{"title":"PRE-ORDERS","description":"","products":[{"product_id":"steve-roden-the-radio-airria-hanging-garden-vein-stem-is-calm-lp","title":"Steve Roden - The Radio \/ Airria (Hanging Garden) \/ Vein Stem Is Calm (LP)","description":"The Wire's critically acclaimed 1999 album is now available on LP and CD for the 21st year. His 1999 work, praised by The Wire, has been reissued on LP and CD for the 21st year. It is an ink painting-like sound work created with his own voice and found sound loops, weaving dry sounds. New mastering by Giuseppe Ielasi.\u003ciframe width=\"300%\" height=\"100\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/322525671\u0026amp;color=ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_artwork=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"300\" height=\"100\" src=\"https:\/\/www.youtube.com\/embed\/eAm9mA4Tcak\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e\u003ciframe width=\"300\" height=\"100\" src=\"https:\/\/www.youtube.com\/embed\/1lcsddnb3Oc\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"Sonoris","offers":[{"title":"Default Title","offer_id":43720462270723,"sku":"sonorisLP5","price":3576.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/products\/sonorisLP5_b1539c3f-78d9-4026-9401-a9810359d379.jpg?v=1675753322"},{"product_id":"ariel-kalma-jeremiah-chiu-marta-sofia-honer-the-closest-thing-to-silence-lp","title":"Ariel Kalma, Jeremiah Chiu \u0026 Marta Sofia Honer - The Closest Thing to Silence (LP)","description":"In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3’s Late Junction series of special collaborations. The program pairs artists who have not previously worked together to create new music cooperatively.\n\nKalma was quick to suggest working with two musicians whom he had never met – International Anthem recording artists Jeremiah Chiu \u0026 Marta Sofia Honer, whose critically-acclaimed duo debut 'Recordings from the Åland Islands' had been released just a few months earlier. An invitation was sent to Chiu and Honer, which was received with great enthusiasm, as Chiu had long been a fan of Kalma’s work, even citing him as a major influence on his approach to electronic music composition.\n\nThe essential structure of the Late Junction collaboration was that the artists would work together to create around twenty minutes of music. They began passing music back and forth, some that Kalma had started, and some that Honer \u0026 Chiu had started, with each adding to or editing the track before returning it to the other. The music would only go back and forth a few times before being finalized.\n\nAfter meeting their twenty minute goal for the program (four pieces total), the three musicians were satisfied in what they would present and sent along their work to the producers of Late Junction. However, there was a nagging suspicion that this wasn’t the end of the story. There were several pieces that they had nearly completed but that weren’t sent for inclusion in the radio program, and there were many ideas for refining those pieces that had. With this in mind Kalma, Chiu and Honer agreed that they would continue to work together to try to push the music further. The freshly minted trio felt like there was much more to be said and more work to be done. The Late Junction program was broadcast in September of 2022. Simultaneously, Kalma, Chiu and Honer began expanding upon the music they had started for the purpose of the broadcast, working diligently on the music for several months.\nAfter meeting their twenty minute goal for the program (four pieces total), the three musicians were satisfied in what they would present and sent along their work to the producers of Late Junction. However, there was a nagging suspicion that this wasn’t the end of the story. There were several pieces that they had nearly completed but that weren’t sent for inclusion in the radio program, and there were many ideas for refining those pieces that had. With this in mind Kalma, Chiu and Honer agreed that they would continue to work together to try to push the music further. The freshly minted trio felt like there was much more to be said and more work to be done. The Late Junction program was broadcast in September of 2022. Simultaneously, Kalma, Chiu and Honer began expanding upon the music they had started for the purpose of the broadcast, working diligently on the music for several months.