New Wave / Post-Punk

Originally issued by Crammed in 1987, this is one of the most sought-after releases in our legendary Made To Measure series. Known for his numerous albums, soundtracks, and collaborations with an impossibly broad array of artists (from Ryuichi Sakamoto and DJ Towa Tei to Van Dyke Parks, Björk, Manu Dibango and Elvin Jones), composer, saxophonist and producer Yasuaki Shimizu also released several electronic music productions during the '80s, which are currently generating a lot of interest (a.o. his recently reissued Mariah project).

"Music For Commercials" is a brilliant and inventive collection of short pieces, initially conceived as soundtracks for Japanese TV commercials (and bearing sweet titles such as “Seiko”, “Sharp”, “Honda” etc). These twenty-three tracks (each clocking in at two minutes or less, except one longer piece composed for a computer-animation short) abound with hit-and-run sound collages, twittering computers, and energetic ricocheting between myriad styles of music. This album has achieved near-mythical status in the last few years, which have seen artists such as Oneohtrix Point Never sing its praise.

The "Produkt" compilation takes us back to the time between 1979 and 1984, when post-punk was the main expression of the underground movement. Bands in the wake of PIL and Joy Division came out like mushrooms after the punk crush. In this compilation you will find mostly unknown yet interesting productions. This is a 10 track album, all originally released on 7" from all over the world: from Poland to Sweden, from Yugoslavia to Denmark. A perfect item for both enthusiasts and completists but also for those curious, passionate of those extraordinary years and lovers of a genre that still continues to evolve and that indeed continues to storm clubs around the world.

Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

Brenda Ray, who became famous for the new roots rock reggae "Walatta" that became the best seller in the 2000s, has been active since the post-punk / New Wave era, and is based in Liverpool and Manchester, the Slits and pop groups. , New Age Steppers (who interacted with A. Sherwood), etc., played reggae / dub / punk / rock crossover cutting-edge music. She has an outstanding sense of POP, and in the mid-1980s she released her works as a solo in Virgin and other places in the UK. That "Walatta" was an album like Brenda's solo career collection "after".

This work "Duya Here Me! (Hearing !?) ”is a collection of early masterpieces before“ Walatta ”.

The recorded song is a sound source of the band era that was active under the name of Naafi Sandwich / Naffi Sandwich or Naffi, and the release at that time was exclusively DIY cassette tape and 7 inches. They weren't formed as a live band, they were a unit that left the idea to record and produce their work.
In this comp, you can listen to another world of "Walatta", which has a strong influence of Jamaican music on rhythm and method, but "I didn't want to play reggae and wanted to" Dub-up "(= dub version). I wanted to do it) ”as their sound, playing reggae crossover.
The title song "D'ya Hear Me!" Is a POP tune of D.I.Y soul explosion recorded on a 4-tiger teleco using a rhythm box. Heavy and cute reggae crossover such as "Naffi Take Away" and "Krazee Music", de deep and dark roots reggae-style instrument "Spring Thing- Hippy Dread", "Walatta" popular song "Starlight" original song ( !) "Moon beams", Young Marble Giants-style "Everyday Just Another Dream", unreleased original long version, etc. Finally, a demo of "D'Ya Hear Me!" That she "excavated" this time is recorded. Highly recommended for post-punk / Neo Acoustic fans! !!

Despite being a completely unknown band, the song was highly acclaimed and was recommended at each record store and sold out.A limited reprint after 40 years!

In the spring of 1983, when Japan's indie scene had yet to form a template, D-DAY's "KI・RA・I" was suddenly released. Despite being a completely unknown band, the songs were highly acclaimed and recommended at each record store, and the number of production sold out in an instant, becoming a kind of legend. After that, the cute characters gained popularity at the center of the indie scene, and they became a very popular band. This legendary “KI・RA・I” will be reprinted for a limited time over 40 years.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan”, originally issued in Japan on his own School label in 1984. The reissue will replicate the original Japanese release which offered a bonus 7" EP featuring two bonus tracks "Replica" and "Ma Mère l’Oye". Remastered by Saidera Mastering in Tokyo, the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta

Time seemed to move at a snails pace, but he couldn't tear his eyes away from the clock. Today was different from the others: nobody had called, there were no messages in his inbox, barely a soul in the office. Maybe he'd missed something, a memo or a calendar invite... or maybe he should see it as a blessing in disguise; an opportunity to spend time with his imagination and forget that work even existed.. For their third release, Brussel imprint Undo Seat Belts welcome the Parisian chartered accountant by day, and music maker by night, Frédérique Sueur. Le Temps Mutile Les Talons is the name of this blissful and offbeat collection of nine tracks that finds itself lingering in the spaces between new wave, experimental, synth-pop, minimal synth and ambient. Its lo-fi bedroom quality and DIY touch imbues it with a feeling that's both comforting and disconcerting: a must listen.

The original single from Escape From New York finally gets an official reissue. Originally released in 1983 ‘Save Our Love’ was released a year before ‘Fire in My Heart’ and sets out their highly effective fusion of New Wave, Disco, Italo and Post Punk. Featuring Jaki Graham and D.C Lee on backing vocals, the 12” also includes an instrumental mix and cult classic ‘Slow Beat’ (Dance Mix). Escape From New York were short lived and disbanded in 1984 following the release of ‘Fire in My Heart’, ultimately buckling under the weight of commercial expectations for their unique brand of pop music. History has kind and these singles are now rightly regarded as pioneering classics.。

Sergeant is the avant-pop band of composing cineast Benjamin Cools and search-singing actor Ferre Marnef. For a long time they only burst out exclusively on stage, but now they have gathered their sampled selves at the abyss of pop music anyway. The songs on the record sound like a "date gone wrong" between post-punk and krautrock, but mostly like the kind of indie rock that Warp thought was cool for a very brief time in the 00s. Through the Paris of the 70s (Gainsbourg!) and the industrial Ruhr, they take you on a trip brimming with Dadaist collages and abstract punk. Their self-titled debut is released by the Ostend-based experimental music label STROOM, run by Ziggy Devriendt (aka Nosedrip). For this record, the musicians sampled themselves - Sergeant calls that method DJ Shadow in reverse. From their archive, they drew a mountain of analog loops, which they then meticulously montaged into nine poetic songs. In the tracks, 1 Fender Mustang, 1 Microkorg, 1 Rdr Rhythm DR-670 and dozens of flutes are ground through effects, processors and DIY recording techniques. For Cools and Marnef, making music is getting sound layers and textures moving. Like editing a movie, Sergeant cuts the sonic scenes into one. 
 Sergeant's home base is Brussels, the metropolis on the verge of bankruptcy, and that is audible in the density and rushy contrasts on this pop record. Cools and Marnef operate in the world of film, theater and music. Previously they have been involved with bands such as Soldier's Heart and De Nooit Moede, and in theater they share a history with Tibaldus, Desnor, Bosse Provoost, Ezra Veldhuis, Buren, ... 
 The mixing is the work of the Antwerp godchild Milan Warmoeskerken (Milan W.) who produced other people's music for the first time. With his eye for detail and balance, he created a deeper layer in Sergeant's music.

Remastered self-titled Swiss Romand sought after Dark Wave / Post Punk album from 1981, includes 24"x24" poster & original insert with lyrics.

Formed in 1991 by David Callahan (vocals, guitars, samplers), also known for his work with The Wolfhounds, and New York musician Margaret Fiedler (vocals, guitars, samplers), Moonshake, named after Can's work, has released its debut album, Eva Luna, in a deluxe edition remastered from analog 1/2" tape. Moonshake, a band formed in 1991 and named after Can's work, reissues their debut album "Eva Luna" as a deluxe edition on blue vinyl, remastered from analog 1/2" tape!

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded. Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers. Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

"People who are sort of more the outcasts of society tend to tell it like it is" – Scott Seskind, 2015. Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by Noise In My Head offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe.

