MUSIC

The "genuine" is finally here!
The face of "Rampane" that swept Thailand in the cassette era, the bad tune of Quanter Farsawan is the best compilation album in the world's first CD. Here is the naked appearance of Street Morlam, a dance scene specification that is far from tradition!

In Morlam (* 1), which was a performing art that inherited the traditional "mold", it was rare to make a new mold, but "Lamb Pane", which appeared in the early 1980s, was a great producer, Doi Inthanon. A new type of lam created by Inthanon to meet the needs of the times, its appearance was literally an unconventional event. It is said that this Lamb Pane was specialized in the dance hall scene from the beginning and promoted the appearance of Lamb Singh, who is currently at the forefront, and is an important lamb type that has become the ancestor of Thai bass music since the 90's. In this commentary, Soi48 reveals the secret story behind its birth.

Quanter is the representative of Ram Pane, who made his debut by Doi Inthanon, who was selected from among 1,000 singers. With a strong appearance, he is a powerful singer who rams the life scenery of Thai people (Isan people) at the bottom, incites dance, and burns thick and short. Enjoy heavy street mor lam with translations, including the Thai-style biker song masterpiece "Lam Phaen Motorsai Tham Saeb" that incorporates the engine sound of one of the representative songs, Motorsai (* 2). that!

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* 1: Mo is a master, and Lamb is a performing art that speaks with intonation in the tone. In other words, it is a "master of narrative" and is a name that refers to both the singer and the performing arts. Mor lam is not a "song". Isan (Northeastern Thailand) is the home.

* 2: A motorcycle in Thailand.

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+ Song selection / commentary / binding: Soi48 (with English translation)
+ Japanese / English translation
+ CD version: Normal jewel case, 24-page booklet
+ LP version: Liner included

The original was released on Folkways in 1983, and the phantom board, which was highly acclaimed by the world's experimental music enthusiasts, has recurred from M! A Fluxus-like work that "plays" a bicycle by attaching a voltage-type self-made pickup microphone developed with advice from David Tudor to the bicycle to generate a gamelan-like sound. Disc 1 contains the contents of the original record and the performance scenery as extras. Disc 2 contains works by Richard Rahman from 1964 to 1986. Both are the world's first CDs. It ’s a historic achievement.

CHINZADOPENESS, Stillichimiya (Young-G, MMM, Dengaryu, Mr. Maru, Big Ben) participated!

Here is the latest version of HIPHOP that America doesn't know yet. Juu, a Thai talent who represents Asia and locals from the opposite direction of 88rising, and therefore creates completely fresh music that can be used globally. Captain Beefheart with Autotune? Is it a drake on a buffalo? The 1st full album "New Luk Thung" is finally dropping!

Who is Juu? Thai HIPHOP scene where attractive acts appear one after another. Among them, Juu is respected as an OG, but it is extremely difficult to catch its existence from outside Thailand. Singing in Thai, there is no physical, OMK (One Mekong) traces the trace that existed only on Youtube and succeeded in contact. In 2017, he was finally invited to perform his first live concert in Japan, revealing his unusual musicality and character. The groove of the hi-hat that is too thick and finely carved is that of TRAP or later, but the flow that expands and contracts freely, the linguistic sense that mixes English, Thai, Japanese, Koshu valve, and the rich Thai music classic All of them (and their funny personalities) showed that they were in a completely different dimension from the world-famous TRAP copycats.

This is Juu's first full-length album, which was completed in about two years after the talents and OMK members collaborated with each other and started co-production with the lead of Stillichimiya / OMK's Young-G. Most of the tracks are in Young-G's hands, and the sound is also full of ambitions that reflect OMK's attitude. Thai instruments such as chin, cowbell, cane and pin are used everywhere, but never used for exotic seasoning. In order to inject the original beats and grooves in Thailand, they are inevitably incorporated. And what oozes out in the mellow song is the flow (singing heart) that is similar to Luk Thung and Japanese enka. They create an indescribable "new song feeling" through Juu's background HIPHOP and reggae.