\nTheir collective approach to this work was born in improvisation and realized via collage-based editing. The end result brings several distinct musical moments — recorded sometimes decades apart — into conversation with one another, forming new narratives from building blocks of old ones. There are snippets of improvised playing from each musician, edited together with recordings that Kalma had made in the 70s at GRM, and even moments of audio notes — like Kalma explaining his ideas — that would make it into the final mixes.\nTheir collective approach to this work was born in improvisation and realized via collage-based editing. The end result brings several distinct musical moments — recorded sometimes decades apart — into conversation with one another, forming new narratives from building blocks of old ones. There are snippets of improvised playing from each musician, edited together with recordings that Kalma had made in the 70s at GRM, and even moments of audio notes — like Kalma explaining his ideas — that would make it into the final mixes.\nUltimately, the collection of music highlights the work of all three musicians, intertwining the contextual immersion heard on Chiu \u0026 Honer’s 'Recordings from the Åland Islands' with an intergenerational reverence for (and the undeniable presence of) Kalma’s decades-spanning body of work. It is work that has definitively enshrined him as one of the true, transcendent pioneers and sages of new age and fourth-world music. That reverence is affirmed by the album title chosen by the group — \"The Closest Thing to Silence\" — which is taken from a quote by Kalma included in a documentary by RVNG Intl (as part of their release of the 2014 compendium\/retrospective An Evolutionary Music). Perhaps coincidental, Kalma’s quote was a slight modulation of a legendary ECM Records motto, as he said: “Music is the closest thing to silence.”\nUltimately, the collection of music highlights the work of all three musicians, intertwining the contextual immersion heard on Chiu \u0026 Honer’s 'Recordings from the Åland Islands' with an intergenerational reverence for (and the undeniable presence of) Kalma’s decades-spanning body of work. It is work that has definitively enshrined him as one of the true, transcendent pioneers and sages of new age and fourth-world music. That reverence is affirmed by the album title chosen by the group — \"The Closest Thing to Silence\" — which is taken from a quote by Kalma included in a documentary by RVNG Intl (as part of their release of the 2014 compendium\/retrospective An Evolutionary Music). Perhaps coincidental, Kalma’s quote was a slight modulation of a legendary ECM Records motto, as he said: “Music is the closest thing to silence.”\n\n\nThe Closest Thing To Silence is an album-length collaboration between fourth-world music icon Ariel Kalma and the recording duo Jeremiah Chiu and Marta Sofia Honer, which evolved from a twenty-minute selection pieces they recorded in 2022 for BBC Radio 3’s ‘Late Junction’ program as part of a scheme that places together artists who have never worked together before. Chiu and Honer, who both cite Kalma as a huge influence on their work, beautifully fit into Kalma’s vision.\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4067863479\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/intlanthem.bandcamp.com\/album\/the-closest-thing-to-silence\"\u003eThe Closest Thing to Silence by Ariel Kalma, Jeremiah Chiu \u0026amp; Marta Sofia Honer\u003c\/a\u003e\u003c\/iframe\u003e","brand":"INTERNATIONAL ANTHEM RECORDING COMPANY","offers":[{"title":"Default Title","offer_id":44811956420867,"sku":"IARC0077LPX","price":4243.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a3064571280_10_77970847-3083-4b96-9284-2b9eca6bf366.jpg?v=1709871684"},{"product_id":"knower-knower-forever-2lp","title":"Knower - Knower Forever (Gold Vinyl 2LP+Obi)","description":"\u003cp\u003eLimited Japanese edition inc the insert. KNOWER FOREVER credits\u003cbr\u003e\u003cbr\u003e(1.) Knower Forever (Louis Cole)\u003cbr\u003e*All strings\u003cbr\u003e*All Brass\u003cbr\u003eExtra synth: Louis Cole\u003cbr\u003e\u003cbr\u003e(2.) I’m The President (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eSam Wilkes: Bass\u003cbr\u003eJacob Mann: Keyboard\u003cbr\u003ePaul Cornish: Keyboard \/ Piano\u003cbr\u003e*All Brass\u003cbr\u003e*All Flutes\u003cbr\u003e*All Choir\u003cbr\u003e*All strings\u003cbr\u003e\u003cbr\u003e(3.) The Abyss (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eMononeon: Bass\u003cbr\u003eRai Thistlethwayte: Keyboard\u003cbr\u003eSam Gendel: Saxophone\u003cbr\u003e\u003cbr\u003e(4.) Real Nice Moment (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eMononeon: Bass\u003cbr\u003eRai Thistlethwayte: Keyboard\u003cbr\u003ePaul