MUSIC

Long before becoming the global techno mastermind that he is today, alongside his F.U.S.E. alias for Warp's recently reissued Artificial Intelligence series, Richie Hawtin was also best known for his Plastikman project, amassing a huge, era-defining body of work. Now an undisputed classic Sheet One was the first Plastikman album to surface, originally released in 1993 and now resurfacing as ever on Mute's own electronic and dancefloor focused subsidiary, NovaMute for a much needed 30th anniversary remastered reissue. The album makes fine use of prominent Roland 303, a staple on the acid house scene, and utilised in exemplary fashion alongside laser-cut minimalist structures and driving echo-box acid lines. Long before Richie Hawtin became the global techno mastermind that he is today, he was best known for his Plastikman project initially defined by debut album and now undisputed class Sheet One.

A miraculous reprint of a great masterpiece. This is a work that still fascinates many listeners. Biokinetics", the ultimate masterpiece in the history of dub techno/ambient, was released by Porter Ricks as the first release for Chain Reaction, a sub-label of the sacred Basic Channel, and has been reissued by Mille Plateaux on 2LP and CD. Following three 12" releases, this was the label's first album release and is still considered one of its best. This is a masterpiece that reconstructs the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald into a gem of techno sound, infusing it with cold, isolated experimentalism and minimalism like early Plastikman.

“A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music” Electronic Beats A Mountainous Masterpiece. A powerful testament to rave culture’s establishment and the birth of a new scene in Japan emerging in the mid ‘90s. One of Yokota’s most celebrated work that merges Japanese new age and minimal techno. Alex From Tokyo Prat (Japan Vibrations, world famous, Paris) On July 26th Susumu Yokota’s venerated 1994 classic ‘Acid Mt. Fuji’ is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan’s Musicmine – specifically it’s electronic subsidiary Sublime – released the album on June 29th 1994, simultaneously with Ken Ishii’s ‘Reference To Difference’, as their inaugural joint offering. ‘Acid Mt. Fuji’ is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized – proffering a unique blend of early 90s western styles and the essence of his home country. Yokota originally planned an ambient record, but ‘Acid Mt. Fuji’ evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results. The long player found its muse in the famed 18th-19th century artist Hokusai’s red rendition of Mt. Fuji, known as ‘Red Fuji’ or ‘Akafuji’. Part of the painter’s renowned ‘Thirty Six Views of Mt. Fuji’ series from the 1830s, ‘Red Fuji’ depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like ‘Kinoko’ and ‘Meijijingu’ invite the listener to immerse themselves in the album’s spiritual depths. Yokota’s own homage-to-Hokusai drawing graces the record’s cover, and was inspired by the concept of wa (harmony) – highlighting his diverse skills not only as a musician, but an artist and designer too. ‘Acid Mt. Fuji’ is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures. He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan. Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself. - This triple vinyl Deluxe Edition includes the original album’s eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD. There are also two digital-only bonus tracks. One is a live performance by Yokota, titled ‘Live at Shibuya Beam Hall’, which was recorded at Sublime Records’ label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled ‘Sublime Records Presents New Style of Electronic Ambient Party’ featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of ‘H’, which was discovered recently whilst excavating a DAT. The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation ‘Japan Vibrations Vol. 1’ captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.