Evocative, eclectic, intimate, and rhythmically complex, TRANSA contains everything that has made Caetano Veloso the most distinctive and, arguably, most important voice in modern Brazilian music. The album was recorded during Veloso's political exile in England but released in 1972 upon his return to his homeland. Though the songs are not overtly political, they seem allegorical, celebratory, and plaintive at once, and point to a tension between the artist's expressive impulse and the strictures of his native country. This tension is further heightened by the presence of lyrics in both English and Portuguese. The beautiful, desperate "You Don't Know Me" may be the world's first bilingual bossa nova/folk-punk anthem of identity. The jazzy "Nine Out of Ten" gives way to the gear-shifting "Triste Bahia," which features webs of accelerating Brazilian percussion. A spare treatment of the classic samba "Mora Na Filosofia," the cosmic ditty "Neolithic Man," and the 12-bar "Nostalgia" (ending with the wise line "That's what rock & roll is all about") close out the set. TRANSA is a jewel in Veloso's discography and a must for anyone interested in Brazilian pop--or brilliant, original pop in general.

Ryuichi Sakamoto's third solo work, released in 1981.
This work features Ryuichi Sakamoto's vocals extensively, as he believes that "singing is not about how good you are, but about your voice, and even if you are not very good at it, it is the best self-expression in music". Cutting by Bernie Grundman Mastering in the U.S. Domestic pressing, limited edition of complete production.
Produced by Ryuichi Sakamoto and Robin Scott Participating musicians: Adrian Breaux, Kiyohiko Senba, Yukihiro Takahashi, Haruomi Hosono, and others

“(I have) two fantastic singles by The Particles...they are two of my most prized vinyl possessions” – Carrie Brownstein (Sleater Kinney) on NPR The Particles formed at the height of the punk movement in Sydney, Australia in 1977, and spent their early years hanging out with punk legends The Saints. But by their first recordings in 1979 they were something else entirely – pioneers of infectiously melodic, playfully subversive indie pop. They deserve to be held up alongside contemporaries such as Orange Juice or Television Personalities, and 1980s Bubblegum makes a strong case for this with the first overview of their sporadic recording career. Guitarist Peter Williams and vocalist Astrid Spielman were the core of the group, surviving numerous lineups until the band dissolved in the mid 80s. Other bandmates include members of Chapter DIY heroes The Cannanes and fondly-remembered indie pop band The Lighthouse Keepers. The Particles only released three seven inch EPs and a handful of compilation tracks, but their scant recorded work is laden with inventive, irresistible pop hits. After self-releasing two EPs Colour In (1980) and Advanced Colouring (1981), their final EP I Luv Trumpet (1983) was the second ever release on iconic Sydney label Waterfront Records. This makes The Particles unlikely labelmates with the likes of Nirvana, L7 and Henry Rollins, who all went on to release records via Waterfront in Australia in the 90s. On 1980s Bubblegum, Chapter Music presents every known recording by the Particles, including digital bonus tracks from the first ever Triple J Live At the Wireless session in 1983. The LP features extensive liner notes based on interviews with bandmembers. Sadly, Astrid Spielman passed away in 2015, but the sheer joyful magic of her and Peter’s music lives on with 1980s Bubblegum.

Formed in Granada by Ani Zinc, who also recorded under the name Neo Zelanda, and Javier G Marín, Diseño Corbusier were a fascinating and unique project of avant-garde electronics. Their second LP, "El alma de la estrella" (1986), is a marvel of sound craftwork that gathers elements of industrial music, minimal techno and vocal manipulation through a dadaist and completely personal approach.

Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7". After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7". Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7" were released. That same year, the band recorded and released the 7" of The Model/He's A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up.