Cornish: Keyboard \/ Piano\u003cbr\u003eSam Gendel: Saxophone\u003cbr\u003e*All Choir\u003cbr\u003e\u003cbr\u003e(5.) It’s All Nothing Until It’s Everything (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eSam Wilkes: Bass\u003cbr\u003eJacob Mann: Keyboard\u003cbr\u003eRai Thistlethwayte: Keyboard \/ Piano\u003cbr\u003e*All Strings\u003cbr\u003e*All Horns\u003cbr\u003e\u003cbr\u003e(6.) Nightmare (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eMononeon: Bass\u003cbr\u003eJacob Mann: Keyboard\u003cbr\u003eRai Thistlethwayte: Keyboard\u003cbr\u003e\u003cbr\u003e(7.) Same Smile, Different Face (Louis Cole)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Piano\u003cbr\u003e*All Strings\u003cbr\u003e\u003cbr\u003e(8.) Do Hot Girls Like Chords? (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eSam Wilkes: Bass\u003cbr\u003eJacob Mann: Keyboard\u003cbr\u003ePaul Cornish: Keyboard\u003cbr\u003eAdam Ratner: Guitar\u003cbr\u003e\u003cbr\u003e(9.) Ride That Dolphin (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eSam Wilkes: Bass\u003cbr\u003eJacob Mann: Keyboard\u003cbr\u003ePaul Cornish: Keyboard\u003cbr\u003e*All Choir\u003cbr\u003e\u003cbr\u003e(10.) It Will Get Real (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eMononeon: Bass\u003cbr\u003eRai Thistlethwayte: Keyboard\u003cbr\u003eChiquita Magic: Keyboard\u003cbr\u003eSam Gendel: Saxophone\u003cbr\u003e\u003cbr\u003e(11.) Crash The Car (Louis Cole \/ Genevieve Artadi)\u003cbr\u003eGenevieve Artadi: Vox\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eSam Wilkes: Bass\u003cbr\u003eJacob Mann: Keyboard\u003cbr\u003ePaul Cornish: Piano\u003cbr\u003eAdam Ratner: Guitar\u003cbr\u003eDavid Binney: Saxophone\u003cbr\u003e*All Brass\u003cbr\u003e*All Choir\u003cbr\u003e*All strings\u003cbr\u003e\u003cbr\u003e(12.) Bonus Track (Louis Cole)\u003cbr\u003eGenevieve Artadi: Tambourine Robot Holder\u003cbr\u003eLouis Cole: Drums\u003cbr\u003eMononeon: Bass\u003cbr\u003eRai Thistlethwayte: Keyboard\u003cbr\u003eChiquita Magic: Keyboard\u003cbr\u003eSam Gendel: Saxophone\u003cbr\u003eTambourine Robot built by Louis Cole and Daniel Sunshine\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e*Strings:\u003cbr\u003eLeah Zeger (vln)\u003cbr\u003eLily Honigberg (vln)\u003cbr\u003eMegan Shung (vln)\u003cbr\u003eYu-Ting Wu (vln)\u003cbr\u003eChrysanthe Tan (vln)\u003cbr\u003eSabrina Parry (vln)\u003cbr\u003eNora Germain (vln)\u003cbr\u003eTylana Renga (vln)\u003cbr\u003eTom Lea (vla)\u003cbr\u003eEthan Moffitt (vla)\u003cbr\u003eDaniel Jacobs (vla)\u003cbr\u003eLauren Baba (vla)\u003cbr\u003eIsaiah Gage (clo)\u003cbr\u003eChris Votek (clo)\u003cbr\u003eNiall Ferguson (clo)\u003cbr\u003eEmily Elkin (clo)\u003cbr\u003eKarl McComas-Reichl (bs)\u003cbr\u003eLogan Kane (bs)\u003cbr\u003e\u003cbr\u003e*Brass:\u003cbr\u003eRobert Murray (tuba)\u003cbr\u003eCorbin Jones (sousaphone)\u003cbr\u003eKyle Richter (sousaphone)\u003cbr\u003eJon Hatamiya (tbn)\u003cbr\u003eVikram Devasthali (tbn)\u003cbr\u003eMariel Austin (tbn)\u003cbr\u003eNick Platoff (bass tbn)\u003cbr\u003eAidan Lombard (tp)\u003cbr\u003eAaron Janik (tp)\u003cbr\u003eAndris Mattson (tp)\u003cbr\u003eChris Clarkson (tp)\u003cbr\u003e\u003cbr\u003e*Flutes:\u003cbr\u003eRob Sheppard\u003cbr\u003eAmber Navran\u003cbr\u003eHenry Solomon\u003cbr\u003e\u003cbr\u003e*Choir:\u003cbr\u003eKathryn Shuman\u003cbr\u003eMikaela Elson\u003cbr\u003eDyasono\u003cbr\u003eMicaela Tobin\u003cbr\u003eJessica Freedman\u003cbr\u003eRayah Clarkson\u003cbr\u003eAlexandra Domingo\u003cbr\u003eSharon Kim\u003cbr\u003eLinnea Sablosky\u003cbr\u003eKatharine Eames\u003cbr\u003eGlynis Davies\u003cbr\u003eMichael Kohl\u003cbr\u003eJeff Eames\u003cbr\u003eVJ Rosales\u003cbr\u003eBrett McDermid\u003cbr\u003eLuc Kleiner\u003cbr\u003eSean Fitzpatrick\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAll production by: Louis Cole\u003cbr\u003eAll songs mixed and mastered by: Louis Cole\u003cbr\u003eAudio Engineer: Daniel Sunshine\u003cbr\u003eCameras: Daniel Sunshine, Richard Thompson, Chiquita Magic, Max Zemanovic\u003cbr\u003eSpecial thanks for Alliz Espi at Songololo Music, and publishers Because Music\u003c\/p\u003e\n\n\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=182893299\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026amp;lt;a href=\u0026amp;quot;https:\/\/knowermusic.bandcamp.com\/album\/knower-forever\u0026amp;quot;\u0026amp;gt;KNOWER FOREVER KNOWER\u0026amp;lt;\/a\u0026amp;gt;\u003c\/iframe\u003e","brand":"Knower","offers":[{"title":"Default Title","offer_id":45094310674691,"sku":"BRLP748GBR","price":6789.