2001’s »Anima« was the third album released by Sasu Ripatti under his Vladislav Delay moniker and marked a turning point in the stylistic development of the prolific producer. Clocking in at roughly 62 minutes, the single piece draws on dub aesthetics while working with Musique concrète-like methods through the liberal use of samples to create a dreamlike logic. Muffled voices, lush chords, subtle rhythms and indefinable sound events are not so much integrated into a composition with a predetermined outcome but rather engage with each other freely in a constant sonic flow, forming constellations in one moment before moving on to connect with other elements in the next one. »Anima« marked the first time Ripatti was using a DAW in his working process, creating a piece constantly in motion that subtly evolves over time. This vinyl reissue on the German Keplar label follows up on the 20th anniversary edition of 2000’s »Multila« and will be complemented by a ten-minute long version of the original piece, previously only available on the CD version released by the artist on his own Huume label in 2008. After the release of his »Ele« and »Entain« albums in 1999 and 2000, respectively, Ripatti took the 1998 independent movie »Hurlyburly« as a conceptual starting point to experiment with different gear and production methods. »Until then I had worked with an old MSQ-700 MIDI sequencer and an Ensonic EPS16 sampler/sequencer that had one or two MB of sampling memory and mixed the music live on a Mackie, which was very limiting arrangement-wise,« says Ripatti. Loading a slightly shortened version of the film into his DAW however allowed him to play along to it with the DrumKAT MIDI controller, triggering and playing all the sounds that can be heard on »Anima« while also contributing synths, bass and other sounds during repeated playthroughs before mixing a total of six stereo tracks together. »This way, after I had edited out most of the few parts that had music in them, I was in the movie; almost like an extra character playing music,« explains Ripatti. »This was certainly the most organic way in which I have ever made music, and I have never again approached another record like this.« While »Anima« sounded like an unusual Vladislav Delay record at the time of its release, it also prefigured many of the developments Ripatti would go through in the course of his long career. Combining visceral immediacy with a sense of abstraction, it is far more than a mere missing link in his discography but rather a conceptually and musically outstanding piece of work that remains as engaging as it was 21 years ago.

“Originally released on the lauded Green Energy label from experimental maverick Henry Kawahara, Forest Jams is thrilled to present the official re-issue of Nami Hotatsu’s sophomore album – revised and re-christened “Ultra Hyper Cosmic Voice” by the artist herself. Equal parts beguiling and inviting, Nami’s mixture of vocals and driving propulsive beats still sound as fresh and as captivating as when they were originally released in 1994. Now, thirty years later, we invite you to discover Nami’s “perfect world of being” in its totality – awakening yourself to the unknown world inside through what lauded producer Haruomi Hosono hailed as a “shamanistic” vision!” – Hsu Jui-Ting

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!

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour. Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn. Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’. Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg. Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a foreword from San Franciscan poet Rod Roland.

A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across 17 open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid. A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’. Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Gagnebin-de Bons and an aptly penned foreword from Sonic Boom.

12月下旬再入荷。あまりにも嬉しい〈Efficient Space〉からの奇跡の2024年リプレス！オーストラリアに沸く現代ニューエイジの屈指の泉、Andras Fox = Andrew Wilsonが描くやすらぎ盤の第2章...
本作はAndrew "Wilson" 1人だけでなく、Not Not Funからデビューしたヴェイパーウェイヴ & AORの哀愁インスト紳士、あのEleventeen Eston = John "Tanner"とのプロジェクトです! メルボルンとパースの海辺や夕陽、都市の街なみをバックに想い想いのダンスでアンビエントなたけを演奏してきた彼ら。今作はその想い想いな部分が小さく小さく、空気やムードなレベルにまでおだやかに、しかしこれまでになく色濃い境地にまで達してます。Tannerのクラリネット、Wilsonのシンセが舞うA1 "Sun Room"からしてどうしましょう...
グラフィックと音楽が同じ土台でむすびつく、オーストラリアならではのアートワークもすばらしい。Emotional RescueやPalto Flats、Music From Memoryがそうしたように、数十年たっても語り継がれてほしいアンビエントの傑作です。

"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.

Carrying Colour presents 'Sen Am', the third album by Duval Timothy. The album is the product of Duval spending the last two years living between London, UK and Freetown, Sierra Leone. 'Sen Am' is a Krio phrase that means 'send it' or 'send him/her Throughout the record friends and family from Sierra Leone appear through Whatsapp voice notes that speak over solo piano and layered instrumental compositions. Also featuring: 6pac, Aminata, Aruna, Emmerson & Sydney. The LP was recorded in London (UK), Bath (UK), Freetown (SL), Tokyo (JP), Kyoto (JP). Recorded and engineered by Duval Timothy Copyright Duval Timothy

Be With Records present the first ever official reissue of Kimiko Kasai with Herbie Hancock's Butterfly, originally released in 1979. The positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock. Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie, and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin, and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie/Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years. The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story", and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As". This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece.