As the title "New Luk Thung" shows, this work is a Pattaner (* 2) of the dying Thai song genre Luk Thung (* 1) with cutting-edge HIPHOP. Like HIPHOP, this music called Luk Thung cites (samples) and revives past classical music many times. And like HIPHOP, the lyrics (lyrics) are also very important music. The feature of this work is that the manners common to Luk Thung and HIPHOP have been completely digested without contradiction. The title of this work comes from Juu telling Young-G that "this is New Luk Thung" in the process of production, but this is an inevitable name. This work is both "latest HIP HOP" and "latest Luk Thung". In the world of Juu's poetry, which is respected as the best "master poet" in the Thai HIPHOP world, please check out the complete translation, which was extremely difficult to translate.

The first and last physical version of the popular signboard series of Ano (t) raks, a label that shows a new trend in Japanese indie pop. City music BREEZE created by up-and-coming musicians passes through the heart.

Anotoracs was established in 2012 "to introduce domestic indie pop artists buried in the net". Mainly for distribution, today's city music was launched, and the talents of the new generation of 2010s such as Shin Rizumu, Miho Tsujibayashi, Navel Suke, and Sodapop were introduced and attracted a lot of attention, so keep an eye on future trends. There are many fans in the UK, US and Europe, and we cannot take our eyes off the future trends, such as the establishment of a new label under the umbrella of a large CD shop and the launch of another label.

This time around the 3rd year since its inauguration, Dai Ogasawara, who sponsored the elite track of the 2014 signboard series "Light Wave", re-selected the song and summarized it as "Light Wave: Today & Tomorrow". This is presented as a current record of what's next, from which anyone can experience what Annotrax calls Indie Pop / City Music tomorrow. The CD version and the LP version have different album appearances due to different song selection and jackets. 2010s Japanese indie pop must-listen!

Also pay attention to the sound that has been greatly reborn by thorough mastering of all songs (including some remixes)!


+ Japanese / English notation with lyrics and commentary
+ Commentary: Ryohei Matsunaga

Captain Ganja + Haruomi Hosono + A. Russell !? This is the rumored Pure Land Dub New Age Base! A natural talent who fell in love with that Tapes, a new album of all 7FO songs has been completed !!!! A fluffy daydream experience with Nirvana BGM with a faint grassy scent. Offers from leading labels such as RVNG and Bokeh Versions are coming in, and the attention is rising overseas overseas, but Japan is left behind? I hear a voice saying, but wait! We kept waiting for this talent to stone and explode, and finally it was time to awaken !!!!!! The decisive difference between 7FO and conventional electronic music writers is that it treats ambient-new age synth electronics with natural ethnicity like dub-reggae, with a feeling that Westerners do not have. That's the point. That sense is the reason why it produces the sound that the times demand, and is supported by RVNG-like new age-electronic music, new roots revival to extreme bass music, and La Monte Young to Equiknoxx fans. In a metaphorical way, what would happen if Haruomi Hosono from the YEN-Monad period appeared in the 2010s base scene? That is, it still has a mysterious potential. If you tell someone who doesn't know anything about the charm of "Ryu no Nukegara", you can get the true value straight away! ?? Natural high additive-free chill-out decision board that will be a landmark of 7FO that told that Tapes "There is no reason for me to make music ..." (The binding by Hiroto Higuchi is this sound Successful visualization.)

Finis Africae, a group without fixed members organized in Spain in the early 1980s by Huang Alberto Arteshe Guell, is a studio project that emphasizes work, especially "Amazonia" (1990) in the far north. It is a standing masterpiece. Inspired by Conan Doyle's adventure novel that he once read, Huang Alberto develops a soundscape that depicts the fantasy unexplored Amazon that circulates in his brain. In the late 80's, Arteshe upgraded his studio equipment to 16 tracks, and the technique he had tried on his two albums was complete. Manipulating many European and African instruments, overdubbing most of them alone, and combining the natural sounds of wind and rain, birds, insects and creatures, this "Amazonia" has a mysterious atmosphere and a mysterious sign. Expression. His unique organic groove feeling is also very comfortable, and it became a masterpiece worthy of its name (* note).

* "Africae" is an old name for "Africa" in Europe based on Latin, and adding "finis" creates nuances such as the farthest land and unknown places.

