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Lisa Lerkenfeldt - A Liquor Of Daisies (CS)Lisa Lerkenfeldt - A Liquor Of Daisies (CS)
Lisa Lerkenfeldt - A Liquor Of Daisies (CS)Shelter Press
¥1,678
Endless piano and tape loop variations by Australian composer and multi-disciplinary artist, Lisa Lerkenfeldt. A music for three pianos in the advent of isolation. A poem to Xerochrysum Viscosum, an everlasting daisy native to Melbourne, Victoria. An unfolding fantasy through the field of time. A proposal for multiple players and machines. 'A Liquor Of Daisies' is the prelude of Lisa Lerkenfeldt's forthcoming album 'Collagen', out summer 2020 on Shelter Press.iframe style="border: 0; width: 350px; height: 208px;" src="https://bandcamp.com/EmbeddedPlayer/album=892168959/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>A Liquor Of Daisies by Lisa Lerkenfeldt
Félicia Atkinson & Jefre Cantu-Ledesma - Un Hiver En Plein Été (Limited Oxblood Vinyl LP)Félicia Atkinson & Jefre Cantu-Ledesma - Un Hiver En Plein Été (Limited Oxblood Vinyl LP)
Félicia Atkinson & Jefre Cantu-Ledesma - Un Hiver En Plein Été (Limited Oxblood Vinyl LP)Shelter Press
¥3,087
From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, ‘Un hiver en plein été’ (‘A winter in the middle of summer’) - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come. Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, ‘Comme Un Seul Narcisse’, followed two years later by 2018’s ‘Limpid As The Solitudes’. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked. Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, ‘Un hiver en plein été’ culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album’s two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground. Atkinson likens the recording of ‘Un hiver en plein été’ to have been akin to “a playground”, each artist “hungry for each sound, a bit like the rush in the Louvre in Godard’s Bande à part”, to which Cantu-Ledesma adds that the process seemed to have had “a mind of its own”, with both “along for the ride”. This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album’s evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core. Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, ‘Un hiver en plein été’ coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.
Odd Ned - Long Mile Works (CD)
Odd Ned - Long Mile Works (CD)wherethetimegoes
¥1,996
Dublin-based dub techno producer Odd Ned released great Dub Techno album from the very mysterious Irish label , which started its activities in 2018 and is gradually gaining underground popularity with good releases by very cult act such as Nashpaints and Frog Of Earth. An experimental dub techno album where a strong rhythm / bass skeleton, aquatic dub ambience, and derailed and freaky electronics intersect! 4-panel digipak CD.
Ratkiller - A Curious Lack Of Limbs (LP)
Ratkiller - A Curious Lack Of Limbs (LP)Tending The Void
¥3,192
New sides of blown-out, prismatic synth ambiance from idiosyncratic Estonian artist Mihkel Kleis aka Ratkiller! Someone once wrote that Kleis “listens to music on the edge of human perception”; in this spirit, buckle up for vast backdrops to weird films never seen, punctuated by melted VHS idents, aqua-industrial meltdowns, and Dadaist jazz-prog interludes. Ears, Brain and Soul are going to need a three day rest after this one!
V.A. - Le Grand Sud-Est - 1979-1986 (LP)
V.A. - Le Grand Sud-Est - 1979-1986 (LP)Les Editions Vermillons
¥3,931
Les Éditions Vermillon stem from virtual friendships built around forgotten music. Navigating an aesthetical repertoire ranging from funk to soul, gliding by jazz and reaching toward the birth of electronic music, the friends’ musical exchanges transcend egotistical visions in the hope of shared emotions. Théo (G2S), Hugo (Tiny Albert), Baptiste (Acquired Taste) and Elise Kravets decided to embody this feeling in a record label. Choosing Lyon as their starting point, the desire to appreciate a forgotten musical legacy quickly extended to a regional scale with the aim of shedding light on the diversity and effervescence of local scenes. With the goal of reproducing the fullness of these sounds and textures, the search and selection of titles quickly gave way to the hunt