Did you come here to serve art and make sacrifices for its sake? Or to exploit your own personal ends? Over the past five years, Mark has forged a unique identity in underground drum’n’bass, alloying traditional junglist motifs and luminous electroacoustic ambience to devastating effect. Developing his sound through a series of singles and EPs on A Colourful Storm and Berghain’s Unterton imprint and collaborating with likeminded peers in both classical and soundsystem spheres, A Colourful Storm presents the culmination of his work and debut album: a two-part study in rhythm, timbre and texture of monolithic scale. Mark’s ambitions had been clear from the outset. Integrier Dich Du Yuppie (2017) and The Least Likely Event Will Occur In The Long Run (2018) are not titles of fleetingness but statements of grave philosophical heft. The relationship between—and division of—people, place and power animated Mark’s production and has remained a pertinent theme throughout his work: the mechanics of force, the cunning of reason, the invisible but crucial hand of chance. Within these groundbreaking sides lies a synergy between splintering rhythmic elements and extraordinary atmospheric passages—the latter most deeply explored in Not Kennt Kein Gebot! (2022), a heart-on-your-sleeve mixtape pitting post-Second Viennese School disciples like Luigi Dallapiccola against an era-fusing suite of compositions from Radulescu, Zemlinsky and Monteverdi. This direction is also explored on Mark's monthly NTS Radio show, True As Few. Bridging the sonic qualities of post-tonal composition and soundsystem frequencies is nothing new—the oeuvre of Christoph de Babalon immediately comes to mind—but here, Mark attempts to meet both poles on their own terms through two meticulously arranged longform pieces. Any suggestion of connection to dance music history has been thrown out for rhythmic arrangements that skirt the contradiction between strict logical coherence and human perception. What on the surface seems hostile reveals a welcoming catacomb of connections between elements that stake their claim, disappear, merge and finally reappear—their return sculpted by the intricate mediation of similar and dissimilar elements. The album is deeply personal, too. Following a Stanislavski-led path through fragments of his pre-maturity music history, Mark connects memories of free jazz drumming and modern percussion ensemble performance with the joy of choral singing, ad hoc kitchen-sink group improvisation and those moments where life seems to swing on a hinge of musical feeling.。

Paradigm-shifting percussionist Valentina Magaletti stops time on 'La Tempesta Colorata', a long-form set that rolls thru tempos and time signatures with gymnastic flexibility, offering another spectacular entry to A Colourful Storm’s gravity-defying recent run of releases. Magaletti is a regular and constant presence on these pages as a member of Moin, Vanishing Twin, Tomaga and CZN, as well as thru endless collabs with everyone from Floating Points to Nicolas Jaar, Jandek to Helm. For our money, though, she's at her most arresting when operating in solo mode. "La Tempesta Colorata" was recorded at Cafe Oto in October 2021 and follows her astonishing 2020 solo set "A Queer Anthology of Drums” with a virtuoso performance that never drags for a moment, fluctuating from ASMR scraping to angular post-punk rhythmic pulsewerk. With a full drum set, a handful of additional small instruments and a delay pedal, Magaletti somehow captures a full spectrum of sound, employing only minor additional elements to flesh out her sound. From the dewdrop swagger of the opening minutes, thru rolling tom-led seismic activity - complete with customary screams - and into echoing industrial dub-improv experimentation, she's able to assemble her rhythms with metronomic accuracy, but with enough space in the gaps to enhance inherent human qualities - a far cry from fully electronic studio productions. It’s a spellbinding display of polymetric complexities where no two seconds repeat themselves, persistently pulling patterns apart and restitching them in diffractive slow-fast-slow temporalities that arc from showers of cascading hi-hats, to pugilistic breaks, to an unexpected trough of Twin Peaks-y drones around the mid-section, only to climb out of it via icicles of melodic chimes and into more humid areas of her imagination, ultimately shoring up in pitch black Amazonian zones. If you're into anyone from Autechre to Eli Keszler, Milton Graves to Han Bennink, this one's a mindmelt.

No digital version available 

This is the long-awaited, first-ever vinyl release from the Osaka-based band goat. The five tracks are compiled from their debut album “New Games” (2013) and their second album “Rhythm & Sound” (2015). The titles of those releases provide a hint: a sense of joyful play within defined structures, and an emphasis on propulsive pulse and a prioritizing of pure percussive sound over melodic content. With guitar, bass, drums and saxophone, goat create music which is unlike most rock bands, utilizing harmonics outside standard tonality, as well as clever muting, to craft intricate, driven, forceful compositions by Koshiro Hino, aka YPY. goat is currently going through a period of new development and further exploration of intertwining patterns of rhythmic repetition; this compilation is the bedrock. Superbly recorded and mixed by Bunsho Nishikawa, mastered and cut by Rashad Becker, cover art by Tomoo Gokita, this release will be a revelation for your turntable. 