+ Japanese / English publication
+ CD version: Paper jacket, liner included
+ LP version: Liner included

Every year, Levon has captivated the audience with his enthusiastic Philleco work, but he is also enthusiastic about this work !!! This work is an Amazon expedition record by Finis Africae, a classic of Balear Relic, "Amazonia" (1990) ) Is used as a sound material to create a new Amazon. Strongly inspired by Toru Takemitsu, Joji Yuasa, Charles Ives, Juan Alberto and others, this work has strong elements as classical and contemporary music, but it makes full use of analog and digital instruments and recording techniques, collage and sound art, We will cook shredded materials from various perspectives such as electronic music and folk music. The finest natural beauty and psychedelia, in the endless inner universe that spreads in front of the listener, the electronic sound that shimmers like a heat haze leads, and the magnificent nature and the earth beat on the leaves of the sound, a pleasant ambience Cosmicche soundscape that wanders into the unexplored interior with the wind. This emotional melody is truly unique. Undoubtedly one of the most important masterpieces in the second half of the year.

Alex Ice & Drink (real name Alex Eisenling), who has been active since the 1970s when young people saw blood just by playing music, became a synth in the early 1980s during the Mexican currency crisis. It was Sintoma who released her passion and anger at the drum machine. Sintoma is a trio of Alex, his wife Cynthia Napalm, and friend Bernard Gonzalez. An underground-smelling electro with an overdose sensation and vocals with a Latin accent melody that Cynthia is angry with are released with a dry Mexican that follows a step toward worsening public order. Inspired by this band, a self-produced indie and underground scene will appear in Mexico. This work is compiled from their album / single / unreleased song. The CD version has 2 bonus songs. Fortunately, high-quality sound is guaranteed by mastering based on the existing master tape sound source.

Trippy free jazz and organic disco are a shocking fusion. Our underground hero, Alz, has completely remodeled and rebuilt Roland P. Young's "Isophonic Boogie Ugi". Featuring live drums and percussion by Muneomi Senju (ex-Boredoms), DJ Kensei also participated in a crossover deep session that transcended time and space with Roland, which is no longer an easy-to-call remix. This is Alz's album and another "Isophonic Boogie Ugi"!

This time too, it's extremely rich !!! The second edition of the Spanish miracle Finis Africae by EM is an editing board that is organized in organic ambient with the famous song El Secreto De Las 12 at the top !!! Of course, it is highly recommended for new age lovers. !!!!

The second installment of Finis Africae is finally the appearance of the Anno song! A 6-track mini-album titled "El Secreto de las Doss (The Secret of Midnight)", a Balearic classic that has been played since the 1980s! There is no duplication of content with the previous work "A Last Discovery"! !!

"El Secreto" is a song from Finis Africae's 1st album released in 1984, by Jose Padilla, DJ of the cafe "Cafe del Mar (Sea Cafe)" in Ibiza, Balearis Islands. I fell in love with it and quickly defined it as a "chill-out" tune. It is a chill-out classic that has been recorded on mixtapes that he has been selling for a long time, and has been established as an organic groove classic beyond the ambient techno / house era.
It seems that only "El Secreto" is recognized in the DJ world, but Finis Africae is a unit that has crossed over various sounds independently with an experimental feeling since NEW WAVE (leader Huang Alberto). There are many songs that have the same impact as "El Secreto" (also famous for musical instrument nerds), and there are also fans who love the essence. In this album, Finis Africae's "Ambient" degree is deeply cut, and works comparable to "El Secreto" are compiled from the 1st / 2nd / 3rd album. There is no dance music, only deep listening is supported. The deepest part of Finis Africa, dense 32 minutes! (It is also an ant to play as ambient music)


+ 48khz / 24bit latest remaster. CD and LP versions are separate masters
ring.
+ LP version: Enclosed in a single-sided perforated sleeve.
+ CD version: Maxi case included.

A fusion of Asian pop and alternative rock!?! The first physical version of the US / Korean / Cambodia mixed Lo-Fi / DIY loose fluffy pop, G.G. Band, which I would definitely recommend to fans of Feeding Tube! (English version commentary is done by Dr. Byron Coley of Feeding Tube)

G.G.Band is a band formed in Busan in 2013 by Massachusetts-born painter Matt Jones and Busan-born Ji Yun Lim, and has a fluid organization with no fixed members. The songs on this first physical album, "Glass Fish," were produced in different environments and locations, including the iPhone, bedroom, studio, and the faces of Sebadoh's Bob Fay and Yod Tapes. Massachusetts network such as John Moloney. "Speaking of Massachusetts, we are the sacred site of Indie / Low Phi, along with Olympia, the location of K Records" (from the commentary). The DIY indie soul that dwells in them jumps out of the North American region, swallows East Asian culture, powers up even more crap, and supplies a state-of-the-art fluffy feeling of weakness.