for original tapes and sources. Several stages of audio restoration and digitization were undertaken to deliver a compilation of the highest possible quality. For its first release, the label offers a stroll along the Rhône river to discover, through forgotten songs, the funkiest sides of the Provençale and Rhône-Alpes 80’s scene. Although the music portrays a diverse palette, from Digen, with its meticulous Jazz-Funk straight from Lyon’s heart, the clubbesque rhythmic section and cheeky bass of Dans Tes Bras (VCA Mix), and the summer balearic anthem Tropique Du Cancer, to the soft “French Boogie” theme of Fun Safari, the soul-filled choirs of Patchwork, the pastoral getaway that is L’Anthropofemme, the scathing ode of prehistoric reptiles in Fill Le Crocodile and the Jazz-Funk incantation Fai Tira Marius; they all sweat funk. Having not known the top 50 in their first lives, this compilation aspires to bring these pieces of music to the top 8.
Merzbow - Collection 001-010 (10CD BOX)Merzbow - Collection 001-010 (10CD BOX)
Merzbow - Collection 001-010 (10CD BOX)Urashima
¥12,445
Merzbow stands as the most important artist in noise music. The moniker of Japanese artist Masami Akita was born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitters's pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Embracing technology and the machine, first in an absolutely analog way and then welcoming digital innovation, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at a sonic space of uncontaminated, straight noise that, from its base in Tokyo, has continued, now for over 40 years, to set the pace for the entire genre of noise. Merzbow “Collection” series was originally scheduled to be released by YLEM on ten cassette. YELM was a Japanese art collective and independent label run by Masahiro Ueda, with bands like Perfect Mother, Airyfarm, Marionett Karma and Bushman-19 whose members worked in design, poetry, music, photos, video, movies and dance. It also had a connection with Kiyohiko Sano of the musical improvisation group GAP, Yoshifumi Niinuma (Sympathy Nervous) and Junko Tange (Tolerance). Masami Akita along with Kiyoshi Mizutani went to the YLEM studio in June 1981 to begin recording and mixing “Collection”. The studio was a room located in a large apartment and the main recording method used by artists was to overdub pre-recorded tapes, with ring modulator, effects and the instruments that were in the studio (guitars, wooden bass, percussion, violins, etc.). The original material on tape was previously recorded live by Masami Akita at his home and composed by sessions with Kiyoshi Mizutani rather than artist's solo sound source. According to the credits, the recordings at YLEM Studio appear to be June 3rd and 16th only (the index of the original cassette says Gap Works as the recording location). Collection 003 on the other hand was recorded and mixed at Kazuto Shimizu's Galapagos studio on June 13, 1981, where the artist also plays the clarinet and organ. However, for some reason, after producing the fifth cassette Collection 005, the continuation of the series was not recorded again in the YLEM studio. This appears to be due to studio having stopped working, but the details are unknown. The remaining 5 works are recorded at Masami Akita's home and mixes took place on October 26th and 29th 1981 and February 12th 1982. Only Collection 006 was in 1982 because he did not like the sound source originally produced and was replaced with a new one. Finally the 10 “Collection” tapes are completed. Capturing some of the Merzbow's earliest explorations, these are some of the most introspective, accessible, and engaging recordings ever made by a project that has long been defined by its unadulterated sonic assault, and represent a surprising ground zero in the movement of Japanese noise. Unlike later Merzbow, within which bodies of exploration can be divided into rough eras, each entry of “Collection” appears like a free-standing world, with the project following a line in inquiry and experimentation towards a logical unforeseen conclusion, incorporating a vast range of instruments - tapes, organ, guitar, violin, percussion, effects, clarinet, synthesizers, drums machines, etc. - in a series