TRACKS: 
A1. New Games 
A2. std 

B1. Solid Eye 
B2. Ghosts Part 1 
B3. On Fire

Following the release of the well received Rave ‘Till You Cry compilation of unreleased versions from the vaults in 2019, Disciples follow it up (a mere 5 years later!) with a new album from Rephlex alumni Bogdan Raczynski, complete with another manifesto style title: You’re Only Young Once But You Can Be Stupid Forever.

A collection of warmly melodic electronic sketches, with tracks alternately drifting beatless on the breeze or underpinned by lo-fi drums, sometimes barely held together with a delicate construction of odd synth patches and ping-pong percussion. Each piece is short and to the point, a record of perfect miniatures. Whilst this description may sound utopian, the album is conceived around themes of late stage capitalist brutality, hyper consumerism, online doom and alogorhithmic apocalypse. Beauty in the face of planetary collapse and 24/7 livestreamed genocide. The theme summed up by the front cover which just features a giant (readable) QR code, that most ubiquitous of modern symbols. We’ve asked Bogdan on several occasions for more background information on the creation of these tracks, but received a different answer each time. One of the below statements might be true, though it’s equally possible that none of them are, just like the real news.

1) All these tracks are a result of Bogdan asking AI to make an EDM album.

2) These tracks originated in a desperate bid by Bogdan to crack the lucrative mood / chill / coffee / gym algorithmic playlist market.

3) All of these tracks were commissioned for a Tesla infomercial but rejected when Elon Musk heard them.

4) The music on this album is over ten years old.

5) The music on this album was made in a furious weekend of creative inspiration in early 2024.

The QR code on the cover takes listeners to an ever-evolving page on Bogdan’s website which may delve into some of these theories in more detail, or ignore them completely.

We leave you with Bogdan’s text in the booklet that accompanied Rave ‘Till You Cry as the closest we may ever get to some kind of logical reasoning:

“Burn the damned art labels. Ambiguity is wonder. Information is an affront to expression, a death knell to spontaneity. For if an explanation is required, then a connection has failed to be made. Art should be like an overtone, resonating invisibly with your history to form an ethereal experience. Either it hits you or it’s wrong time, wrong place. To hell with the dawdling interviews and vanity shots. One turns to music precisely because it least resembles what’s in the mirror. Put away the arrogance and pride, and boast and bias. With each word uttered, your mystery wanes. Your shimmer dims. In my nostalgia, your light show is drowned out by the ricochet of soundwaves. Art is best when all else is drowned out. Black as though the moon forgot to come out. Let the night cover my flailing humanity like a veil. Gangly arms tangled, feet aflutter, yet all but silent against the din. This is not an escape. This is me screaming, happily, inside, out through my fingertips. This is my beck and call. Carefully assembled to drw forth some other form of you. May we partake in this moment together, for just a little longer.” 

Released in March 2004, the genius Squarepusher's masterpiece “Ultravisitor” is not only one of the most popular releases in his illustrious discography, but also a milestone masterpiece that has defined his reputation. From the anthemic title track to the classic “Iambic 9 Poetry,” a fan favorite since its release, to the furious electronica of “Steinbolt” to the blissfully sunny melodies of “Tommib Help Buss,” the blend of studio and live recordings This album, a blend of studio and live recordings, is a perfect example of the diversity of music that Tom Jenkinson, aka Square Pusher, creates.

All tracks remastered from the original tapes
Black Ultravisitor 2LP in 5mm wide spine sleeve, printed inner sleeves
Bonus Venus No.17 Maximised 1LP in square die-cut sleeve, poly-lined inner
16 page 12" x 12" booklet
All housed in printed O-card outer sleeve

(Limited quantity/Includes Japanese obi/Includes Japanese commentary)Richard D. James, a.k.a. the Aphex Twin, released "Selected Ambient Works Volume II" in 1994 at the age of 22, a major ambient album that has gone down in music history. This monumental work, which was also the first album for the Aphex Twin after they moved to WARP, is now being released in a new expanded edition with additional material to mark the 30th anniversary of its release.

