MUSIC

Underground rock festered and splintered as it spread through the U.S. in the mid-’90s, the alternative boom giving rise to microcosmic regional scenes singularly focused on feral powerviolence or screamo songs about breakfast. Boston’s Karate emerged as a force that could grip a national youth movement whose disparate tastes still commingled in the inky pages of fanzines overflowing with florid prose and on concert calendars for volunteer-run DIY spaces, community centers, and bowling alleys. In this world, Karate’s music was an enigma, one equally inviting to sneering punks and highfalutin indie-rock aficionados. Their 1996 self-titled debut, issued on Southern Records, set the standard. Lasooing together white-knuckle posthardcore tension, sharply focused slowcore serenity, and resplendent jazz complexity, Karate eschewed settling in any one definiable style. But they certainly used the language of punk to get their point across; occasionally, guitarist Geoff Farina abandons his warm, hushed cadences for a hoarse shout that made him sound ragged, intensifying an aggression that burst out with every snaggletoothed guitar riff or drum snap that went off like canonfire. Few followed their path—but who could keep up? Karate could make pensive moods blossom into feverish rollicking (“What Is Sleep?”), gracefully tip-toe around aggressive punk explosions without getting bent out of shape (“Bodies”), and stretch out slowcore’s quietest reveries till their reflective notes sound ripped from an improvisational jazz session (“Caffeine or Me?”). Karate formally introduced the trio as a vital part of an independent U.S. punk scene stubbornly flowering in the face of the major labels’ ’90s harvest.

After a 19-year hiatus, Duster came back with their S/T chef-d'oeuvre in 2019. Recorded in band member Clay Parton’s garage (aka Low Earth Orbit), the record bears all the hallmarks of the band’s early work: gaunt basslines, spindly guitars, and melancholy lyrics that lurk in the background.

A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, “We were here.” “Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer “Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Viceiframe style="border: 0; width: 350px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=1682543875/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>Contemporary Movement by Duster

Originally released as a hand-numbered CD on New Year’s Eve of 2004, Last Light captures Tor Lundvall’s hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived as “a piano album with sparse electronics” (with the working title November), Lundvall’s palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals. A journal entry from the spring of 2002 proved formative to his evolving vision: “I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness.” The album’s 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low-lidded plod – it’s a mode both austere and seductive, lulling the listener into its landscapes of deepening dusk. Lyrically, Lundvall’s language skews observational and depressive (“through lace curtains / grey light falls / dark clouds gather / in my soul”), with each song like a gauzy glimpse into a different tableau framing winter’s descent: rust-colored leaves, frozen ponds, cold crescent moons. Lundvall has long considered Last Light a “personal favorite” in his discography, and it’s easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in his iconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. Of all that disappears, and the ghosts that never leave: “So I wait / as the years / slowly drain the magic and the light / and the girl / I never loved / haunts me through the dark roads of my life.” Originally released as a limited CD edition of 955 hand-numbered copies on Strange Fortune in 2004 (SF2). Reissued by Dais Records as part of the 5-CD box set "Structures and Solitude" in 2013 (DAIS052). ARTIST STATEMENT: I outlined my earliest ideas for this album in October 2001. My original plan was to record a piano album with sparse electronics. The working title was "November" with the catalogue number EAE006 (later re-assigned to "Insect Wings Volume 1"). I originally wanted the CD artwork to feature details from my Autumn paintings, so trees and rusty leaves would cover the entire package. The inspiration came six months later, from a journal entry I wrote in April 2002 entitled "Lying in Bed - A Strange Evening". I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness. "Last Light" is a personal favorite and I feel it's one of my strongest releases. The music differs from my previous works in that the vocals are more up front and the compositions are sparser and more austere. There's a lot going on beneath the surface, however. Several tracks are based on specific locations near my home while others describe the changing light in my bedroom at various times during the day. The title was taken from one of my paintings which, curiously enough, does not appear on the sleeve. Tor Lundvall January 19th, 2005 (Amended March 2018)

〈Captured Tracks〉The biggest seller! Along with masterpieces such as "Salad Days", this is definitely an introductory board for this person! Mac Demarco is a current indie pop cult icon from Canada, known for his activities in Makeout Videotape, sampling Sekito Oshigeo's "The Word II", and the popular split single "Honey Moon" with Mr. Hosono. The 10th anniversary edition of the masterpiece "Rock And Roll Night Club" released in 2012 has been released as an analogue. A masterpiece of psychedelic and addictive indie pop that makes you feel like you're listening to Deerhunter's "Microcastle" cassette demo!

