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Wiki - Ancient History (Green Vinyl LP)Wikset Enterprise

¥4,715

Orgone - New You (Natural w/ Black Swirl Vinyl 2LP)Colemine Records

¥4,736

Grimm Grimm - Kazega Fuitara Sayonara (7")Pickpocket Records

¥1,980

V.A. - Jon Savage's SF Sike 1966-72 (CD)CAROLINE TRUE RECORDS

¥2,378

V.A. - Jon Savage's SF Sike 1966-72 (2LP)CAROLINE TRUE RECORDS

¥5,539

Mad Professor - Dub Me Crazy 6: Schizophrenic Dub (LP)ARIWA SOUNDS

¥5,168

Sun Ra | Merzbow - Strange City (2CD)COLD SPRING RECORDS

¥2,829

"The constant and destructive waves of noise make this decisively a Merzbow record, but its cosmic mood and rhythms prove that Sun Ra lives in its DNA... Many of the strengths Akita has developed over roughly four decades of noise devotion are put to use here. He creates relentlessly forward-moving music with so much going on that it feels three-dimensional... You could call Strange City a Merzbow victory, but it couldn’t have happened without Sun Ra on his team." (Pitchfork) "Strange City is a transformative, cyclical work that rewards repeated listens. As Sun Ra’s dextrous compositions shift and flex somewhere beneath Merzbow’s thick clumps of abrasion, like muscles encased in steel wool, the effect is somewhat unsettling... a remarkable, difficult and disquieting record" (The Line Of Best Fit) "Strange City” gives me the impression of sonic lava, which is progressively covering your imagination with images of terror. The totally transformed jazz elements are a rather weird, but exciting aspect of the work... I can imagine noise freaks will fully enjoy this opus while jazz lovers will maybe experience this work as pure blasphemy." (Side-Line) "Recorded music is able to generate a fistful of dreams and this is one of them... Instead of being a noise release using the name of Sun Ra as smoke and mirrors, it tries to fuse the two language and it's a reminder about some jazz purists called free jazz as noise". (4/5, Chain D.L.K.) "By balancing out [Merzbow's] chaos with Sun Ra’s sense of exploratory wonder, the songs possess much of Sun Ra’s original intention and spirit... Over the course of each piece Merzbow tries to ensure that the original piece remains in awe of its incredible journey and masterful blend of styles." (The Beach Sloth) "Purely a labor of love and a must-have for fans of both artists... Noise and avant-garde jazz have long shared common sensibilities. While this certainly isn't the first such undertaking, it's certainly one of the best" (Big Takeover) "The overall achievement is the strange sense of balance Strange City radiates with. While Merzbow's sonic razors are sharp and appear to be all over the spectrum, the presence of Sun Ra lies in the core of this work. Despite its disfigurement and tempering, it dictates the progression of the record, through modes of granular synthesis or extravagant processing... the explosiveness of Merzbow in its purest form, while the underlying structures of Sun Ra provides the lucidity to this chaotic narrative" (Scene Point Blank) "Given the influence and massive oeuvre of both artists, it stands to reason that two of the giants of noise would come together, even across time and space... Merzbow’s noise seems well-tuned and finely placed – at times obscuring the action, but more often than not, complementing Sun Ra’s intergalactic explorations"

Disrupt - Secret Level mixtape (CS)Jahtari

¥3,174

Gus Till - Rainsong (12")Second Circle

¥4,297

Grimm Grimm - Eternalise (CD)Myths of the Far Future

¥3,300

Grimm Grimm - Kazega Fuitara Sayonara remix (7")birdFriend

¥1,980

Byard Lancaster - Exactement (2CD)Souffle Continu Records

¥4,492

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent “Mother Africa”. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note… ends up by playing exactement the note he had to play.