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/BRLP748GBR_Knower_JK.png?v=1780904125"},{"product_id":"稲垣次郎とソウル-メディア-in-the-groove-clear-yellow-vinyl-lp","title":"Jiro Inagaki and His Soul Media - In The Groove (Clear Yellow Vinyl LP)","description":"Since its formation in 1969, Soul Media has championed the fusion of jazz and rock. This album, “In the Groove,” recorded in 1973, marks the next step in that direction. It emphasizes the sharpness of jazz, blends in rock to create an edgy sound, and injects funk to give it power and elasticity. This album produced a robust yet refined, uncompromisingly “cool” sound that defies categorization into existing genres like jazz-rock, jazz-funk, or fusion. It has been described as Soul Media\u0026#39;s response to The Crusaders, whom Inagaki Jiro was paying attention to at the time. The aim was spot-on. With this album, Soul Media achieved a “refined black feeling” and set its sights on the ultimate destination: \u0026#39;Funky Stuff.\u0026#39;\n\nText by Yūsuke Ogawa (UNIVERSOUND\/DEEP JAZZ REALITY)\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/tJ6fyxjF-tU?si=17GKMwhiZ01pjDs4\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"日本コロムビア株式会社","offers":[{"title":"Default Title","offer_id":47114351739139,"sku":"HMJY-222","price":4950.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/4549767375618.jpg?v=1778502395"},{"product_id":"稲垣次郎とソウル-メディア-funky-stuff-clear-green-vinyl-lp","title":"Jiro Inagaki and His Soul Media - Funky Stuff (Clear Green Vinyl LP)","description":"A jazz-rock masterpiece by master musician Jiro Inagaki! Beyond Jazz Rock. Soul Media, led by Jiro Inagaki, has arrived at the ultimate tight and cool groove. As Inagaki himself says, \u0026quot;I did black funk.\u0026quot; By combining the burst of jazz rock he had cultivated up to that point with the tenacity and elasticity of black music, his musicality took a leap to another dimension. The groove is polished, shiny, and bewitching, coupled with the masterful arrangements of virtuoso Hiromasa Suzuki. The lively and fast \u0026quot;Painted Paradise,\u0026quot; the funkiness and mellowness of \u0026quot;Breeze,\u0026quot; the low center of gravity and sharpness of \u0026quot;Kool \u0026amp; the Gang,\u0026quot; \u0026quot;Funky Stuff,\u0026quot; and \u0026quot;Painted Paradise,\u0026quot; the melodic \u0026quot;Breeze,\u0026quot; and \u0026quot;Funky Stuff,\u0026quot; the melodic \u0026quot;Funky Stuff,\u0026quot; are all well-known. The entire album is worth listening to, including a cover of \u0026quot;Funky Stuff\u0026quot; by Kool \u0026amp; the Gang. This is a definitive masterpiece that continues to be a worldwide favorite.\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/lvMi21kZtB0?si=N7GL2d3JcEeQgdwi\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"日本コロムビア株式会社","offers":[{"title":"Default Title","offer_id":47114374054147,"sku":"HMJY-237","price":5280.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/HMJY-211.jpg?v=1755757535"},{"product_id":"ダブ平-ニューシャネル-juke-19-live-area-at-tad-2023-9-18-3lp","title":"Dub-Hei \u0026 New Chanell+JUKE\/19. - Live area. at TAD 2023. 9.18 (3LP)","description":"\u003cp\u003eThe definitive release of Dubhei \u0026amp; New Chanel, the extraordinary musical work by Shinro Ohtake, known as an artist. Shinro Ohtake is currently known as an artist, but his career began in music. JUKE\/19., which was among the first in Japan to respond to NO WAVE and incorporate it into their work, was far ahead of its time in 1980. Yet, their work quietly influenced many later artists. Yamataka EYE of Boredoms, in particular, openly acknowledged its immense influence, and in the 90s, he even started a duo with Otake himself, PUZZLE PUNKS (the unit continues to this day).\u003c\/p\u003e\n\n\u003cp\u003eDabuhei \u0026amp; New Chanel represents the ultimate expression of Otake\u0026#39;s musical vision. This band, featuring guitar, bass, drums, keyboard, and turntables, was entirely remote-controlled, creating an extraordinary system where each stage performance itself became a work of art. Yamataka EYE was once featured in this system, performing with Destroy All Monsters, and his collaboration with Kazuhisa Uchihashi was also released as a CD work.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eThis release captures Dubhei \u0026amp; New Chanel\u0026#39;s performance at the Toyama Prefectural Museum of Art\u0026#39;s TAD space on the final day of the touring “Shinro Ohtake Exhibition,” which began at the National Museum of Modern Art, Tokyo in 2022. It is presented across three analog discs and two CDs.