YPY is back with his third full-length album, his second on EM Records, following his 2016 debut “Zurhyrethm”. YPY is the solo alias of Osaka-based Koshiro Hino, who has honed his rhythmic instincts as leader of the acclaimed Japanese band “goat” and the sound installation/theatre project “GEIST” and “Virginal Variations”. His preoccupation with propulsion is on full display here, across five tracks of varying density and intensity, all thoroughly beat-oriented, with skeins of synthesized and sampled sound stretching to the horizon, rising from a bedrock of minimal drum machine pulses, all lovingly embraced in a cassette-borne sonic fug. The cover image and title hearken back to Hino’s past, with the image obscurely referencing his yesteryear green mohawk, and the title derived from Talking Heads, but this effervescent album, though recorded using cassette technology, is not a sad tale of nostalgia, rather a look at a present/pleasant reality. Available on digital, 12-inch vinyl and CD. Cover drawings by NAZE.

Composition / Performance: Koshiro Hino
Cello on "All Wounds": Yuki Nakagawa
Mastering: Takuto Kuratani (Ruv Bytes)
Binding picture: NAZE

12 "LP version: Uses quality lacquer / stamper cut by Dubplates & Mastering.
CD version: Spread paper jacket specifications

The third folk song series supervised by the Tayo Mountains, this time in Gunma! The definitive version of the heavyweight Bon Odori "Kizaki Ondo", in which abnormal boost bass and distorted Kodama swirl, is released in the original version of the local preservation society and the old and new doubles of the current TRAP version. This will overturn your view of folk songs! ??

"Yagibushi" is the first folk song to be recorded in Japan and is popular as one of the largest dunks in the folk song world. .. This song is just crazy. The killer of killer that makes any folk music dance tune hazy in front of the dangerous force! Did you make a mistake in adjusting the EQ in the studio? A massive low beat with distorted bass and strange reverberation that makes you doubt your ears. And the lyrics in the form of a persuasion (Note 2) that tells the story of Meshimori onna (Note 1) who lives at night in Hanamachi. It's neither a Chicago-born ghetto base nor an Atlanta-born trap. It is a Japanese folk song that was brought up in the life of Kita-Kantou.

This time, with the cooperation of the Kizaki Ondo Preservation Society, we remastered and recorded the locally recorded versions of 1980 and 1965 that trapped the hustle and bustle of the night of Bon Odori. As a new attempt, Clark Naito's new recording Kizaki Ondo was also recorded there. MC / track maker Clark Naito, who raps garage punk on sampled tracks and is also active in the Gorge area, has a sense of connecting Bo Diddley and bass music with the term "3 minutes R & R". The collaboration between Minyo Mountains and Clark Naito created a modern version of Kizaki Ondo with contemporary trap beats and sweet synths. This is an extension of the act of "putting folk songs on a turntable and making a roaring sound" at the Soi48 party, and is a proposal for "a new way to enjoy folk songs." Please enjoy it simply as cool music.

A collection of darkly shining northern diamonds, "Sous juju" is a two-CD compilation of the musical work of Kuupuu from her first releases in 2003 up to previously unreleased material from 2012. Kuupuu, known by her parents as Jonna Karanka, is a self-taught musician and visual artist from Finland who inhabits a semi-magical world where the mundane and the mysterious meet and make wonderful music together. Using tapes and loops, instruments both traditional and modern, Kuupuu's blend of low-tech electroacoustics and high-north songcraft is charming, surprising and unique. Sous juju gathers her self-released material, plus pieces culled from vinyl, cassette and CDR on American and European labels, as well as an unreleased piece and a 2012 vinyl remix from EM Records. This is a fine opportunity to hear the early work of an artist who promises to continue to enchant us well into the future.

Thai charismatic legend rapper Juu's first physical mix CD in his life. This is an important work that can be used as a subtext for the trembling Juu & G. Jee album "New Luk Thung", and is a must-listen for B-BOY, Asian music lovers, and club music lovers!