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group’s own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris—an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a “microscopic examination of leisure activities, this time centered around a nightclub,” a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record’s backbone, weaving in and out of sync with Harris’s free-form percussion and the pair’s sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo’s musical hobby-horses work themselves in: the influence of Mark E. Smith’s breathless deadpan, the headless outer-edges of ESP-Disk’s back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring’s artless temerity. “I’ve got to see and taste those city lights,” intones Lambkin on the album’s title track—indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what’s to come.

Unavailable for several years and highly sought-after​, Space Afrika’s excellent, career-establishing sophomore album ‘Somewhere Decent To Live’ encapsulates a singular, nocturnal mood that’s still the most distinctive thing in their catalogue. A stunning arrangement of mutable ambient frameworks, it lingers in the air like a stubborn waft of smoke, acting as a clarion call for a bunch of likeminded spirits that up until that moment had been lurking in the manchester undergrowth. What seems like forever ago, way back in 2018, Space Afrika presented a bird’s eye view of the city at night with ‘Somewhere Decent To Live’; their first and only album for the sferic label. Unshackled from the requirements of the dancefloor, but still inspired and feeding off its spirit and romance, the pair acknowledged undercurrents of jungle, dubstep, ambient techno and deep house which fed into their home city’s late night economy for decades, dowsing their tributaries back to dub and rendering the findings as shimmering ambient vapour. Forming cloud-like shapes illuminated by slow pulsing strobes, the vibe is precise but elusive. The pair’s dancefloor urges become completely dissolved in favour of more suggestive downstrokes, underpinned by thick and gloopy subs, leaving the kicks in the club while they float overhead like the dead kid embarking his Bardo in Gaspar Noé’s Enter The Void, evoking the neon romance of a classic Michael Mann night drive. The album weaves through eight interlinked scenes, drifting like spectral flanneurs from the Diversions-like opener uwëm/creãtiõn to intercept telepathic thoughts from Teutonic friends in the percolated and drizzly ambient clag of sd/tl, before arriving at the album’s most arresting moment on the widescreen yet immersive bly and its sublimely smeared timbral thizz… A modern classic.

Underground prominent figures of the Belgian 80's scene, Alain Neffe and Nadine Bal have released and produced dozens of tapes under different monikers. Bene Gesserit is probably their most famous and iconic one due to its multiple facets. Originally a tape released in 1981 on their own Insane Music label, "Best Of" encaptures all the DIY and creative freedom of the band. From the yagé vapors of "Erg Habbiana" to synth madness of "Gloria" or "Gppm" this album summarizes the full spectrum of their ethos:Insane music without borders. This reissue additionally includes four unreleased tracks from Alain Neffe vault. Remastered by Krikor Kouchian and limited to 300 copies.

The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition.

First making waves with the almost cult level ‘Hype Williams’ project, and then more recently solo and as part of the group Babyfather, the new 8 track LP sees Dean Blunt step back into the shadowy role of producer for a new band called Blue Iverson. It’s a vibesey one, this; digging a vein of smoke-hazed living/bedroom feels in eight parts that could almost be passed off as a Dam-Funk jam. Well, almost, but there’s still something off kilter and economical about the fidelity and mixing of the recording that hints it’s from the UK, or is even made to sound like the private pressed soul obscurities picked out by PPU. Hotep strongly reminds of those lush soul bits from Yves Tumor’s Serpent Music or even selected Letherette cuts released on Alex Nut’s namesake label. The image of Lauryn Hill on the sleeve is a cherry on the cake.

