New Wave / Post-Punk

Across two 7"s, 'Death Or Glory' (1982) and 'Death Rocks' (1983) and one 12", 'Anguish' (1982) Jimmy Smack carved his own bleak chasm amidst the Los Angeles death rock scene that he inhabited. After decades dormant in the crypt, Knekelhuis compiles Smack's full recorded output, providing it a lavish place to rest on the 'Death Is Certain' LP. The album comes with a printed inner sleeve featuring rarely seen archival photos, liner notes by Cooper Bowman and excerpts from an interview with Jimmy Smack by Juan Mendez (Silent Servant).

This is the second album released from HIFUMI Records in 2000.

Kinichi Motegi (Fishmans, dr) participated in this ambitious album, which was recorded simultaneously with live instruments under the theme of "brown, light blue, and green = sky, earth, and natural trees" to contain the body heat and even the atmosphere of the place with humans and instruments. The album is a unique work with a fairy-tale, nostalgic worldview and experimental musicality full of humor, and the covers of "Give me a good word" by the Fishmans and "Minna yume no naka" by Kounosuke Hamaguchi are also wonderfully expressive!
The analog mastering by ZAK, who recorded and mixed the album at the time of its production, is used for The jacket photo by Masafumi Sanai is also a mysterious one.

Originally issued as a cassette on the ROIR label alongside the likes of Bad Brains, Suicide and The Contortions, this second album from 1983 is an uncompromising collection of heavy dub manners and experimental studio soundscaping. Dreader than dread roots rhythms sit alongside delay-baked post-punk instrumentals such as “Drilling Equipment” and “Synchroniser”.

Great JPN New Wave /Walearic! This is the first LP reissue of the '88 album by Yukako Hayase, who made a name for herself with her ennui whisper voice, including a cover by Yuko Ando and her influence on Kahimi Karie.

Obscure Japanese New Wave/Dub! The only album he left in 1982 is finally reissued on LP!

The solo album by Satoshi Murakawa "Jimmy" Murakawa, the vocalist of "Mariah", a band internationally reevaluated for its progressive musicality, has finally been reissued straight from the press amidst a lot of WANT.

The minimal beat "Down? Down, Down!", which was reconstructed by Chee Shimizu, the oriental ambient dub "Beauty", and the cold wave "Cat's Eye", which sharply disturbs the auditory senses, are all featured on this album, with sound design by co-producer Yasuaki Shimizu reflected in every part. The album features a total of 10 tracks that reflect the sound design of co-producer Yasuaki Shimizu.

Limited edition transparent blue vinyl in 3mm colour printed sleeve with printed inner , full sleevenotes, fold-out 24” x 12” Pay It All Back concert poster and download card.

'As always, the Pay It All Back series is intended to promote our upcoming releases and productions. It also offers soundtracks from artists we would like to promote, including unreleased songs and versions that will only be included on this one. Sadly, we lost many greats in the music world last year, including Lee Scratch Perry, George Oban, and John Sharp. Lee laughed at death. For him, death was just a part of life, a new beginning... I have faith in Lee. I am very proud to release this album. This album is a gift to all the On-U Sound crew and to all the irreplaceable friends I will never see again. Adrian Sherwood

Finally! The long awaited reissue of a very rare album that was originally released in 1985 on For Life! One of the last treasures of Japanese music, highly recommended for lovers of Japanese New Age, Japanese New Wave and Avant New Wave. This is an analog reissue of the only work left by MU-PROJECT, a fantastic unit formed by synthesizer player Ryoichi Kuniyoshi, known for his participation in the works of Riri, Yoshikazu Sasaki, and Motoharu Sano, and engineer Kiyoshi Toba! The original was priced at nearly 30,000 yen and has been long overdue for a reissue. Shuichi Murakami (Ponta), Hideki Matsutake, Kiyohiko Semba (Haniwa-chan), Keishi Urata (Aragon, The Seatbelts), and many others participated in this exotic oriental/ Balearic new age album. I recommend this album to a wide range of listeners who are looking for something out of the ordinary, not only Mariah and YMO, but also to those who like Digital Trip and the Synthesizer Fantasy series!