A special MIX CD limited to the venue produced for the hugely successful "OMK Tour" held jointly by Japan and South Korea in October this year, with Juu & G.Jee as the leading role. Limited distribution in response to requests! The content that mixes Thai music, folk songs, Luke Thun, Thai HIPHOP that had a decisive influence on the current style, and the tracks of his own album, which Mr. Juu has been familiar with, is exactly as the title (

Euphoria indeed. Rie Lambdoll and Mayuko are the two euphoric Synth Sisters, Osaka-based musicians who also comprise Crossbred. “Euphoria” is the duo’s long-awaited second release, following their 2014 debut. This release consists entirely of new Synth Sister recordings, featuring Mayuko’s synthesizers, and Rie’s electric piano and synthesizers as well as her celestial vocals. The euphoria on offer here features equal parts of angelic arpeggios, seraphic sequences, meditative melodies and transcendental timbres, masterfully mixed and mastered by Kabamix. The pieces here, all composed and produced by Rie Lambdoll, combine drifting drones with rhythmic elements sure to appeal to fans of Tangerine Dream; (Terry) Riley-esque meditations melding with psychedelic musings in blissful ease. Available on CD, 12-inch vinyl or as a download, “Euphoria” is yours for the asking. EM Records delivers the goodness.

In the Thai music series of EM + Soi48, the of Surin Park Siri, a living legend of the Thai music world, appears. Surin, who is a musician comparable to Coxsone Dodd, Ryoichi Hattori, Phil Spector, Theo Macello, etc., has the nickname "King of International Song", which is the national national of Thailand introduced this time. It was attached from a group of works produced by him in Music Luke Thun (* 1). Luk Thung is a genre where the subject of singing = lyrics is important, and as long as it is guaranteed, music can be anything. The point is, it should be fun! It has a greedy omnivorous nature, and the one who in its avant-garde is Surin Park Siri.

Born in Isan, northeastern Thailand, he is an inventor-like producer who has often sent out cutting-edge (metamorphic) killer that will be the flagship of Thai pop producers, and is a great man who has developed Thai music by himself. A genuine record man who wants to do something different than sell, and a living music library that has seen the rise of Thai music with a solid critique.

This time, we selected 12 unscrupulous mixed songs that insist on the true from the many Luk Thung songs that Dr. Surin worked on. As a result, this is the royal road Luk Thung that appointed big Lao singers such as Plain Prom Dane and Waiphot Phetsuphant! From the Laotian hymn, Bollywood tune, an original version of Kawao Siantone's Ganja tune and cover song sampled in Juu's "New Luk Thung", "Soran Bushi" sequel and Kyu Sakamoto's song (??) Covers of Japanese folk songs and songs that are irresistible to Japanese fans, suspicious and exotic Indian Luk Thung, Thai funk prototype in collaboration with ally Samai Ornwon, super DOPE Leh (* 2) and Ramwon (*) It became the Luk Thung entertainment comprehensive catalog called 3).

If Juu & G. Jee's "New Luk Thung", which sings "new" "Luk Thung", is the Luk Thung , this work collection of Surin Park Siri is a sound source collection of Luk Thung . If you check this, "New Luk Thung" will shine another shine while revealing what Luk Thung is.

All with translations this time as well. The commentary is of course Soi48.

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* Note
1) Luk Thung: A music genre that means "country child" or "country song". Song music that was established in the mid-1960s and is now inherited as Thai national music. Emphasis is placed on lyrics. It is highly omnivorous because there is no specific music format.

2) Leh: A Thai-specific genre in which Buddhist scriptures have been converted into songs through the preaching of monks. Singers who can improvise with limited syllables are respected because they require a high level of skill in the storytelling art.

3) Ramwon: Music with a strong character of creative folk songs established by the Thai government in the 1940s to raise national prestige. It was popular among the working class because of its characteristic ring dance like Japanese Bon Odori. There are two meanings and usages, one is the melody of Thai folk songs reorganized into Western music style, and the other is dance music called Ramwon regardless of genre.