Michael Gendreau and Suzanne Dycus-Gendreau have been working under the name Crawling With Tarts from 1983 to 1998. They have released musical work on cassette and vinyl and have appeared on several compilations. In 1991 they released a video collection which included their works made with video, 8mm film, and with the PXL2000 camera. Their musical work ranges from structured composition to free improvisation, and their output documents a varied approach to music as well as highlighting collaborative efforts which have spanned the years and the globe. While Crawling With Tarts (Michael Gendreau and Suzanne McKee) are now best remembered for their lengthy experimental works, their 1984 cassette Tearoom, reissued on LP for the first time by Concentric Circles in an edition of 300, reaches back to a more primitive, elemental time for the duo. Tearoom is a notable document of Gendreau and McKee’s early music, where guitars and voices collide in unexpected ways, with buzzing organs and wispy clarinets tangling over thudding drums. While it sits comfortably within the parameters of the eighties cassette underground, Tearoom has its very own character, one untroubled by any need to align with the dominant stylistic moves of the music made by their peers. Opening track “Ithurial’s Spear” remarkably foreshadows the pared-back, home-baked non-rock of labels like Siltbreeze and Majora. With wah-fuzz guitar scrawled over a Peter Hook-esque bassline and McKee’s naive, almost childlike voice murmuring in the listener’s ears, it’s a perfect example of kitchen-sink psychedelia. From here, Tearoom continually unravels itself, taking off layers as it progresses to its close. The delay-drenched guitar of “Gentle Wind” could have fallen from an early Roy Montgomery release, while “Chilada” takes slurred, slowed voices and rubs them up against clattering guitar, tin can percussion and tetchy bass. The rest of the second side is a wild ride, shuffling between organ/clarinet spray, scrawling tape spew, and on closer “House Spirit,” a typewriter ticking out letters as the city goes about its everyday business outside the bedroom window. Tearoom is the perfect example of an album with surprises lurking around every corner, ricocheting from and finely riding the line between the most abstract of pop and experimentation in the truest sense of the term. With the humblest of means Crawling With Tarts created a musical world all their own, in the process making a truly revelatory experience for curious ears and gently twisted brains alike.

Nora Guthrie's ultra-rare "Emily's Illness" is a lost gem of songcraft originally released in 1967, now reissued in the same 7" vinyl format (b/w "Home Before Dark") as the original. Featuring the pure vocals of the 17-year-old daughter of Woody Guthrie, "Emily's Illness" was written by Eric Eisner (The Strangers) and impeccably arranged by Artie Schroeck. A romantic collaboration of psychedelia, pop, and acid-folk, but informed by the harmonic and rhythmic developments of João Gilberto and jazz.

To celebrate the 21st anniversary of Juana Molina’s breakthrough album Segundo (2000), here’s a very special reissue, remastered from the original tapes, and augmented by a rich booklet recounting the eventful start of Juana’s musical career, and containing numerous notes, anecdotes, original drawings and previously unreleased pictures.
Segundo is the album which started Juana Molina’s international trajectory as a musician, and its making was a wild story: after dropping her highly-successful career as a TV comedian, and signing with a major company who got her to record her debut album, Juana set out to find her own direction in music and started working on a new record (aptly titled Segundo). This journey took four years, and included sessions in Argentina and in several houses where she lived on the US West Coast, the involvement of several possible producers and of four successive record labels, who each had their own idea of what Juana should be doing... Juana remained untamed, forged ahead and, during the course of this sometimes complicated process, developed her own method and her own characteristic sound. She writes:
From the moment “Segundo” took shape, I began to walk a path that I have not yet abandoned. That is why it’s so important to me. I feel that this was the seed of everything I have done ever since. I discovered the flair of composing in real time, the charm of discarding the very idea of demos, the grace of documenting these moments of searching and finding. Everything else became dispensable.

In 2000, Juana finally self-released Segundo in Argentina. The album semi-accidentally made its way to Japan where it very spectacularly took off, and was eventually picked up by the Domino label in 2003. The reception of Segundo set Juana Molina on course for starting to perform around the globe, garnering a large, devoted fan base, and going on to record five more extraordinary studio albums (including the widely-acclaimed Halo in 2017) and a live record (ANRMAL, 2020).
All this and much more is narrated in the lovely booklet, which includes notes by several people who were involved in these events (including Bruce Springsteen producer Ron Aniello) and by early adopters such as KCRW DJ Chris Douridas, Domino Recording’s Laurence Bell (who discovered Segundo by chance, in Will Oldham’s car), and David Byrne who, as soon as he heard the album for the first time, invited Juana to open for him on his 2003 US tour. 
 

“…his raw songcraft is terrifyingly effective at communicating the breadth of human emotion… beautiful,damaged,naked and utterly compelling.”- THE WIRE “The quaver in Mr. Banhart's voice is as shaky as his songs' connection to everyday reality...his songs and fragments ponder animals, apparitions, logical leaps and childlike certainties, all with credible eccentricity.”- THE NEW YORK TIMES #2 ALTERNATIVE ALBUM OF 2002 “It's been awhile since an obsessive, naïve, utterly original musical visionary…emerged from a private sanctum into the embrace of the rock cognoscenti. But we've got one now.” -THE LOS ANGELES TIMES

