nineties he occasionally DJ-ed with a DAT player and some reel tapes, instead of using records and turntables.

"Sounds From The Far East" shines new light on Soichi Terada's label and consists of material that was originally released in the early nineties. Next to Terada's music, Hunee also selected a few tracks by fellow artist Shinichiro Yokota for this compilation, as well as 'Sun Showered', a track based on the incredible Paradise Garage gem called 'Sunshower', by Terada and Nami Shimada.

Black Editions presents the expanded and definitive edition of White Heaven’s brilliant third album Next to Nothing. Originally released in 1994 by Tokyo’s Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought-after artifacts of the 90’s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead guitar on the group’s first two albums. The pairing is revelatory as they weave luminous melodic lines, sometimes in parallel, sometimes opening into sustained intricate counterpoint. Bassist Koji Shimura and drummer Ken Ishihara shuffle and swing in parallel with a fluid, sinuous rhythm, while flourishes of synthesizer, mellotron and the introduction of Go Hirano on keyboards and piano deepens the group’s sound with orchestral colors and a soft cinematic haze. Across the album, clear, shimmering guitar tones and gentle chord progressions are layered with bright arpeggiated figures and darker minor-key passages. The songs develop through gradual changes in tone and dynamics as Ishihara's voice reveals a gentle yearning and wistfulness. An extended version of Burt Bacharach and Hal David’s “The Look of Love” serves as the album’s entrancing focal point; Stretching the song’s familiar lounge-pop swagger, the group renders it as a slow-burning, psychedelic meditation crackling with electricity as it drifts into the night. Available for the first time on vinyl in over 30 years and for the first time ever digitally (a truncated four song CD EP was also released in 1994). Remastered and expanded to include a second LP featuring three previously unreleased song versions cut at 45RPM. Presented in a heavy tip-on gatefold with metallic and ink pigment foil stamping, spot colors as well as a gatefold insert. House in a custom vellum wrap with a mirror metallic sticker seal. Lacquers cut by Kevin Gray at Cohearent Mastering, pressed at Record Technology Inc.

Money Maker is a rare 1978 release by the great Jamaican organ wizard Jackie Mittoo. A must have instrumental reggae classic which blends a series of killer-riddims originally laid down at Studio One and Mittoo's highly infectious gritty funk organ work.

Khotin by Vancouver producer Dylan Khotin-Foote is a reissue of the cassette release that sold out instantly at bandcamp in 2018! The profound ambient sound is a chill-out refinement of the unfathomable depth of the previous work, which is both immersive and sleepy, and has been beautifully incorporated into the lo-fi feel of the artwork while maintaining the vibrancy of the spiritual & naturalistic sound world. This is a masterpiece of beauty that cannot be described in words, with a profound sound world that creates a dreamy fantasy land on a windowsill in broad daylight, only to sink into the border between Hades and reality. A masterpiece of unspeakable beauty. Highly recommended for all music lovers from new age to ambient and Balearic.