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Song selection / commentary: Soi48
Mastering: Takuto Kuratani (Ruv Bytes)
Binding design: Shinsuke Takagi (Soi48)

CD version: Normal jewel case / 28-page booklet included
Japanese / English liner / Complete translation

TRACKS:
01. Bupper Saicheon "Deliver love in the wind"
02. Smit Thatcha Tape "Hunger for Love"
03. Kawao Cyantone "Simulation of a new house"
04. Banchop Charon Pawn "Don't talk anymore"
05. Liam Darah Noi "Pounding"
06. Kawao Cyantone "Cannabis Bamboo"
07. Bupper Saichon "Show me on foot"
08. Danchai Sontaya "I want to die"
09. Dam Danspan "Ripe Love"
10. Prune Prom Dane "Persuade the Child of the Mekong River"
11. Smary Saen Sotto "Sakura is waiting for you"
12. Waiphot Phetsuphant "Rum along the rice field"

The other day, Koshiro Hino, who succeeded in the Tokyo premiere of his masterpiece "Virginal Variations" as a composer, is finally attracting attention from both inside and outside the country. His solo unit YPY's worldwide distribution album is finally released. The undisputed 2010s talent, Hino, is a track maker / musician who emerged from the club scene, but due to his strong writer's ability to be inversely proportional to his low waist, he couldn't fit in an underground box, and the creative power that erupted. The state of holding down. YPY is devoted to live performances and recordings every day, but in reality there are few releases and the value of this work is quite high. This album reveals an early impulsive and multifaceted rhythmic quest that is different from the stoic attitude of his band, goat. This time, his ally, Yosuke Yukimatsu, gave advice on song selection, and Hino's urge was firmly established in the album. One of the characteristics of YPY is that it has a compressed and massive sound and the style is electronic music, but it has a strange organic feeling like a living thing like the indigenous music of Africa, which is a cassette tape for sound making. It is also related to the use of. The title song "Zurirezumu" is a mysterious work that takes advantage of the equipment trouble that happened by chance, and is YPY's first recording!

"The trajectory from the initial impulse of Koshiro Hino = YPY as a track maker, not as a brain of goat, bonanzas. However, the trajectory does not mean that it is heading straight somewhere. , The path is constantly ZURE. Why. Because he is constantly trying. Why keep trying. It is to explore the possibilities hidden there. Here is a fragment of Koshiro Hino so far. And the pieces from now on will also ZURE polyrhythmically. Are your ears listening to the sound of the heart? John Cage continued to question the possibility of hearing. The possibility awaits us. ing."
-Yosuke Yukimatsu
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"I listened to it and thought," It's the sound of a live house! " There is no so-called chord feeling or melody, it is not noise, it is not music that can be heard only by "sound", it is not dance music, but it is a familiar sound. Is it physical music? It is a playful work. You should listen to it first without thinking about anything. -Phew

The originally minimalist song, combined with the rhythm box that keeps ringing lightly and the lyrics that have been scraped to the limit, repeats in the brain, and finally hums "Love my misfortune". Dangerously addictive music. Handle with care. -Moppy (Soi48)

Love generously robs us, and love tears us apart ... all the crystals of loss that were once launched beyond post-punk are now regaining glare! A collection of phantom sound sources by the late Kiyoaki Iwamoto, finally lifted after about 40 years !!!-Tamotsu Mochida (factory worker and real industrial writer)

There used to be a musician who buried his past and disappeared. Its name is Kiyoaki Iwamoto. I don't know the reason. What we know is that we have left behind a "super-translation" cover of Joy Division's "Love Will Tear Us Apart," which surprised even the minimum original songs and ECD.

Iwamoto appeared in the post-Tokyo rockers era scene and participated in that "Urban News" as a post-punk band . After the dissolution of Birei, he formed Guys Doll with Fuyusato Kudo and released "Hard Rock Album" (1984) under the joint name with Kudo. After that, the news disappears.

This work is the only solo work "SOUGI" (1983) that Iwamoto independently produced by Kojima recording, a rework of "Love Will Tear Us Apart" by Chisako and Junta, and NOISE "Emperor" by Tori Kudo and Reiko somewhere. It is the addition of an unreleased song by Rei Mi, which is reminiscent of. Iwamoto's four original songs, including the song "In the Sad Town" from the beautiful era, have a rhythm box, several chords played on guitar and bass, and short poems that look like they have been cut down. It is a characteristic of Japanese punk / new wave that frustrating emotions hit the inside of oneself, but Iwamoto's humorous vocals seem to amplify the frustration even more, and Joy Division's "super translation" has a nihilistic climax of loss.