南米ものを中心にオブスキュアでエポックなレコードの数々を掘り起こしてきたベルリンの〈Altercat〉からの新着物件！ジャズやファンク・ボッサ・ヴァイブスがそのトレードマークであるシネマティックなフィーリングに包まれながらキスを交わす。アルゼンチンのジャズ史の形成に重要な役割を果たした存在として海外で成功を収めたGato BarbieriやLalo Schifrinと並ぶべき過小評価された伝説的ミュージシャン、Jorge López Ruizが78年に録音した色彩豊かなアルバム『Un Hombre de Buenos Aires』がアナログ・リイシュー。バンドネオンにDino Saluzzi 、パーカッションにDomingo Cura、そしてドラムに彼の生涯の友であるPocho Lapoubleといった国内最高峰のミュージシャンたちを迎えたバレアリック・フィール満点な傑作ラテン・ジャズ盤！

A dreamlike dispatch from mid-80's Japan, the first and only Hallelujahs album is an entrancing and gentle work of psychedelic pop brilliance. Friends gathered in the studio by Shinji Shibayama (Nagisa Ni Te), Hallelujahs created a music of deep feeling and wonderment with simple song craft and a guileless magic. The album was the first release by the now revered ORG Records in 1986 in a micro-edition of 300 copies. With affinities to the sounds of the Rough Trade and Flying Nun labels, the Paisley Underground and Galaxie 500, the album is an utterly unique masterpiece that remains a touchstone for generations of like spirited artists in Japan and around the world. Black Editions is proud to present this all-time classic in a deluxe vinyl edition, remastered from the original tapes and presented in a heavy tip-on jacket with textured paper, mounted high quality print, foil stamped finishes and spot colors. Also released with a special limited edition 7" featuring two previously unreleased tracks and hand stamped envelope with seven photo cards.

Absolutely essential. Deluxe 2LP edition of this impeccable album from 1988. The spot glossed Gatefold jacket features artwork including archival photos & drawings from Woo’s archives as well as liner notes by Clive Ives (one half of the band). Issued for the first time in its entirety on vinyl, spread over two LPs, and remastered from newly discovered hi-quality DAT sources, we’re thrilled to present the definitive version of Woo’s most fully-formed album. A cosmic testament to the healing power of love, utilizing vocoded clarinets, pastoral guitars, homespun folk lullabies, and lilting electronics, coalescing into a an hour plus long journey through their otherworldly soundscapes. A prime entry point to Woo’s sound, containing some of their most beloved songs, such as ‘Make Me Tea,’ ‘It’s Love,’ ‘Hopi’ and many others, and also including a never-before heard bonus track – the vocal version of ‘It’s Love.’ Into The Heart Of Love was originally self-released on cassette in 1988, with a wider cassette release in 1990. Compiled from home recordings from the preceding years, and released during a transitional point for the band, the Ives brothers see this album as their most complete work, offering space to the listener to stretch out and immerse themselves into the warmth of their sound. Woo is the uncategorizable project of Clive and Mark Ives from Brighton, UK. Since the 1970s, the duo have been recording a plethora of eclectic sounds, most falling under the blanket genre of new age, but spiraling out toward notions of ambient sounds, jazz, and other spiritual takes on modern music. They received some acclaim for their early releases, including 1982's Whichever Way You Are Going, You Are Going Wrong and 1989's It's Cosy Inside, but their work began to receive renewed appreciation during the 2010s, when labels such as Drag City and Palto Flats reissued the band's albums. The brothers remained active all the while, digitally self-issuing material.

Palto Flats / Putojefe Records present the first ever reissue of the work of American composer Dorothy Carter, master of the hammered dulcimer, zither, and other instruments of the hammer chord zither/psalterium family. A true musical vagabond, Dorothy was born in New York in 1935, though her spiritual pursuit of an expansive musical knowledge would take her to monasteries in Mexico, conservatories in France and London, and the founding of the Central Maine Power Music Company (CMPMC), with new-age/minimalist luminaries such as Constance Demby and Robert Rutman. Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album. The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song. She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.

A fascinating world of Japanese things! From the popular disc guide "Wa Realic Disc Guide" that introduces domestic sound sources that also captivate overseas digger, the rare edition "Today's" that adds the essence of jazz-fusion in the early 80's to Afro Cuban / Latin Standard.・ Latin Project ”is now on CD for the first time in the world!

From the "Wa Realic Disc Guide" that introduces the "Japanese Mono" sound sources that are attracting attention from domestic and foreign digger, from the series that reissues the selected masterpieces, "Today's Latin Project" following Akira Inoue's "Cal Savina" Recurrence decision!

