MUSIC

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.

(Limited quantities available / Includes DL code / Orange vinyl / Japanese obi / Includes instruction booklet)

Mount Kimbie, who have established themselves firmly in the UK indie electronic scene and whose songs with member Dom Maker were nominated for a Grammy Award, have released their fourth studio album, "The Sunset Violent," on <Warp>.
The Sunset Violent" continues the direction of his last studio album, 2017's "Love What Survives," seamlessly blending contemporary indie sounds, shoegaze, and electronica to create an album that is now a hallmark of the London scene. It is a perfect reflection of both the idiosyncrasies and forward-thinking nature of Mount Kimbie, who has now become a major presence on the London scene.
The work was produced in the rural western town of Yucca Valley, California, prior to the finishing touches in London. The auburn tones and desolate Americana landscape of the desert surrounds the entire album, perfectly matching the abstract storytelling and modern songwriting of each song, and here we have a new masterpiece from Mount Kimbie.
With Dom Maker and Kai Campos at the helm, and longtime collaborators Andrea Valency Beirne and Mark Pell, Mount Kimbie is a four-person group that, along with James Blake, created the post-dubstep trend and has been influential in the scene for nearly 15 Since their 2010 debut Crooks & Lovers (which topped the "Best Albums of the Decade" lists in over 30 media outlets including Pitchfork, Mixmag, and Resident Advisor), Mount Kimbie has been a fixture on the UK Since then, the band has continued the tradition of electronic music while also serving as a pioneering force for contemporary indie bands. Their last album, "Love What Survives," reaffirmed their reputation, featuring King Krull, Micachu, James Blake, and others, and in 2022 they released "Die Cuts | City Planning," an ambitious work that showcases the talents of both Kai and Dom. While Kai has enjoyed a successful career as a DJ, Dom has worked as a producer on tracks by Travis Scott, Siza, Metro Boomin, and James Blake, and his production of James Blake's "Loading" was nominated for a Grammy Award. James Blake's "Loading," which he produced, was nominated for a Grammy Award.

Hot on the heels of Impulse’s recently unearthed Coltrane number one hit album comes another beauty from Jazz’s ‘Holy Trinity’. This is a previously unreleased, precious lost treasure from Monk’s most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass, and Frankie Dunlop on drums. The music was recorded live in Copenhagen in 1963 at the peak of Monk’s career. A year later he was to feature on the cover of TIME magazine, one of only for 4 Jazz artists ever to do so.

The performance, a mixture of Monk originals and interpretations of standards, showcases Monk at his prime: full of avant-garde flair and wit, but always with a swinging feel that explains his title as the 'High Priest of Bebop'.

The original tapes, saved from a skip and blessed with the approval of the Monk estate, have been faithfully restored, mastered and cut using Gearbox's legendary all-analogue process.

Line-up

Thelonious Monk - piano
Charlie Rouse - tenor saxophone
John Ore - double bass
Frankie Dunlop - drums

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.

Japanese obscure dream pop gem! Two elevator bangers to get through the gloomy holiday season by Japanese artist, Sonoko, probably made somewhere in the 90's. Merry ye ye

Incorrectly perceived as simply an Autechre side-project, Gescom in fact exists as a platform for a number of aligned artists to work in various different combinations, whilst remaining otherwise-anonymous. Personnel in Gescom has varied from release to release and even track to track. Quote from the Autechre FAQ: "Actually the whole Gescom crew consists of almost 20 people. Sean Booth calls it an 'umbrella-project'."

When it first slipped out back in 2015, Manabu Nagayama’s ‘Light & Shadow’ passed most people by. Yet it’s a genuinely overlooked gem a musically expansive and uplifting Japanese deep house workout that first featured on a promo-only compilation back in 2015. A softly spun slab of slow-building brilliance full of fluid piano motifs, heady hand percussion, the track effortlessly sashays between heartfelt dancefloor melancholia and tactile deep house positivity. One DJ to see its potential was Rush Hour co-founder Antal Heitlager, who asked Masalo to remix it. Over ‘a few years’, Masalo worked on the revision in bursts, tweaking it and subtly altering the arrangement until he was happy. The results are undeniably impressive, elevating an already excellent track to whole new levels. DJs seem to agree, too, with Masalo’s fine remix becoming something of an underground anthem following the release of a limited number of white label test pressings earlier last year. Taking the spiritual end of deep house as his inspiration – and happy memories of attending events while visiting Japan – the Dutch-Japanese producer has delivered a slowly-building epic that subtly ratchets up energy and excitement throughout, while effortlessly eking out every last drop of emotion from Manabu’s piano-laden production. Extensively road-tested at the Brighter Days parties he runs with long-time DJ partner Kamma, Masalo’s remix settles into a chugging groove before introducing Manabu’s tactile hand percussion – a staple of spiritual deep house cuts – and melancholic piano refrains, as well as his own lilting chords and cascading synth sounds. By the time the original’s bouncy piano riff drops midway through, you’ll be lost in the music. Fittingly given the quality of Manabu’s original, it’s a revision that showcases the track’s best elements while gently lifting it to new heights.