of comparatively restrained delicate works that draw surprising musicality from harsh distances and rhythms, sometimes driven inexplicable toward flirtations with pop music by the use of drum machine. Ranging from free-flowing acoustic improvisations, tape manipulations and reworks of previous recordings, full throttle explorations of pure electronics, Collection 001-010 is the roots of Merzbow as it would never be heard again, unveiling the intricacy and introspectiveness that has always rested below more than four decades of Masami Akita’s wall of noise. Spanning a vast range of creative output and numerous roads less travelled for the project, these singular works are also among the most listenable, engaging, and inviting of anything Merzbow ever produced, making them a perfect place for new fans to dive in, while holding the possibility of endless revelation for the indoctrinated. Collection 001-010 is easily one of the most important Merzbow reissues to have emerged in recent years. Not only does the collection’s contents rest incredibly close to ground zero of the Japanese noise movement, but it is a striking illumination of Merzbow’s early, rarely accessible activities, often entirely defying the perception of the project as a full throttle sonic attack.Released in an absolutely stunning painted and engraved wooden box, with ten individually sealed CD wallets, complete with an A4 folded insert, a 20x17 cm insert with notes in Japanese by Masami Akita, and a numbered postcard, in a limited edition of 300 hand numbered copies. I can’t think of a better place to launch into the new year.
Sahba Sizdahkhani - Ganj (CS)
Sahba Sizdahkhani - Ganj (CS)Cassauna
¥1,674
Musician and composer Sahba Sizdahkhani serves as a unique crossroad of East meets West. Influenced heavily by both 1960’s spiritual free-jazz and Persian Classical Music, he channels the fire-energy and longing for connectivity these two stormy histories represent. At age 12, his self-proclaimed “aha moment” occurred while listening to The John Coltrane Quartet for the very first time. He was hooked and immediately began studies on jazz drum set and classical snare drum. As the years passed, however, his ferocious love of jazz and improvisation would open pathways and pointers to his native roots of Persian Classical Music, and eventually, he would begin formal studies on the Iranian santur with master santur player Faraz Minooei. Sahba has completed two separate Bachelor of Arts degrees: one at Berklee College of Music, in Jazz performance, and the other at The University of Maryland, in Art History & Archeology. He worked in Paris for several years in textile design but ultimately moved back to New York city to further pursue jazz drumming. He has composed film scores for Chelsea Winstanley (JoJo Rabbit), Whalerock Industries, maverick avant filmmaker Paul Clipson, as well as a live score performance for the Cinema 16 series in the legendary tunnel underneath the Manhattan Bridge. Additionally, Sahba has recently recorded with Michael Morley(Dead C) and currently has running musical collaborations with Derek Monypeny, Rob Magill, and Zachary James Watkins + Ross Peacock. He has shared live bills with a vastly diverse class of artists including Laraaji, C spencer Yeh, Susan Alcorn, Henry Kaiser, Rova Saxophone Quartet, Sunwatchers, Wizard Apprentice, Talibam!, Plankton Wat, Peter Brötzmann, and Don Dietrich (Barbetomagus). He has performed at The White House, Park Avenue Armory, Kennedy Center for the Arts, Basilica Hudson’s 24 Hour Drone Festival, WFMU live performance, “Fire Over Heaven” at Outpost Artist Resources, The Embassy of France, VOA studios, and Garden of Memory Festival at The Chapel of the Chimes. Sahba’s hazy, atmospheric solo performances with 104-string santour and drums have been described as “a dispatch from antiquity.” And WIRE magazine recently stated “Sahba Sizdahkhani starts playing [his] instrument as if he's pleading for his life. His playing is breathtaking. . .” This particular work, “GANJ,” which translates to “treasure” in Farsi, documents the magical first meeting between a musician and a new instrument. It is the first ever raw, unrefined recording of Sahba on solo santur as opposed to drum set. It was recorded in solitude during the Winter Solstice of 2019 without any prior training or study whatsoever on the mystical 102-stringed trapezoid dulcimer. The consequent emphasis due to lack of any technical skill, was pure sonics, overtones, resonances, and an homage to minimalist composers such as Terry Riley, La Monte Young, and early Miles Davis. Days after completing this work, Sahba rushed to seek out formal studies of the Persian Classical Radif with his current teacher, Faraz Minooei.