Austudy Records is proud to present it’s debut release Burning It Up: Australian Reggae (1979-1986). A compilation surveying the influence of Reggae on Australia’s preoccupation with Rock, Pop and New Wave between the years of 1979-1986. This selection of 8 obscure tracks originally issued on 7” records represent some of the earliest examples of Reggae sounds in Australian recorded music. Across 8 tracks Burning It Up encounters a psychedelic Dub-Soul stepper in Janie Conway’s Temptation, similarly The Lifesavers provide the compilation’s name-sake in their own spaced-out, improv-riddim. In Sydney Delaney/Venn join forces with Marcia Hines to deliver a glammed-out anthem while down the road a few ex-pats known as The Nights In Shining dance to an anthem of their own at a disco on the beach. The mysterious Wide Boy Youth preaches over Roots-Rock from some plastic-tropics whilst up north the irrepressible Time Lords Inc. fight the good fight in a loose funk-rock protest. Faded, late-night echoes of Ska wane with the The Agents and one of, if not the earliest examples of an Australian dub reverberates gloriously in Jo Jo Zep's hands-on approach to his Oz-Rock-classic.

Rare dubs, version excursions and unreleased tracks from the vault 1980 - 1983.

In the tradition of archival On-U Sound compilations of recent years such as the Return Of The Crocodile and Churchical Chant Of The Iyabinghi sets for African Head Charge; and the Displaced Masters LP of early Dub Synidcate rarities, we’ve gone through the tape vaults to put together this special record of unreleased versions and rarities from the white hot early days of the New Age Steppers, the group that launched the On-U Sound label by appearing on both the first single and album.

Highlights include a restored track from their infamous and long-lost 1983 John Peel session (an ebullient cover of Atlantic Starr’s “Send For Me” featuring a beautifully spirited vocal performance from the much-missed Ari Up), the Jah Woosh deejay cut of “Love Forever”, some rare dubs previously only available on Japanese import CDs, all bookended by two very different takes on Chaka Khan’s “Some Love”. An essential set for collectors of post-punk, dub and other outernational sounds.

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. 

With a sound that was swampy, primal and modern-urban all at once—as much in the tradition of rock n’ roll and punk rock as it was a rejection of those things, the Scientists’ formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. Quadruple CD includes their complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree. Double LP version boils the box down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree.

After the 1974 release of The End...the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)... Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes "Purple Lips" but adds the tracks "Saeta" and "Vegas" released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground's "I'm Waiting for the Man" and David Bowie's "Heroes".

Dry was conceived as a new journey among Vini inventions, through rarefied moods and subterranean streams of sound. The fifteen songs (lasting fifty-five minutes) were recorded in Manchester in 1990, Vini sits in on guitar and piano, while Mitchell is on electronic and acoustic percussion, other instruments such as the clarinet (played by Zinnia Mitchell-Williams, Bruce's daughter), harmonica, viola and keyboards are also featured on the session. Here, once again, Durutti Column 's music could be defined as half-way between melancholy rock and 'progressive' New Age.

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! !!

未発表デモ音源も収録したUKポストパンク・バンド、MEDIUM MEDIUMの決定的コンピが2LPリリース!! UKポストパンク・バンド、MEDIUM MEDIUMの決定的コンピレーション・アルバムが2LPがRECORD STORE DAY 2022に登場! オープニングナンバーにして代表曲"HUNGRY, SO ANGRY"は、数々のコンピにセレクト、言わずもがなのホワイト・ファンク金字塔的名曲。イントロのサックス、腰にビシビシとクるベース、鋭角的なギターと完璧! 1981年、UKレーベルCHERRY REDよりリリースされたスタジオ・アルバム唯一作『THE GLITTERHOUSE』収録曲に加え、ライブ音源、そして1982年10月のデモ・テープからの未発表曲を含む、NW / ポストパンク・フリークはスルー厳禁の内容! 完全リマスター / 180グラム重量盤 / 500枚限定プレス

This is the only album by Darris Carr, the legendary project of Japan's Mick Kahn and Bauhaus' Peter Murphy, which was released in 1984. The album contains seven songs, including the single "The Judgement Is The Mirror", which was recorded on Captain Beefheart's classic album "Trout Mask Replica". The band borrowed its name from a song on Captain Beefheart's classic album "Trout Mask Replica," and the artwork, which features a portion of Maxfield Parrish's famous painting "Dawn," was selected as one of FACT magazine's 20 best goth albums. For this RSD release, the album will be reissued on a limited-edition magenta vinyl with the latest remastering from the original analog tapes.

Recorded over the course of 4 years during late-night, afterhours sessions at RCA's Studio @ Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early 70's.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only.