One of the most representative works of their career, this album contains 7 tracks recorded at the "best performance" in a hall recording. This is a masterpiece that will remain in the history of Japanese fusion music, and was selected as one of the best albums of 1982 by both ADLIB and JAZZLIFE magazines. Cutting by Bernie Grundman. Repressed on clear green vinyl!

Easily one of the most coveted and sought-after of all jazz LPs is the elusive Holy Grail that is Roy Brooks' Ethnic Expressions. It's not just rarity that makes a record of this nature so desirable, nor is it the compelling music within -- sometimes, like a Van Gogh or a Picasso, it's the personality of the artist himself that's inexorably entwined with the record itself that lends a fascinating, mesmeric and mythical quality that simply can't be contrived. The sixth release in Jazzman's Holy Grail series is an attentive reissue of one of Detroit drummer Roy Brooks' two LPs for the tiny Im-Hotep label out of New York. This Jazzman release is in conjunction with P-Vine Records of Tokyo, whose Japanese reissue has already vanished with only a handful having reached these shores late in 2009. Ethnic Expressions was recorded live in NYC in 1973, and exhibits a powerful message of black consciousness and spiritual freedom. This is post-Coltrane progressive jazz of the highest order! With a cry to his African roots, Brooks' music combines modal, rhythmic and Afro-centric jazz with politics, spirituality and positive vibes. The result is deep, esoteric spiritual jazz that any fan into real-deal, vibrant jazz will require as essential listening.

Japanese jazz and rare groove masterpiece re-released on clear lime yellow colored vinyl!
A single stroke of the drum will numb your whole body. Japan's super funky drummer, Akira Ishikawa, runs through the wonderland of grooves!

Akira Ishikawa is a superb funky drummer born in Japan. He is highly regarded in many fields for his ability to travel freely through jazz, rock, and African music, fuse them together, and create his own unique musical style. His career is lined with masterpieces of jazz-rock and rare groove, but this album is especially favored for its outstanding selection of songs and poignant musicality. The album includes "Let's Start," a tight cover of Fela Kuti's Afro-funk, "Bongo Rock," a dynamic song with drum breaks, and "Pick Up The Pieces," a jazz-funk version of the Avebury White Band's classic. Pieces," a jazz-funk version of the Avebury White Band classic, and many other monster tunes that are hard to believe were recorded in 1975. Supported by such virtuosos as Kiyoshi Sugimoto, Hiromasa Suzuki, and Ken Muraoka, the album also shines.
text by Yusuke Ogawa (universounds/Deep Jazz Reality)

Musician haruka nakamura will be in charge of in-store music at several Tsutaya stores in Japan for one year from 2023 to 2024. All music will be newly written for the Tsutaya project. Based on the concept of a bookstore and the theme of “forest,” the birthplace of pianos and musical instruments, four albums will be produced through the summer of 2024 under the title “Blue Forest,” which is connected to Nakamura's hometown, Aomori. The first album, the first synthesizer-only music, has become a topic of conversation and has been well received by many listeners. The second album is a piano ambient world. It was well received by listeners with its long-awaited musical worldview. This work is a world of blue like the dawn, as expressed in the jacket photo by Rinko Kawauchi. This is the third work in the series and the deepest blue sound as if diving into the deepest inner voice. The total conceptualization of the Blue Forest series has also been developed into a beautiful binding that you will want to keep with you.

nujabes passed away suddenly in February 2010 due to an accident, and this "metaphorical music" is the first album he put all his energy into after releasing mainly analog singles until then. It is a masterpiece that continues to be loved by many even now, and is the core of nujabes and hydeout productions. It is a historical masterpiece that contains many of the great songs that defined his presence. The first chapter of his miraculous mental landscape music, in which a piece of his soul that burned briefly but fiercely resides, has been released on cassette tape after a lapse of 20 years.

"The origin of techno. The original crystallization of the artists who created the era as big names, immortal monuments beyond the masterpieces." Limited vinyl version reissued in heavy vinyl. The heavy-duty vinyl version in the original jacket supervised by Ryuichi Sakamoto is available in a completely limited edition.