Caterina Barbieri - Vertical (CS)
Caterina Barbieri - Vertical (CS)Cassauna
¥1,674
Vertical is Caterina Barbieri's debut album, composed for vocals and Buchla 200 modular synthesizer. Vertical takes a meditative approach to primary waveforms and the polyrhythm of harmonics, stretching the boundaries between drone, minimalism and techno in multichannel systems. This minimalistic focus arises from the polyrhythmic and stratigraphic potential of voltage-controlled sequencers. Synthesis, drone and immersive listening are three fundamental conditions to enhance an advanced auditory art, not based on extrinsic links, but solely built on the experience of the spectrum, able to develop our very limited ability of perceiving the vertical domain of music, involving us in a holistic way. Caterina Barbieri is a composer and performer of electro-acoustic music. Mostly interested in modular synthesis, three-dimensional spatialisation and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms and the polyrhythm of harmonics.. She received her degree in classical guitar and electro-acoustic music at the Conservatory of Bologna, Italy (plus an exchange program at the Royal College of Music in Stockholm, Sweden) with a thesis about time, space and spectrum in vertical music. She's currently pursuing a bachelors in Literature and she's active as audiovisual artist, acousmatic composer and guitarist. Her work has been commissioned and performed in festivals and experimental music venues .
Atsuko Hatano - Cells #5 (CS)
Atsuko Hatano - Cells #5 (CS)Cassauna
¥1,674
Atsuko Hatano is a contemporay classical Viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics...... ...Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Imprec’s Cassauna label. Cells #5 required three years to complete and the work features the artist’s signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration. When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O’ Rourke, Eiko Ishibashi, Mocky and many more acts. Atsuko Hatano: Violin, Viola, Cello, Contrabass, Piano (track 1), Xylophone, Oscillator and Chorus Guest Musicians: Eiko Ishibashi: Piano, Marimba, Vibraphone Yuko Ikoma: Accordion Natsumi Kudo: Horn and flugelhorn Icchie: Trumpet, Flugelhorn, Piccolo Trumpet Tatsuhisa Yamamoto: Snare Drum Composed and Mixed by Atsuko Hatano Mastered by Jim O’Rourke Cover by Saskia Griepink
Nicolas Gaunin - Hulahula Kāne (LP+DL)
Nicolas Gaunin - Hulahula Kāne (LP+DL)Moon Glyph
¥3,379
Nicolas Gaunin is the moniker of Nicola Sanguin, a musician from Padua, Italy known for his fourth world electronics, rain-soaked tropical sounds and his woody, experimental polyrhythms. After two cassettes and a compilation LP, Hulahula Kāne is Gaunin’s first full length is a fully-realized trek into bizarre, uninhabited terrain. Gaunin’s palette ranges from kalimbas, hand drums, miniature gongs, flutes, bass, all manners of field recordings, distinctive synthesizers and natural sounds stretched and warped until they’re alien. The rhythmic compositions and sonic world-building is thrilling and peculiar. Gaunin’s approach to music making is all his own and sculpts a hallucinatory headspace; transporting the listener into his imaginary far-off land.
Interior Music - Interior Music 001/002  (CS+DL)
Interior Music - Interior Music 001/002 (CS+DL)Best Effort
¥1,782
Recommended for all environmental music/ambient fans. Profound and beautiful. A split cassette by up-and-coming chill-out/ambient artists Ben Green and Body Corp, who released their debut album on Music Company in June this year, has arrived. This album was released as a charity project for the Dhadjowa Foundation. This is a long piece rooted in meditation, sleep, and relaxation. The Ben Green side, with its gentle, shadowy tones, leads the listener to a peaceful place, while the new age/ambient Body Corp side, with its radiant nostalgia, is heavenly beautiful. This album is recommended to listeners of Japanese environmental music such as Hiroshi Yoshimura and Satoshi Ashikawa, Loris S.Sarid, and H.Takahashi.