This work is produced by Mr. Tadaaki Misago of Tokyo Cuban Boys, who introduced Latin music to the Japanese music scene shortly after the war, and Jun Takemura, who has continued to convey the charm of Latin music since the 1970s. Mr., it is a historically important work that tried to popularize Latin music from a new perspective in the 1980s when the transition from analog to digital!

The arranger has attracted attention for his activities in the experimental rock band "Mariah" and his solo works, and Yasuaki Shimizu, who has been re-evaluated worldwide in recent years, and Western rock-based styles have had a great influence on the music scene at that time. A gem of electronic Latin sound produced with the quality of not only Japan but also the world standard, such as the participation of Kazuo Otani of SHOGUN who gave it!

Produced by: Tadaaki Misago / Jun Takemura
Arrangement: Kazuo Otani / Michio Uehara / Yasuaki Shimizu

Musician:
Yoshinori Nomi (Timbales / Quinto / Percussion)
Eiji Narushima (Congas / Percussion)
Junichi Yasaka (Bongos / Bata / Percussion)
Kazuaki Misago (Drums)
Michio Nagaoka (Bass on “Jungle Drums” and “Siboney”)
Yuji Muto (Bass on “Green Eyes” and “El Cumbanchero”)
Morio Watanabe (Bass)
Kiyoshi Ogiya (Guitar on “Jungle Drums” and “Siboney”)
Kazuo Otani (All Keyboards on “Jungle Drums” and “Siboney”)
Nobuyuki Koizumi (Electric Piano on “Green Eyes” and Acoustic Piano on “El Cumbanchero”)
Toshio Araki (Trumpet)
Nobuo Kato (Trumpet)
Minoru Otaka (Trombone)
Masami Nakagawa (Flute)
Eve (Chorus and Voices on “Jungle Drums”)
Masami Kojo (Tres Solo and Guitar on “Green Eyes”)
Shigeharu Mukai (Trombone solo on “Green Eyes”)
Bob Saito (Tenor Sax Solo on “El Cumbanchero”)
Mieko Shimizu (Chorus on “Danza Lucumi”)
Yasuaki Shimizu (Tenor Sax / Flute / Bass Clarinet / Chorus and All Keyboards)

"recorded music"
1. Jungle Drums
2.Green Eyes (Aquellos Ojos Verdes)
3.Siboney
4.El Cumbanchero
5. Hindu
6.Danza Lucumi
7. Quiereme Mucho
8.Pygmy Land

Another one of the albums that Prestige would issue several years after it was recorded, Bahia is drawn from a couple of sessions that the iconic tenor saxophonist recorded for the label in the late 1950s, during a time in which he was exploring different genres with various players, including pianist Red Garland, bassist Paul Chambers, plus drummers Jimmy Cobb and Art Taylor. The album has plenty of Trane hallmarks in the saxophone lead, and there is noteworthy contribution from trumpeter Wilbur Harden on ‘My Ideal’ and Freddie Hubbard on ‘Something I Dreamed Last Night.’ This is simply a great Coltrane listening experience.

Madvillain, a super popular hip-hop duo consisting of MF Doom & Madlib, has stocked a cassette version of the monumental masterpiece released by in 2004! This gritty analog texture, the stagnation beats that Madlib keeps throwing in, and the drunken Doom flow just intoxicate the listener. There is no moment like yawning, and a terrifying finish that does not make you feel any gap from beginning to end. Please enjoy one of the centuries that represents hip-hop in the 2000s with the sound quality of cassettes!

"Drawing" cover, aka "Old Donuts," the unofficial name for the original edition of J Dilla's Donuts 2/LP with an illustrated sleeve, the way the vinyl was originally released in 2006.

Madvillain, a super popular hip-hop duo consisting of MF Doom & Madlib, has stocked a cassette version of the monumental masterpiece released by in 2004! This gritty analog texture, the stagnation beats that Madlib keeps throwing in, and the drunken Doom flow just intoxicate the listener. There is no moment like yawning, and a terrifying finish that does not make you feel any gap from beginning to end. Please enjoy one of the centuries that represents hip-hop in the 2000s with the sound quality of cassettes!

My Garden, a collection of songs written, recorded and produced entirely by Kirby, is a pure distillation of his sound — soulful, spiritual, and evocative. Demonstrating perfectly why Kirby is the go-to collaborator for artists ranging from experimental auteurs Bat for Lashes and Connan Mockasin to pop megastars Harry Styles and Kali Uchis, and R&B innovators Solange and Frank Ocean, My Garden is also a testament to the clarity and singularity of Kirby's vision.