Oneohtrix Point Never - R Plus Seven (2LP+Obi)WARP

¥5,658

megiapa - Intentions (LP)INTERNATIONAL ANTHEM RECORDING COMPANY

¥4,558

Intentions, megiapa’s lush and emotionally layered debut album, feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles-based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear and surrender. The album’s title is genuine. “The record is literally my intentions,” she says. “It’s a representation of my intentions, my dreams over the last five years or so.” Those years carried the weight of upheaval: the pandemic, the collapse of a long-term relationship, a move away from Chicago, and the disorientation that follows when the structure of your life suddenly disappears beneath you. But Intentions never sounds defeated. Instead, it radiates the quiet confidence of someone learning to trust herself in real time. That trust is embedded in the music’s very construction. Before this album, megiapa largely worked alone, making instrumentals in solitude, creating loops and fragments for herself without much thought toward public consumption. “These were just beats that I made for myself,” she explains. “It was my personal thing.” During the pandemic, she gained attention for her diddies series — brief, playful sketches often completed in a single evening. While those tracks carried an improvisatory charm, Intentions represents something deeper: patience. “What if I spend time with my music?” she remembers asking herself. The earliest pieces on Intentions date back to 2020 and 2021, but the album gradually evolved into something larger than its creator initially imagined. A grant from the city of Chicago helped push the project toward completion during one of the most unstable periods of her life. “I made a difficult decision that completely changed the stability I knew,” she says. “And so the record really is a representation of me returning to myself and gathering all these ideas and desires into one final offering.” That sense of accumulation defines the album’s beauty, as it feels handmade in the truest sense: every synth patch, vocal harmony and drum pattern carries the residue of lived experience. As a result, the collaborators surrounding megiapa function as witnesses to her becoming. Bassist The Growth Eternal and keyboardist Ahmad Muhammad (also known as Kafari) help ground the music in a deep-pocketed warmth, while drummer Mekala Session gives several tracks their stormy propulsion. Elsewhere, contributions from Blvck Spvde, Aankha Neal, Telemakus, Aisha Mars and 10.4 ROG add texture to songs already rich with feeling. For megiapa, creative partnership became part of the lesson. “Do I continue to take up space on this track,” she recalls asking herself, “or do I allow the piano to shine through?” Learning when to step back and let the music breathe became an act of growth. Right away, “Open Your Eyes,” produced by 10.4 ROG , sets the project’s fervent tone. Floating atop bright keys and an incessant chime, the song invites listeners toward reflection without losing its breezy accessibility. “Everything we need is within us,” she says of the track’s message. “We all reflect each other.” It’s the kind of statement that could sound overly sentimental in less capable hands, but megiapa delivers it with grounded sincerity. Elsewhere, Intentions reveals its bruises more directly. “Can’t Believe” — featuring Resavoir’s Will Miller on EVI, horn and piano — confronts the wreckage of a relationship with startling honesty, pairing Roland 808-inspired drums with aching reflections about longing for something that ultimately could not survive. “I can’t believe what I wanted,” she sings at the song’s center. Yet even here, the album isn’t bitter. The pain becomes a nudge to strive higher. That tension between disquiet and faith reaches its apex on “Crashing Down,” one of the album’s most resonant moments. Written during a Mexico retreat amid the chaos of the pandemic, the song emerged almost like a mantra. When she later revisited the song during periods of upheaval, the lyrics sounded like a prophecy. Intentions is also deeply informed by Black spiritual thought and cosmic possibility. Tracks like “(_(_on_the_spaceway_)_)” and “on the spaceway (frfr)” channel the liberatory philosophies of Sun Ra, imagining expansiveness beyond earthly limitation. “I imagine Black people in this spaceway just enjoying themselves in their full expansiveness,” she explains. In that sense, the album joins a lineage of Black experimental music that treats joy itself as resistance. Though International Anthem may seem like an unexpected home for the project, the partnership makes sense. The label has supported megiapa since her earliest days in Chicago, with figures like Alejandro “King Hippo” Ayala encouraging her long before the wider world caught on. “It’s like putting music out with my family at this point,” she says. By the time Intentions concludes, what remains is the feeling of having accompanied someone through a profound shift. The album asks listeners to relinquish their fear of the unknown. Again and again, megiapa returns to the same guiding principle: trust the process; everything will work out. “Fear is a hindrance to our dreams and our goals and the beauty of life,” she says. “Please dream with me. Please take a moment to reflect. And please be okay with things being uncertain.” On Intentions, this state becomes its own kind of freedom.

Mobb Deep - The Infamous (2LP)Sony Legacy

¥6,459

Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat (2LP+Booklet)LIGHT IN THE ATTIC

¥8,469

Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.

Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…

Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.

An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.

More on Synthesizing: Ten Ragas to a Disco Beat:

Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.

A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).

By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.

Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.

Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.

Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”

“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”

While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.

Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”