Reiko Kudo and Tori Kudo - Tangerine (LP)Reiko Kudo and Tori Kudo - Tangerine (LP)
Reiko Kudo and Tori Kudo - Tangerine (LP)A Colourful Storm
¥3,279
A Colourful Storm presents Tangerine, a collection of songs by Reiko and Tori Kudo. Recorded at Village Hototoguiss, Japan, during autumn, winter and spring 2011 and 2012, the makeup of Tangerine is the culmination of over thirty years of experimentation, improvisation and intimacy between Reiko Kudo and Tori Kudo. Beginning their collaborative musical activities in the late 1970s and documenting their movements as Noise, it would be an earlier Les Rallizes Dénudés gig that would prove influential in shaping the duo’s lifelong impulse for collaboration and free play - it was, after all, where they first met. Over the course of a decade, they became associated with Hideo Ikeezumi’s seminal PSF (Psychedelic Speed Freaks) scene, Tori playing with the likes of Ché-SHIZU and Fushitsusha and self-releasing cassettes before forming the first incarnation of Maher Shalal Hash Baz. Maher Shalal Hash Baz, Tori’s storied musical ensemble of an ever-rotating cast of contributors, would perhaps find difficulty with Tori if called his own. First surfacing in 1985 on a Shinichi Satoh-released cassette compilation, the group would spend the next thirty years playing live and recording, their sound finding solace with labels as far-reaching as Geographic and K. Tori would welcome local amateur and professional musicians, neighbourhood children, friends and passersby on stage, while in the studio, the likes of Ikuro Takahashi (LSD March) and Takashi Ueno (Tenniscoats) have joined him and Reiko on seminal sides such as Return Visit To Rock Mass and Blues Du Jour. A deeply human, deeply romantic recording, Tangerine shines as a touchstone of contemporary Japanese folk minimalism and is significantly the last recorded appearance of Reiko and Tori Kudo as a duo. Reiko's voice, plaintive yet playful, quietly commands centre stage and resonates perfectly with Tori's crystalline instrumentation: bass guitar, euphonium, violin and piano evoking echoes of Enka blues. Glacial soliloquies ’The Deep Valley of Shadow’ and ‘When Seeing the Setting Sun Alone’ bare isolation and restlessness before evolving into profoundly welcoming works. A dedication to playwright and former collaborator Jacob Wren, ‘The Swallow II’ struts confidently while ‘Homeless’, delicately adorned and desirous, addresses themes of universal vulnerability: “Will you give me bread when I’m hungry? / Please stay by me like my mother”. A beautiful accompaniment to the intoxicating swirl of ’We May Be’, recorded live by John Chantler at a Cafe Oto concert in 2009. Originally released on CD by Hyotan in 2013, Tangerine is presented for the first time on vinyl by A Colourful Storm with an exclusive alternate digital version of ‘Homeless’. It stands as the final documented interplay of this enchanting, invigorating duo.
Arthur Russell - Another Thought (2LP)
Arthur Russell - Another Thought (2LP)Be With Records
¥4,664
2021 reissue! Don't miss it. Arthur Russell (1951-1992) is a cellist, a composer of contemporary music, a devotion to disco music and a variety of faces. The unreleased / demo sound collection released in 1993, the year after he died of AIDS, is still a masterpiece that still fascinates many fans, "Another Thought" is trusted. The long-awaited CD / LP reissue from . This album was released as the first collection of Russell's works, and although it has been reissued many times due to its popularity, it is a gem that is now rare. A masterpiece full of masterpieces with timeless charm that will not fade, such as "Another Thought", "A Little Lost", and "This Is How We Walk On The Moon". Gatefold sleeve specifications with insert / original liner notes. Of course, it is a fierce recommendation for this person's introduction.
Grouper - Shade (LP)
Grouper - Shade (LP)Kranky
¥2,987