Was "SOUGI" a "funeral"? ?? Michio Kakutani would have responded. The untouchables of the 80s indie film continue to shake us and bite those who want to be loved!

Nana Vasconcelos meets Midori Takada! ?? !! "Beginning" is a threatening work in which static and dynamic are delicately and boldly intermingled with ambient closed-door exotic fantasy dance music born from the exploration of the devilish world of a single overdubbing orchestra. The coupling is that Lena Willikens REMIX!

M Records will deliver the world debut of Mari Sekine, a percussionist who is active in the band! With over 10 minutes of masterpieces, you can easily control more than 15 types of percussion instruments such as kalimba, marimba, udu drum, goblet drum, djembe, talking drum, cajon, berimbau, etc. by multiple recording, and combine them with tape reverse rotation and voice. Unsurprisingly, this "Beginning" is Sekine's first "solo" recording. And it is clear from listening to this song that Sekine's musicianship was not cultivated yesterday and today. Midori Takada's fans, who seem to be the biggest hidden talents in recent years, will be surprised and welcomed. Overdubbing by multi-percussionists is also found in contemporary music, but has there ever been a work that has such overwhelming power and is compatible with everything from home listening to the floor? Expectations are high for the 1st album being produced!

The coupling is a angry funky uppercut that extracts the tribal component of "Beginning" with REMIX by the popular DJ Lena Villikens!

* "Beginning" is a rework of the song released as her 1st single "midori" (Tongs International), returning to the original title at the beginning of the recording, extending it almost three times, and reworking it into a reggae disco 12-inch composition.

Mari Sekine Profile:
Touched percussion instruments at university and started activities after graduation. After working as a JAZZ FUNK band, he joined the big band "Shibusashirazu" in 2000. Currently, he is active in sessions such as Goko Nishikawa (ex. Shang Shang Typhoon) "Hoshi no Hibuya", Michiro Endo (ex. THE STALIN) "THE END", percussion instrument group "Orquesta Nudge! Nudge!" There are many activities in theatrical works, such as Kazuyoshi Kushida's "Caucasus's White Ink Ring", "Sunshine Bo", "Sanjin Yoshizo", "Kiri no Yozo", Yang Jung Eun's "Peer Gynt", and the theater group "Kaze". Participated in "Matsurowanu Min" and "Mud Rear" of "Brick Dance".

The relaunch of EM Records’ Thai music series. Paradise Bangkok, Soi 48 and EM Records have teamed up to deliver a new series showcasing the extraordinary performances of some of Thailand’s greatest musical legends. The first release is the seminal album Isan Lam Plearn released in 1975 by Angkanang Kunchai. This album represents a crucial moment in Thai musical history when the performance styles of Molam (*1) and Luk Thung (*2) were fused together for the very first time!

Born in the province of Ubon Ratchathani in Isan (the northeastern region of Thailand), Angkanang Kunchai was a young female prodigy who emerged on the Molam scene, and became one of the first generation of Molam performers who were able to “sing” popular music (*3). From an early age she was mentored by renowned national Molam artist Chaweewan Dumnern, and in her mid-teens joined the legendary musical troupe the Ubon-Pattana Band as the lead vocalist.

In 1972 at the age of 16 she released a single "Isan Lam Plearn", which went on to become an enduring classic, covered most recently by major contemporary pop star Tai Orathai. The song was also a defining moment in the career of Ubon’s legendary producer Surin Paksiri, as it was the first recording in which Isan music – in particular Molam – was fused with Luk Thung from Bangkok to form the new musical genre of Luk Thung Isan. This music invented by music industry genius Paksiri, transformed Molam groups into rock bands and saw them starting to perform with the same kind of intensity as Luk Thung artists. The mix of contemporary singing styles with traditional Molam broke new ground and resulted in some truly surprising and influential music. "Isan Lam Plearn" became a major hit as the theme tune to the film Bua Lam Pu, and before long this new forbidden cool began to infect everyone, with performers turning in their droves to the Luk Thung Isan style. This turned out to be a precursor to the spread of Isan music across the country and the Molam boom that engulfed Thailand in the 90s – an unprecedented period in Thailand’s musical history in which Luk Thung singers were simply not able to make it in the record business unless they could perform Molam.