オランダ・アムステルダムにて、1979年に結成された伝説的アナーコ・パンク・バンド、The Exが1982年に録音した7インチ4枚組のサード・アルバム『Dignity Of Labour』が、〈Superior Viaduct〉より、史上初のLP仕様で待望のヴァイナル・リイシュー。フロントマンであるG.W.Sokは、「我々の考える即興のインダストリアル・パンク・ノイズ」とも述べた、The Exの40年以上の歴史の中で最も衝撃的かつ不朽の名作です！24" x 18"サイズのポスターと24ページに及ぶブックレットが付属。

Soon after their 1978 debut on the Brian Eno-produced No New York, a compilation that defined the No Wave scene, James Chance's group Contortions had already evolved – getting sharper, tighter and just plain faster. Despite the loss of keyboardist Adele Bertei and bassist Geoge Scott (who refused to sign a new contract demanded by Chance and his then partner, band manager Anya Phillips) Contortions were firing on all cylinders, and their first full-length album, 1979's Buy, is a marvel of hot-wired energy. Led by the brash yelps and free-sax squawks of Chance, Contortions spit out fiercely rhythmic tunes charged by the wiry guitar lines of Jody Harris and the dizzying slide guitar of Pat Place. With drummer Don Christensen slipping in pointillist beats and David Hofstra's infectious basslines, the songs on Buy crackle with both precision and abandon. Opener "Designed to Kill" shoots sparks of sound in all directions, while "Contort Yourself" is a nihilistic dance number wherein Chance instructs listeners to twist into knots, physically and mentally. "It's better than pleasure, it hurts more than pain," he snarls, later imploring, "You better try being stupid instead of smart." Heavily influenced by the showman funk of James Brown (whose "I Can't Stand Myself" the band had covered on No New York), Contortions coined a downtown dance-punk sound that had immediate influence on subsequent No Wave bands – including Place's Bush Tetras and Bronx trio ESG – as well as the burgeoning disco movement. On Buy, Contortions' self-invented template is imprinted so hard into the grooves that it sounds like they're about to break, capturing a combustible band in all its fiery fury.

Nicolini is back with the next installment of stripped-down drum workouts and sound system madness. Spread across seven tracks and as many tempos, the dutch multi-instrumentalist and producer veers effortlessly between looped-up sax riffs (with a Twin Peaks ambience), dubby wave, mutant dancehall, low-slung steppers and manic 180 bpm experiments. Along with guest appearances from Nushin Naini and Martha de Barros, Sopratutto is an adventure through bass cones above and beyond what Nicolini has laid down before. Plays on 45rpm

“Photographs as Memories” was the British cult band Eyeless in Gaza’s debut album. A truly kaleidoscopic picture dominated by Martyn Bates’s highly expressive vocals and Pete Becker’s peculiar analog synth lines in a jungle of electric guitars, plastic organs, soprano saxophones, percussion, violin, stylophone and tapes. An album which comes as a vivid snapshot from the very dawn of the 80’s.

talia Synthetica 1981-1985 represents the musical mutation that occurred after the post-punk hangover gave way to more frigid emotional shores, in-line with the synth-wave moment that was sweeping Europe and the white cliffs of Albion. This scene flourished in Italy between 1981-1985, and the musicians that came out of it are still revered today (particularly in the US). Robotic rhythms and intuitions that, besides sharing common ground with the electronic movements that had come before, also knew how to fill up the dancefloor. Featuring four previously unreleased tracks by Der Blaue Reiter, along with tracks by Modo, Actor's Studio, and La Maison, as well as the still fresh sounding contributions by true pioneers of the genre Neon and Naif Orchestra. Also features Ein-st-ein, Scortilla, Eurotunes, Oh Oh Art, and 2+2=5 featuring Paolo Mauri. LP includes CD which includes five bonus tracks from the Italia New Wave LP (SPITTLE 031LP). Included CD features Jeunesse D'Ivoire, Fockewulf 190, State Of Art, N.O.I.A., and 2+2=5.

The most long-awaited LP release of Totsuzen Danball's 1991 masterpiece 'Yokushi Onryoku'

Totsuzen Danball, a unique rock band from Fukaya, released their 1991 masterpiece 'Yokushi Onryoku' which was sold for a considerable amount of money in the used vinyl market until it was reissued in 2008, and remains one of the greatest albums in Japanese rock history. The unique and extremely sharp sound built around rhythm machines and guitars, and the rebellious poems and songs by the late Eiichi Tsutaki are tremendously exciting. This is punk! This is rock!