The 12th full-length by Pacific Northwest artist Liz Harris aka Grouper is a collection of songs spanning fifteen years. She characterizes Shade as an album about respite, and the coast, poetically and literally. How one frames themselves in a landscape, how in turn it frames themselves; memories and experiences carried forward mapping a connection to place—“an ode to blue / what lives in shade.”
 
Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and the North Coast, with its unique moods of solitude, beauty, and isolation—a place described and transformed by the chaos and power of river-mouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria.
 
Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away—“Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.”

Grouper - Shade (CD)
Grouper - Shade (CD)Kranky
¥2,228

The 12th full-length by Pacific Northwest artist Liz Harris aka Grouper is a collection of songs spanning fifteen years. She characterizes Shade as an album about respite, and the coast, poetically and literally. How one frames themselves in a landscape, how in turn it frames themselves; memories and experiences carried forward mapping a connection to place—“an ode to blue / what lives in shade.”
 
Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and the North Coast, with its unique moods of solitude, beauty, and isolation—a place described and transformed by the chaos and power of river-mouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria.
 
Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away—“Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.”

Sonic Youth - Daydream Nation (CS)
Sonic Youth - Daydream Nation (CS)Goofin'
¥2,153

Daydream Nation was Sonic Youth’s sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen. 

Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wider commercial success without compromising their artistic vision. 

More recently, Daydream Nation has been recognized as a classic of its era: Pitchfork ranked it #1 on their “100 Greatest Albums of the 1980s”; Spin listed it at #13 on their “125 Best Albums of 1985-2010”. Daydream Nation was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006 and it was voted "One of the Greatest Albums of All Time" by Rolling Stone. 

Moondog - The Story Of Moondog (Purple & Green Starburst Vinyl LP)
Moondog - The Story Of Moondog (Purple & Green Starburst Vinyl LP)4 MEN WITH BEARDS
¥3,798
Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant-garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.
SPK - Zamia Lehmanni: Songs Of Byzantine Flowers (LP+DL)
SPK - Zamia Lehmanni: Songs Of Byzantine Flowers (LP+DL)Cold Spring Records
¥3,979
2021 restock; LP version. 180 gram vinyl; 350gsm gatefold sleeve; includes download with "The Doctrine Of Eternal Ice". Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.
Spiritualized - Ladies And Gentlemen We Are Floating In Space (Blue 2LP)Spiritualized - Ladies And Gentlemen We Are Floating In Space (Blue 2LP)
Spiritualized - Ladies And Gentlemen We Are Floating In Space (Blue 2LP)Fat Possum
¥5,258
Sold out on the label! This is truly eternal. A great masterpiece of timeless charm! This is a masterpiece by Spiritualized, formed in 1990 by Jason Pierce, a former member of the famous British band Spacemen 3, which continues to fascinate audiences as the ultimate act of floating, escapist neo-psychedelia. Spiritualized was formed in 1990 by Jason Pierce, a former member of Spacemen 3, and others, and is published by Fat Possum, a prestigious indie label. This is one of the greatest alternative rock albums of the 90's, boiling down psychedelic music to the extreme. It's like watching a dream collaboration between Brian Wilson and La Monte Young.
V.A. - Buganda Royal Music Revival (Purple Vinyl LP)
V.A. - Buganda Royal Music Revival (Purple Vinyl LP)Nyege Nyege Tapes
¥2,479
From its founding in the late 14th century, the kingdom of Buganda has been celebrated through sound and nurtured a rich musical tradition in its royal court. Coming from across the kingdom, musicians would take turns in the palace to sound drums, xylophones, flutes, lyres, and more to praise and honour the existence of the kingship. In recent years however, the tradition has been more difficult to maintain, especially since 1966 where there was a violent attack on the palace that abruptly abolished the kingdom and during which royal musicians fled or were killed. And while the kingdom was re-established in 1993 as a cultural institution, many of the remaining musicians had since chosen to sideline their skills to deal with the issues of their day to day lives, the practice of the royal tradition waning in popularity, especially with younger listeners and players. But all is not lost. Scattered across the kingdom, a motivated team of older veterans and attentive young players are still keeping the tradition alive. Offering a transversal glimpse into the past and the present, "Buganda Royal Music Revival" collects recordings made in between the late 1940s and 1966 illustrating the older generation’s skills, and presents them alongside recent recordings featuring old and young musicians who still carry on this musical tradition, some even performing for the current king, Muwenda Mutebi II. The later were made during the shooting of the 2019 documentary “Buganda Royal Music Revival” that presents through a film what this album conveys through sounds: a packed dive into a century-old tradition. The music displayed here is diverse and vibrant, presenting a variety of styles and highlighting instruments that illustrate the depth and sophistication that stemmed from the royal court experience of Buganda. As a starter, the album opens with 'Mujaguzo'. Often translated as ‘The Drums of the Kingship’, the mujaguzo is a crucial ensemble for the cultural tradition, made from drums collected by the kingdom throughout its long history and numbering around 100 drums (historical records suggest there were at some point over 300). They are the vitality of the kingship packaged into sound. From here, we're introduced deeper to an array of instruments and textures, like the buzzing Bugandan lyre (endongo) by contemporary royal player Albert Bisaso Ssempeke, the resonant akadinda xylophone with its 21 large wooden keys, Temutewo Mukasa's restless praise sung with his harp (ennanga), the hand-made gourd trumpet (amakondere), the entenga "drum-chime" and its core set of 12 drums tuned like the amadinda xylophone, or the tightly intertwined melodies of the flutes ensemble (abalere). With the music, the hissing and swishing sounds of old tapes reminds at times the listener of the long process, from the original recording to its archival digitization, that allows the talent of past musicians to still vibrate nowadays. This rousing selection of music and moods is a unique and all too rare exploration of sounds that celebrates the common history of generations of musicians, and the question remains open as to how this rich cultural tradition will shape and be shaped by the upcoming Bugandan future, and what engagement it will trigger among audiences within, but also beyond, the kingdom of Buganda.
Mary Lattimore - Collected Pieces: 2015-2020 (Black Vinyl 2LP+DL)
Mary Lattimore - Collected Pieces: 2015-2020 (Black Vinyl 2LP+DL)Ghostly International
¥2,924