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.

Maria is a trio from Holland and the Czech Republic, who have been producing their own unique post-religious cabaret since 2016. Lyckle, Katerina and Bjorn have amassed seven albums of outsider pop and improvised mayhem over the years. This collection of tracks were mostly made on a farm over a two year period and you can tell the fresh air had a conducive effect on their collective songwriting. A classic sound of drum machines, synth bass, and keyboards holds up Katerina and Lyckle’s vocal interplay alongside Bjorn’s guitars. When the three find their sweet spot, they can conjure up fine slices of whimsical, bleary-eyed pop music that isn’t afraid to smile once in a while and dream big.

Bristol’s four-piece outfit Quade announce their debut album, ‘Nacre’, out 17th November via AD93. ‘Nacre’ is the culmination of three years of work from the band, the blueprints of their songwriting and sound firmly established in the sprawling, haunting and yet hopeful record. Traipsing between gothic expansiveness and cosmic psychedelia, the record cannot be pinned down into one recognisable place. By the album’s close, the listener may be left wondering whether it was all a memory or a dream. The recording and production of the record was collaborative, with the band drawing upon the services of Jack Ogbourne and Larry ‘Bruce’ McCarthy - two divergent pillars of Bristol’s music community - for engineering and mixing respectively.

Lipelis makes a welcome return to L.I.E.S. with his TMO project and lines up a huge release with this four track ep, housed in a killer picture sleeve. Massive anthem alerts here as Lipelis teams up with keyboardist Eugene Piankov with epic results. From the absolutely soaring and melodic 303+909 driven opener, to the pensive mid tempo "Bright Jam" Everything comes to a head with the B1. cut that is a huge piano house anthem, this will save the party or bring it to the next level... solos, chord progressions, 303's, phased claps....everything going exactly how it should be...clean as a whistle, rockin the floor like mad. Absolutely recommended for connoisseurs of real dance music.

The long-awaited reissue of the popular "Summer Touch" by Neoncity's signature producer Macross 82-99! Included are "Together," a tribute to "Summer Madness," "For You," featuring a coquettish female vocalist, and eight other tracks. Color vinyl.

Long-awaited reissue of Neoncity's signature producer Macross 82-99 (Macroxx 82-99)'s popular Shibuya Meltdown, featuring Toriena, Puniden and more! Japanese culture-inspired electro-pop album featuring Toriena, Puniden, and others! Color vinyl.

Bay Area singer-songwriter, multi-instrumentalist and producer Lindsay Olsen is the brilliant mind behind the warped and magical project Salami Rose Joe Louis. Drawing from her studies in planetary sciences, she creates a unique experience: exploring ideas of multiverses and climate change through the lens of a fictional post-apocalyptic keyboard-toting earthling with a flashlight, a can of cashews and a hopeful optimism. Melding influences from jazz, rock and hip-hop – Shuggie Otis, Captain Beefheart, Stereolab, and R. Stevie Moore – she creates a unique blend of experimental galaxy sounds with jazz influenced vocals and keys. 

Her album “Akousmatikous” (Ah-coooz-mat-e-koi) features collaborations with Brijean (Ghostly International) and Soccer96 (a project from The Comet is Coming’s Danalogue and Betamax). It is released on 19th May 2023 with SRJL’s headline North American tour kicking off the following week. 