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only

OOIOO has always created a musical language all its own. Under the leadership of Yoshimi, also a founding member of Boredoms, the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. Four years of work went into making Gamel, their bold new album inspired by the Javanese style of gamelan and the first new music from Yoshimi in over five years. Gamelan is an ancient form that has inspired a great many composers and musicians over the past century, from Erik Satie and Claude Debussy to Mouse on Mars and Sun City Girls. The introduction of this traditional form transformed the group into a super tribe, side-stepping the road between the past and the future. Their focus is not to replicate these ancient styles, but to incorporate them into their consistently inventive, constantly shifting musical frameworks. They take their love of indigenous music into an entirely new dimension by freely weaving organic and electric tones into a vivid tapestry, employing their keen sense of color and texture.

While previous OOIOO albums have been largely studio creations, Gamel is the most accurate portrayal of the band’s overwhelming, forceful live presence they have released yet. Yoshimi leads her minimalistic rhythm ensemble by making quick, impulsive shifts in tone and attack, the group acting as one mind under her expert instruction. While the gamelan elements will be brand new to many listeners, the band offsets the bizarre with familiar, at times even nostalgic and childlike, melodies. Gamel is euphoric, bursting at the seams with an exhilarating frenzy that is universal yet uniquely their own. OOIOO’s music is reflected in the ear of the beholder, with each listener taking away something different.

Yoshimi began her music career in 1986 playing drums in UFO or Die with vocalist Eye, and later joined him in the revolutionary noise-pop group Boredoms. Her explosive drum performances captivated audiences and even inspired Wayne Coyne to name a now-famous Flaming Lips album in her honor. While the band’s tours of the United States are infrequent, they are as The New York Times has stated, transcendent. 

Imagine a feather floating from outer space and landing on earth. What's going on? Which bird did this feather come from? That's what OOIOO's (pronounced oh-oh-eye-oh-oh) music is like? so colorful and shiny that you can't even see what is happening.

OOIOO's Gold and Green reveals the group's hard-to-categorize and refreshing avant-garde rock music, which adeptly incorporates elements of punk and more traditional tribal music. Their rhythms are unique and the organic interplay with the vocals is compelling. The music is complex and challenging and playful and childlike. Previously released only in Japan, Gold and Green includes guest appearances including Seiichi Yamamoto (Boredoms), Yuka Honda (Cibo Matto), and Sean Lennon. The album packaging, designed by Yoshimi, is a beautiful miniature gatefold album jacked filled with drawings and photographs by Yoshimi and other artists.

OOIOO began as a fictitious band for a photo shoot for Switch magazine in 1996. An all-female four-piece ensemble started by Yoshimi, the Boredoms' drummer, the band quickly gained attention by being the opening act for Sonic Youth in 1997. On Gold and Green, Yoshimi shows off her musical imagination and virtuosity with her songwriting, as well as by playing the guitar, flute, and trumpet, singing, and adding a number of percussion elements. Yoshimi is joined in OOIOO by the striking Kayano on guitar and vocals, the petite and powerful Maki on bass, and the amazing Yoshico on drums.

OOIOO toured the United States in 2004 for the first time in over five years in support of their recent release, Kila Kila Kila. Their soldout tour performances were notable for their unique exuberance and captivating stage presence. Starting off with a vocals-only polyrhythmic song, the band struck a chord like no other. They will be recording a new album for release in the fall of 2006. 

音楽フリーク注目のレーベル、Warp傘下の〈Disciples〉からPhewの最新作『Vertigo KO』がリリース！

"このアルバムは、2017年から2019年、10年代の終わり、この閉塞的な期間に制作された音のスケッチです。
言い換えるなら、幻想に浸るでもなく、音楽へ逃避するでもなく、また世界観を提示するものでもなく、2010年代後半のある個人のドキュメンタリーミュージックです。
このアルバムの隠されたメッセージは、「なんてひどい世界、でも生き残ろう」です。” - Phew

日本のアンダーグラウンド・ミュージック界の伝説的なアーティスト、Phew。1978年に大阪で最も初期のパンク・グループの一つであるアーント・サリー (Aunt Sally) のフロントを務めたのを皮切りに、80年代にはソロ・アーティストとして坂本龍一、コニー・プランク、CANのホルガー・シューカイ、ヤキ・リーベツァイト、アインシュテュルツェンデ・ノイバウテンのアレクサンダー・ハッケ、DAFのクリス・ハースなど、多くの著名なアーティストとのコラボレーションを行い、近年では、レインコーツのアナ・ダ・シルヴァ、ジム・オルーク、イクエ・モリ、オーレン・アンバーチ、ボアダムス/OOIOO/SaicobabのYoshimi (Yoshimi P-We) などとのコラボレーションも行っている彼女が、最新作のリリースを発表。