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e　For this performance, Toshiharu Toyama, a close ally who had worked with Ohtake and JUKE\/19. since the early 80s, brought his own modified instruments and joined Dubhei \u0026amp; New Chanel mid-performance. Their playing plunged into a black hole-like sonic world that could never have emerged from Dubhei \u0026amp; New Chanel alone, creating an intense, condensed history of Ohtake\u0026#39;s music starting from JUKE\/19. , creating an intense experience that felt like a sudden condensation of the entire history of Ohtake\u0026#39;s music, starting from JUKE\/19.. Ohtake\u0026#39;s live performance added to the ultimate industrial sound mass, creating a physical chaos.\u003c\/p\u003e\n\n\u003cp\u003eBoth the packaging and content differ between the analog and CD versions.\u003c\/p\u003e\n\n\u003cp\u003eThe analog packaging is unprecedented: a B-size silk-screen printed poster cut into three pieces, each housing one record, then all stored within a silk-screen printed clear case. When connected, they form a B-size silk poster. During cutting, the request was: “Blow out the bass at full volume—a lighter player might blow the needle off!”\u003c\/p\u003e\n\n\u003cp\u003ePlease note that the jacket image is a concept rendering and may differ slightly from the final visual.\u003c\/p\u003e","brand":"円盤","offers":[{"title":"Default Title","offer_id":47381260730627,"sku":"DAB-HEI_LP","price":27500.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/dfaa20cb243e4baaf28eb637ac43973a.jpg?v=1761809093"},{"product_id":"jeff-parker-the-new-breed-lp","title":"Jeff Parker - The New Breed (LP+Obi)","description":"The New Breed\", the 2016 masterpiece from Jeff Parker, known for his work with Tortoise and the Chicago Underground Quartet, has been reissued for the 2021 edition of International Anthem. The New Breed is an experimental beat\/jazz album with lo-fi good vibes, supported by Jamire Williams, John McEntire and many others. It's an experimental beat\/jazz with lo-fi good vibes.\u003ciframe style=\"border: 0; width: 250px; height: 406px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1307492242\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/intlanthem.bandcamp.com\/album\/the-new-breed\"\u003eThe New Breed by Jeff Parker\u003c\/a\u003e\u003c\/iframe\u003e","brand":"INTERNATIONAL ANTHEM RECORDING COMPANY","offers":[{"title":"Default Title","offer_id":47439472197891,"sku":"IARC0009LPB","price":4243.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/IARC0009_JeffParker_J.jpg?v=1782125797"},{"product_id":"nightmares-on-wax-x-adrian-sherwood-in-a-space-outta-dub-light-rose-vinyl-lp-obi","title":"Nightmares on Wax X Adrian Sherwood - In A Space Outta Dub (LP)","description":"\u003cp\u003eAn inspired coming together of musical minds. To celebrate the 20th anniversary of In A Space Outta Sound, George Evelyn aka DJ E.A.S.E has handed over the tapes to dub maestro Adrian Sherwood to go on a heady version excursion with eight tracks from the original record, in the spirit of the reggae and sound system roots that informed the original album. The result is a fresh take on a much-loved classic, in the lineage of albums such as Massive Attack’s No Protection and Spoon’s Lucifer On The Moon. Features bold new re-works of iconic tracks such as “You Wish” (appearing here as “You Bliss”) and “Flip Ya Lid” (mutated into “Flippin Eck”). As well as his trademark mixing desk wizardry, Sherwood has also brought in some of the core On-U Sound players to add additional instrumentation and turn this collaboration into something which is much more than the sum of its parts.\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/OthUTv4KO-4?si=dQTwgZfsT2Qj2dy4\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"WARP","offers":[{"title":"Default Title","offer_id":47695675556099,"sku":"WARPLP415","price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2018587085_10.jpg?v=1769756441"},{"product_id":"charanjit-singh-synthesizing-ten-ragas-to-a-disco-beat-cd","title":"Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat (CD)","description":"\u003cp\u003eLight 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eRecording 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…\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eReleased 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eAn 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eMore on Synthesizing: Ten Ragas to a Disco Beat:\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eIndian 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eA 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).