While typically albums produced in Thailand tended to be collections of singles, this work produced by Paksiri has an unusual degree of conceptual unity, and this is a very significant aspect of the album. It is an undeniable masterpiece that sees the Ubon-Pattana Band, led by Paksiri, delivering a performance that dramatically traverses genre boundaries, in an eerie sound-scape populated by the cute and rarefied tones of the young singer… It stands above and apart from the many Luk Thung Isan works that followed. As a bonus track, we have included Kongpetch Kaennakorn’s version of the much-covered "Isan Lam Plearn". Includes commentary in English and Japanese and an explanation of the lyrics.

Footnotes:
(*1) Molam: “Mo” is an artist and “Lam” is a kind of performance art where the artist tells a story using tonal inflexions.
(*2) Luk Thung: An important musical genre originated in Thailand which pulls together influences from various musical sources including rock, latin, regional Thai, Indian, Chinese, Japanese and Hawaiian music. It is also known as music for country folk. This term was coined in the first half of the 1960s.
(*3) Molam pieces are not actually “songs”, so this distinction is significant. At the time, Molam performers were basically forbidden from singing popular music.

+ Newly remastered
+ First ever world release by the artist outside of Thailand

CD version:
Standard jewel case. Booklet including liner notes written by Chris Menist (Paradise Bangkok) and scarece pics. English & Japanese text.

LP version:
4C inner sleeve incl. liner notes and pics.

The title nods to a 16th-century study of magnetism, and it is magnetism that is at the heart of this release, with Takuji Naka's cassette decks and Tim Olive's magnetic pickups, across five untitled tracks, initiating a dream-logic-imbued semi-narrative flow, in which "out of date" low-tech sound sources are at the service of an ears-forward compositional sensibility.
The use of pliable metals, analog electronics and a battered spring reverb unit, along with the inherent instability of cassettes, results in an atmosphere of subdued unease, over-the-horizon mystery and a burnished, melancholy beauty. Perhaps it is a bit of a stretch to link Naka's career as a temple gardener in Kyoto and Olive's relatively recent involvement in film with the music's austerely organic and eerily cinematic aspects, but there you have it. Recorded in the mountains in the north of Kyoto in 2013, the CD has a strong sense of place, but as befitting magnetism's play of opposites, that sense of place shifts and flickers; time ebbs and returns; the light grows dim.

CD digipak release, with liner notes in Japanese and English by musicologist/writer/composer Wakao Yu.

The music of Clan Caimán is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolution path for music from the 1950s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection.

Formed in 2016 by musician, composer and producer Emilio Haro looking to create music generated by group dynamics, Clan Caimán differs from his past two solo albums (“Panorámico” in 2007 and “Estrambótico” in 2012, both on Radiaciones Armónicas) in that these were studio work and not meant to be played live.

The quintet's enigmatic sound is built upon the kalimbafón, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound.

This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.

A folk trio who was active in Derbyshire in central England met Jane Marsden, a vocalist with a brilliant voice, and this was the opportunity for the birth of a six-member electric folk rock band, No Light Turn. They gained popularity in central England, and in 1983, at Woodwarm Studio, which was the core of the Fairport Convention, they independently produced their first album, "No Light Turn." (Adding a cover song "Lady of Pleasure" that respects Fairport to the album) The uniqueness of NRT is that although it is not so much involved in live performances, two songwriters, Phil Harrison and Tim Dawson, Being on the back as a member, the repertoire of major vocal songs was the original that became their pen. Jane's multi-recording / double-track vocals, reminiscent of Linda Perhax, were the band's glamor, and the British-style refreshing and melancholy voice matched Harrison / Dawson's original songs best. While there are songs that appeal to the times, such as "Roller Coaster" where neo acoustic acoustic guitars run, "Lawlands Away" which invites nostalgia, and "What Do You Do?" Rearrange traditional songs such as "Ash Plant" and "Waves" into a heavy progressive instrument like Pink Floyd. This exquisite sense of balance is also the charm of the band. It's a local indie independent board, but it's a lovable miracle work that is truly a masterpiece!