Akousmatikous/Akousmatikoi (or acousmatic) translates to “sound where there is no identifiable source”. The Akousmatikoi were a sect of Pythagorean mystics from the 5th century BC that were called the “listeners” as opposed to the Mathematikoi sect that were called the “learners”. The Akousmatikoi focused on ritual, harmony, and ethical behavior. “I am enamored with the concept of listening to a sound when we don’t know the source,” says Lindsay. “The act of listening in this great expanse of the universe, for answers, for questions, or just for something undefinable that we seek.” 

The former climate scientist signed with Flying Lotus’ Brainfeeder label to release “Zdenka 2080” (2019) and “Chapters of Zdenka” (2021). Both collections were packed with short bursts of experimental pop, abstract beats and bedroom R&B songs connected by a sci-fi narrative describing a future dystopian Earth in the year 2080 that has been mis-managed by unethical governments and corporations. The Line of Best Fit proclaimed “Zdenka 2080” “disorientating and fascinating” whilst Bandcamp described “a sweet journey into a world of pure imagination” and charted it in their Best Albums of 2019. The album was also nominated for Album of the Year 2019 at Gilles Peterson’s Worldwide Awards. 

“Akousmatikous” is the narrative sequel to “Zdenka 2080”: 
After the metropolis spaceship crashes into earth at the end of “Zdenka 2080”, there is a dimensional collapse. As a result, the earthlings have their heads and hands transformed into screens, which is where we begin the new album. The earthlings get stuck in a never ending video feedback loop between their heads and their hands. An interdimensional being, Zeeanori, is manipulating this feedback loop because he wants the plants to reclaim Earth and for nature to be flourishing and healthy again. An old friend and past love of his, Akousmatikous (from a distant planet), comes to earth to speak to him, curious about his motives and the complicated ethics of the situation. Akousmatikous agrees that nature will be beautiful and flourish, but is concerned for the fate of the earthlings trapped in infinite feedback loops. Akousmatikous hopes for a solution that can be beneficial for every being and entity, a path toward symbiosis. 

The title track ‘Akousmatikous (feat. Soccer96)’ is blessed with a stunning animated video directed by Academy Award-nominated filmmaker Carlos López Estrada (Disney, MARVEL). 

As on previous releases, Olsen primarily worked alone to write, record, produce and mix this record on her beloved Roland MV-8800 music workstation, but did venture out of her comfort zone to bring in some of her favorite musicians: Soccer96, Miguel Atwood-Ferguson, Juuwah, Brijean, Sergio Machado Plim, Danalogue, Jason Lindner, Dakim and Dan Nicholls. “I am a very introverted producer which has sometimes hindered me from pursuing collaborations in the past as I am shy to work with others in person,” explains Lindsay. “Having the opportunity to collaborate via the internet was a wonderful experience and led to some beautiful connections and new friendships.” 

The album artwork is by award winning designer and filmmaker Winston Hacking – best known for his collaborations with Flying Lotus, Run The Jewels, Animal Collective, Andy Shauf and BADBADNOTGOOD. His passion lies in conjuring hybrid works that are equal parts contemporary collage and early cinematic illusion. 

22 track album, feat. NxWorries (Anderson .Paak & Knx), Durand Bernarr, Rose Gold.