\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eBy 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eUsing 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eTwo 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eSoon, 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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e“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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eWhile 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eMost 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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/4XV4Lb2FVeo?si=Qdwvz6_J_i9fZEHW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/BN8M2irJVJA?si=OYGpsPodgAJ6iBWW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"LIGHT IN THE ATTIC","offers":[{"title":"Default Title","offer_id":47696245031171,"sku":"LITA226CD","price":3064.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/TenRagasCD_974x_a6c0b904-5d95-4b0e-94d2-7e3db1d2ea32.jpg?v=1769761820"},{"product_id":"charanjit-singh-synthesizing-ten-ragas-to-a-disco-beat-2lp","title":"Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat (2LP)","description":"\u003cp\u003eLight 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eRecording 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…\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eReleased 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eAn 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eMore on Synthesizing: Ten Ragas to a Disco Beat:\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eIndian 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eA 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).\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eBy 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eUsing 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eTwo 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eSoon, 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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e“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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eWhile 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eMost 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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/4XV4Lb2FVeo?si=Qdwvz6_J_i9fZEHW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/BN8M2irJVJA?si=OYGpsPodgAJ6iBWW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"LIGHT IN THE ATTIC","offers":[{"title":"Default Title","offer_id":47696248242435,"sku":"LITA226LPBLACK","price":7864.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/826853226103_974x_4d4b4cd8-7dae-4b3a-a5a7-01999d762c1f.jpg?v=1769761820"},{"product_id":"charanjit-singh-synthesizing-ten-ragas-to-a-disco-beat-pearlescent-vinyl-2lp","title":"Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat (Pearlescent Vinyl 2LP)","description":"\u003cp\u003eLight 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eRecording 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…\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eReleased 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eAn 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eMore on Synthesizing: Ten Ragas to a Disco Beat:\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eIndian 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eA 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).\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eBy 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eUsing 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eTwo 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eSoon, 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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e“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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eWhile 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.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eMost 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.”\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/4XV4Lb2FVeo?si=Qdwvz6_J_i9fZEHW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/BN8M2irJVJA?si=OYGpsPodgAJ6iBWW\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"LIGHT IN THE ATTIC","offers":[{"title":"Default Title","offer_id":47696249422083,"sku":"LITA226LPCOLOR","price":7989.