本作は、これまでに、ブラック・ロッジ、ボグダン・ラチンスキー、ヒズ・ネイム・イズ・アライヴといったカルト・ヒーローたちの未発表音源を世に発表して音楽ファンから一目置かれてきたレーベル〈Disciples〉の審美眼に適った初の日本人アーティスト作品となる。

Phewの80年代初期のニューウェイブ指向の作品には、日本のみならず海外のコアな音楽フリークやレーベルから多くの関心が寄せられており、コラボレートしてきた著名なアーティストたちの数々も印象的だが、〈Disciples〉は『Light Sleep』『Voice Hardcore』といった近年の作品は、彼女の素晴らしいキャリアの中でもモダン・クラシックと呼ぶべき傑作であり、Phewが今、再び最盛期を迎えていることを確信し、本作のリリースへと繋がった。〈Disciples〉が今回のリリースにおいて探求したいと思ったのは、まさに彼女の今なのだ。『Vertigo KO』は、前述の2枚のアルバムと同じ時期に録音された楽曲と、今回のリリース用に制作の新曲を収録。アルバムには20ページのブックレットが付属しており、Phewについての文章と、表紙にもなっている塩田正幸の写真が収録。

Legendary performer Nico of the Velvet Underground released his last album in 1985. Featuring The Faction as his backing band, this eight-track album features the lead singer's voice and readings, striding with overwhelming presence through a variety of post-noise, industrial, and improvisational productions.　The album, which is also considered to be Nico's best work in the latter half of his career, includes a cover of the jazz standard "My Funny Valentine". For this RSD release, the album has been remastered from the original analog tapes to 24-bit HD audio, and reissued on blue vinyl in limited quantities.

This Heat's Charles Bullen started this project with his friend Julius Cornelius Samuel after the band broke up, and the result is Lifetones, an eclectic mix of dub, post-punk, and krautrock that combines ethnic exoticism with UK streetwise elegance. The band's only release, "For A Reason" from 1983, has been reissued for the first time!

The title track, with its dubby strings and catchy chorus, makes you squirm in agony at the distortion of the acoustics coming at you in the latter half of the song, as well as the lo-fi sound of the equipment used in the post-punk era. In addition to the remastered original tapes, the album comes with a booklet with valuable photos and liner notes, and a gatefold jacket. This is a definitive reissue that will bring tears to the eyes of old and new post-punk fans!

Musique Plastique and Séance Centre are proud to present Jacques Charlier’s “Art In Another Way”, a 45RPM double LP compilation of the Belgian multi-disciplinary artist’s inimitable chanson regressive recordings from the 1980s. Throughout a long career in the visual arts, Jacques Charlier has maintained a multi-disciplinary approach that includes forays in poetry, underground comics, acting, filmmaking and music. Besides performing with his punk group Terril (sadly, never recorded), Charlier took inspiration from the minimalist sounds of Philip Glass, Steve Reich, La MonteYoung, John Cage, and Meredith Monk. Throughout the 1970s he performed psychoacoustic pieces in Liège, Antwerp, Eindhoven, Rotterdam, Milan and Düsseldorf, and in the astounding performance art video Desperados Music, filmed by Paul Paquay for Belgian television. Charlier hit a creative stride in the 1980s — armed only with a synth, drum machine, fuzz box, and his custom guitar, with occasional duets with vocalist Martine Doutreleau. He recorded a trove of proto-pop tunes which he self-released on three cassettes (Musique Regressive, Chansons Idiotes and Chansons Tristes) between 1984–1987. “Art In Another Way” collects selections from these tapes, in addition to an ample supply of previously unreleased material, all mixed and mastered from Charlier’s original 4-track recordings for a wide angle view of his creative range. From the proto-house rhythm of “Jingle – Crepuscule”, to the minimal EBM experiment “Top” and Art Of Noise- inspired “PassingTime”. There are certain resonances within the catalogs of Belgian labels Crammed Discs and Les Disques Du Crépuscule, yet even with these genre-bending precedents, Charlier’s music is idiosyncratic and visionary to the extreme. Accompanying the release is a postcard featuring a behind-the-scenes performance photo and visual score by Charlier. RIYL: Flying Lizards, Y Records, Young Marble Giants, Ashra, Naffi, Tuxedomoon, Aksak Maboul