In the afterglow of her acclaimed 2020 album *Silver Ladders* (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist and composer Mary Lattimore returns with a culminating counterpart release, *Collected Pieces: 2015-2020*, out January 14, 2022. The limited-edition LP sequences selections from her two rarities collections, *Collected Pieces I* (2017) and *Collected Pieces II* (2020), bringing archive highlights and fan favorites to vinyl and CD for the first time. Lattimore has described the process of arranging these releases as akin to “opening a box filled with memories,” and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within. 

A familiar harp sequence opens the set, making its first vinyl appearance is “Wawa By The Ocean,” Lattimore’s ode to her favorite convenience store, Wawa #700 in Ship Bottom, New Jersey. “Twelve summers of solo trips to Ship Bottom and it hasn't really changed. I'll always visit it in my dreams,” Lattimore said upon its initial release, and surely that beachside landmark still appears each time this delightful pattern unfolds, hoagies and all. Next is a newer single, “We Wave From Our Boats,” which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. “I would just wave at neighbors I didn't know in a gesture of solidarity and it reminded me of how you’re compelled to wave at people on the other boat when you’re on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural.” The heart of the track is a somber loop, over top which Lattimore’s synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days. 

Also recorded in 2020, “What The Living Do” is inspired by Marie Howe’s poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. “Princess Nicotine (1909)” scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton’s surreal silent film *(link: www.youtube.com/watch?v=_UvG5ItVzxc&feature=youtu.be text: Princess Nicotine; or, the Smoke Fairy)*. She adopted the same approach for “Polly of the Circus,” explaining it was the name of one of the old silent films discovered in permafrost in the Yukon [featured in the documentary *Dawson City: Frozen Time*], “the only copy that survived and it kind of warped in the aging process.” 

“Mary, You Were Wrong” mirrors an author’s bout with a broken heart. “It’s about how you have to keep on going even if you make some mistakes,” she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal. 

A trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. There’s the one about the late Twin Peaks actress Margaret Lanterman (“We Just Found Out She Died”), the American astronaut’s homecoming (“For Scott Kelly, Returned To Earth”), the joke about the cannibal’s wife (“The Warm Shoulder”), the Charlie Chaplin-like character who lost their glasses (“Be My Four Eyes”), and the high school kids driving their shiny cars in a parking lot (“Your Glossy Camry”). Like her most affecting work, these songs showcase Lattimore’s gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance. 

Raja Kirik - Rampokan (White Vinyl 2LP)Raja Kirik - Rampokan (White Vinyl 2LP)
Raja Kirik - Rampokan (White Vinyl 2LP)Nyege Nyege Tapes
¥3,111
Raja Kirik is Indonesian duo Yennu Ariendra and J. Mo'ong Santoso Pribadi, two radical artists who draw on Java's rich cultural traditions and its history of struggle against colonial oppression to create music that surprises, challenges and educates in equal measure. They root their music in the sound of shamanic trance dances, specifically the Jaranan, or Jathilan, a Hindu-Buddhist-era dance from the 11th Century that symbolizes the ways common people could overcome their rulers using evasion and agility. "Rampokan" is Ariendra and Pribadi's second album, originally released by cult Indonesian label 'Yes No Wave' in June 2020, and now presented in a remastered edition with an additional previously unreleased track in a limited double vinyl edition. The album is inspired by centuries of cultural resistance in Java. When Dutch traders established a colonial presence on the island at the end of the 16th Century, the Javanese used traditional dances to express their opposition. Raja Kirik express this historical friction with a mind-bending fusion of traditional Indonesian percussion, digital noise and over-driven Dutch hard-style. The album roots itself in the stage of Jaranan performance where the players become possessed, connecting to their subconscious mind and the body's collective memory and trauma. Ariendra and Pribadi reflect this by dousing evocative microtonal clanks from their arsenal of home-made instruments in expertly designed digital noise, and stringing the disparate elements together with the oppressive pneumatic pressure of high-BPM, warehouse-ready kick drums. Like the trance dances that inspired them, these tracks evolve and cycle from misery to ecstasy, spinning distinctive narratives with rhythm, texture and repetition. The album title is taken from "Rampokan Macan", a colonial-era arena battle between spearmen, criminals and wild animals. The ceremonial fights were provided to illustrate the strength of the Javanese Royal Kingdoms in the face of the Dutch East Indies government; Raja Kirik's sophomore album is a similarly lavish display, offering a charged confrontation of IDM, hard dance music and traditional sounds that spits fire into the face of tyranny. Of course, it is a recommended ritual trance / industrial picture scroll for fans around Gabber Modus Operandi and Senyawa!
Devendra Banhart & Noah Georgeson - Refuge (2LP+DL)Devendra Banhart & Noah Georgeson - Refuge (2LP+DL)
Devendra Banhart & Noah Georgeson - Refuge (2LP+DL)Dead Oceans
¥3,812
Limited Blue Seaglass Wave Translucent Vinyl edition. singer-songwriter Devendra Banhart, who is known for his work at Meditations best-selling compilation 'Fragments du Monde Flottant', and who is a great admirer of esoteric studies, oriental music and Haruomi Hosono. Devendra Banhart, a singer-songwriter, and Noah Georgeson, a producer and friend who has produced many great works together, recorded and completed their ambient albums separately during the pandemic. The work began while recording Devendra Banhart's album "Ma" in 2019, and was put together with friends in 2020. An idea that had been brewing since they first met, and now, after over 20 years, has finally taken shape and been released as a necessary part of the current era. It's quintessential that they express their own sensibilities to the fullest while showing strong influences from their predecessors in new age music such as Henry Cowell, Lou Hudson, and Pauline Oliveros! This compassionate, meditative piece of work, with its like Zen quality, will be a beautiful "refuge" as the title suggests.
Tor Lundvall - Beautiful Illusions (Clear Blue Vinyl LP)
Tor Lundvall - Beautiful Illusions (Clear Blue Vinyl LP)Dais Records
¥2,765
New York painter and musician Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, “inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass.” Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring “the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance.” Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall’s mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: “Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been.”

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