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/826853226103_974x_4d4b4cd8-7dae-4b3a-a5a7-01999d762c1f.jpg?v=1769761820"},{"product_id":"蓮沼執太チーム-team-clear-vinyl-lp","title":"蓮沼執太チーム - TEAM (Clear Vinyl LP)","description":"\u003cp\u003eShuta Hasunuma Team — consisting of Shuta Hasunuma, Shuta Ishizuka, itoken, Yu Oshima, and Ryosuke Saito — has released their first studio album, 17 years after the group’s formation. The album includes a cover of Tortoise’s “Seneca,” with mixing handled by Tortoise’s own John McEntire and mastering by Dave Cooley.\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/V2K1ydmzxXg?si=uaVMfeRA11hq_3kG\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"windandwindows \/ JET SET","offers":[{"title":"Default Title","offer_id":47734489284867,"sku":"JSLP276","price":5610.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/unnamed_6dd509bd-d727-48d3-a756-d4b1ee7789c4.jpg?v=1770882324"},{"product_id":"shabaka-of-the-earth-cornflower-blue-vinyl-obi","title":"Shabaka - Of The Earth (LP)","description":"‘Of the Earth’ was entirely written, produced, performed and mixed by Shabaka. It’s a deeply personal album which establishes Shabaka as a new form of instrumentalist\/producer and shows the musical range that connects his dance based work from groups Sons of Kemet and The Comet Is Coming to the intricate textural sound world of his recent solo works (‘Perceive its Beauty, Acknowledge Its Grace’, ‘Afrikan Culture’) .Beats and loops made on portable devices whilst on the road lay a foundation for choral flute melodies to soar within. Sequences of electronic rhythms outline a story of diasporic progression and words contextualise the record’s lyrical framework. Shabaka raps on the album - “I’ve never rapped before but was actually inspired by André 3000’s courage in exploring new dimensions with fearlessness and sincerity; I decided to find my voice on this album”.A self imposed saxophone hiatus ended mid 2025 with a performance for South African drum maestro Louis Moholo’s memorial concert. This album marks Shabaka’s first recording made after a year and a half not playing the saxophone and a reckoning as to what his time on flutes primarily has shown him to be the future for his relationship with the instrument.Shabaka says of an initial inspiration for the album - “D’angelo’s Brown Sugar was the first CD I bought and it sparked a lasting curiosity about the emotional possibilities allowed by the self produced and performed album. This record is my celebration of freedom in creative self expression. Before the pandemic I could only play the clarinet and saxophone and knew nothing about music production (or how to play the flute), so this has been a journey of learning and a reflection on the music that’s been created as a result.” \u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=920501725\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\u0026quot;https:\/\/shabaka.bandcamp.com\/album\/of-the-earth\u0026quot;\u0026gt;Of The Earth Shabaka\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"Shabaka Records","offers":[{"title":"Default Title","offer_id":47819728781571,"sku":"SR001LP","price":4558.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a0386675042_10.jpg?v=1768991922"},{"product_id":"daniel-villarreal-lados-b-cigar-smoke-vinyl-lp","title":"Daniel Villarreal - Lados B (Color Vinyl LP)","description":"On October 15th and 16th, 2020, drummer Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they’d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from these sessions made it onto Villarreal’s critically-acclaimed 2022 album Panamá 77, but most of the music remained unreleased.\n\nLados B is a deep dive into the high-level spontaneous music made by Villarreal, Parker, and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation – flow as informed by the Latin funk of Fania Records as it is by the otherworldly humanity trance of Brain Records – while Parker and Butterss draw on their extensive experience playing free together (as heard on Parker's recently-released Mondays at the Enfield Tennis Academy, and the LA side of Makaya McCraven's 2018 LP Universal Beings) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.\u003ciframe style=\"border: 0; width: 350px; height: 439px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=503840176\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/intlanthem.bandcamp.com\/album\/lados-b\"\u003eLados B by Daniel Villarreal\u003c\/a\u003e\u003c\/iframe\u003e","brand":"INTERNATIONAL ANTHEM RECORDING COMPANY","offers":[{"title":"Default Title","offer_id":47823628206339,"sku":"IARC0071LPX","price":4558.