#BurningDesire super thank you to my big brother naavin, none of this would be possible without you. thank you for sticking with me through it even when it’s not as sunny. blood couldn’t make us more family than we already are! biggest love to aint wet, to mikey for always being the most helpful in the technical sides of things and abe for being the genius that he is. i’m so grateful for how your mind works and always incorporates everyones input. you are a once in a lifetime! thank you :)) biggest thanks to my real life twin cynthia, i appreciate the love and motivation you show towards my art and me as a friend! 🫀🫀 your light illuminates all of us!!! biggest thanks to klein, a creative pillar, always informing me and pushing me in ways to expand my creative world even more. big shout out to my big brother thebe, you lead without even knowing! grateful to be a writer alongside u & many greats! biggest love to the paris/manchester/amsterdam/lisboa/bk excursion gang. that trip saved my happiness and is a big factor to why this project was even able to be done. big shout out to laron for swinging the beat for snake charm. literally one of my favorite producers ever! glad 6/7 years down the line, niggas still in this shit! worldwide! biggest thanks to liv.e & venna for the amazing job they did on u think maybe? it brings tears to my eyes every time, liv.e angelic voice and venna whooping ass on saxophone. thank you to the full band, y’all came so clutch in such a quick time. (immanuel simelane & rashaan brown) biggest love to gabe for always mixing the shit out these songs and creating a very relaxed n calm space when doin so!!! ur very much appreciated!! biggest thanks to gawd for sending the beat for asff, ur a goat n the world gon see it if they not already!!1 thank you to shanice for heart turning poem on real love, u r the goat and i appreciate the love you show to me and my work. it means the most twin!!!!! thank you to my brother taka for always being an inspiration and honest voice. thank you for coming along the way w me this whole time. your work & presence is appreciated brodi!!!! thank you to my big brudda brayan for always being a creative inspiration as well and just a general moral compass in this confusing world! i love you broski! you teach me so much! biggest thanks to my brother cousteau, you’re golden and such a talented scribe!!! biggest thanks to my brother niontay, grateful to have met you and i am grateful your loyalty and friendship in this thang! y’all two are some of the craziest writers i have come across, thank you for seeing me worthy! biggest love to lila for blessing should be!, brooklyn legend, it’s an honor to have you on the album!!! biggest love to larry june for being so open to work and losing his mind on that mf verse!! greatest appreciation to mark williams lewis as well for creating such an atmospheric place on the outro. your music amazes me, thank you! biggest thanks to nick who drove for us on tour, he don’t know but that me being in my chief keef era statement boosted mines all the way. thank you to squills, marc, jasper, nicky w, cruzin, ian, m, sideshow, anysia for that amazing time on the road. i am so grateful to be surrounded by such profound artist and light spirits. you guys brought joy to my life! Thank you to my little & big sisters, yaw all inspire me so much and I couldn’t be a prouder brother !! thank you to my father and my beautiful queen for watching over me and praying for me always, I love y’all bigger than I can explain! there’s so many more ppl i could talk about, but i love y’all so much. my life has light, i appreciate y’all

Last Resort is an up-and-coming label in London, and also hosts a show of the same name on NTS Radio. G.S. Schray, a popular act on the label and an up-and-coming artist from Akron, Ohio, has released his first album in two years. The album is a masterpiece of new age/ambient jazz that weaves illusions into fantasies, passing from fourth world to Balearic. It's like watching Gigi Masin, Suzanne Kraft, and Joseph Shabason perform together on the horizon of Ibiza as the sun turns red. An exotic ambient trip of the highest order. The late Andrew Weatherall also praised him.

Six Organs of Admittance takes listeners through an extended narcoleptic journey on Sleep Tones, an all-electronic double album of new ambient work. Mastered by VDSQ labelmate Chuck Johnson, Sleep Tones was made with a specific effect in mind. These new sounds from the Six Organs universe represent an essential creative shift from one of the great guitarists of the 21st century, showcasing his ever-evolving palate. An antidote to modern overload, Sleep Tones provides a welcome stasis. In its physical manifestation, each side of Sleep Tones ends with a locked groove in case of dream state, with no fear of a needle sliding outside the set mood. These sounds lull through speakers and headphones, creating ideal conditions for consciousness drift. All sounds by Ben Chasny. Mastered by Chuck Johnson. Astro and Sky Photography by Joram Young. Design by SEEN Studios. Gatefold edition with spot UV Gloss; pressed to high quality vinyl at RTI.

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

Memory is malleable. The day you met the person you love, what color shirt was she wearing? At precisely what angle did the sunlight strike his face? How exactly did they glow? These little details are precious, but the strange thing is, the more you cherish them, the more they change. Each recollection is another potential touch point where stories can shift—each replay degrades the truth. Reality’s rough edges smooth, with time. Objectivity is a myth: cameras and recording devices all contort image and sound. There’s no way to know exactly how things were. And yet we still tell the stories, to try to capture how things felt, even though the truth is always slipping through our fingers. Lemon Quartet’s second album Arts Fests eems to unconsciously circle this thematic territory. Full of loose, yet lush repetition, it seems to function like memory—each dizzy melody recalling and rewriting what came before, subtly shaping each piece as time passes. Not that they seem especially concerned with the passage of time anyway. They space out, they work in the realm of feelings, scribbling melodious abstractions that feel familiar. Rich with compassion, harmony, and gestures toward ecstatic—if not objective—truth, it’s full of the sort of pieces that demand you return to them, but sound a bit different each time, new details overtaking familiar comforts. Are you hearing them for the first time? Or just for the first time in a long time? Either way, drift away, and try to remember…

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