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a4049990247_10_abad3880-6da7-447c-acf3-932b120147b8.jpg?v=1715602779"},{"product_id":"senor-coconut-el-baile-aleman-lp","title":"Senor Coconut - El Baile Aleman (LP)","description":"\u003cp\u003eSenor Coconut's cult classic ‘El Baile Aleman’—one of Atom TM's many aliases—is reissued on vinyl for the first time in 25 years. Born from the half-joking idea that “if you're going to cover Kraftwerk, do it with cha-cha-cha or death metal,” this work reconstructs Kraftwerk's electronic minimalism through tropical imagination. It presents an original sound where cha-cha-cha, mambo, and cumbia intertwine with glitch and breakbeats.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1604776661\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\u0026quot;https:\/\/nn-audio.bandcamp.com\/album\/el-baile-alem-n\u0026quot;\u0026gt;El Baile Alemán Señor Coconut\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"state51","offers":[{"title":"Default Title","offer_id":47831146004739,"sku":"TRANS1006","price":5972.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2100740557_10.jpg?v=1773211996"},{"product_id":"natalie-wildgoose-rural-hours-lp","title":"Natalie Wildgoose - Rural Hours (LP)","description":"\u003cp\u003eNatalie Wildgoose's new work, Rural Hours, recorded deep in the Yorkshire Dales with Chris Brain and Owen Spafford. In a space without heating or electricity, piano and folk ensemble blend with the sounds of the fire and wind, quietly depicting the land's memories and losses.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 340px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1447631420\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\u0026quot;https:\/\/nataliewildgoose.bandcamp.com\/album\/rural-hours\u0026quot;\u0026gt;Rural Hours Natalie Wildgoose\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"state51","offers":[{"title":"Default Title","offer_id":47831148527875,"sku":"WILD004LP","price":5579.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a1465026511_10-1.jpg?v=1773212523"},{"product_id":"andrew-wasylyk-irreparable-parables-white-vinyl-lp","title":"Andrew Wasylyk - Irreparable Parables (White Vinyl LP)","description":"\u003cp\u003eFor his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.\n\nThe Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.\n\nSix singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”\n\nThe song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.\n\nWasylyk writes in a room, in his native Dundee, full of “half-broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.\n\nAmong the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.\n\nThe heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write something that was obviously hopeful,” Wasylyk says.\n\n‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”\n\nThe album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.” \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=908535522\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/claypipemusic.bandcamp.com\/album\/irreparable-parables\"\u003eIrreparable Parables Andrew Wasylyk\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Clay Pipe Music","offers":[{"title":"Default Title","offer_id":47924807500035,"sku":"Pipe04602","price":5579.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/unnamed_ded47196-a037-458b-9399-f4d8b620ca15.jpg?v=1775725099"},{"product_id":"richard-pike-redemption-suite-i-ix-for-piano-textures-lp","title":"Richard Pike - Redemption Suite I-IX: For Piano \u0026 Textures (LP)","description":"\u003cp\u003eFollowing the passing of Ryuichi Sakamoto in early 2023, Richard Pike turned to the piano as a daily ritual of improvisation – or, as he frames it, real-time composition. The result is [album title], a suite of intimate pieces for piano and looping textures that explore cassette sound sources, minimalism, harmony, and the fragile acoustic artefacts that surface from the process.\n\nPike’s method was simple and disciplined: gather tape loops and sonic beds in the studio each morning, then move to a 1950s Eavestaff Minipiano in the living room to record melodic responses over them. These performances were captured quickly and left largely unedited, allowing instinct, error, and texture to dictate shape and direction.\n\nThe music reflects a fascination with earthy, worn sound worlds, drawing on influences such as Romeo Poirier, Deepchord and early musique concrète, as well as Pike’s own history with the tape-scarred aesthetics that informed his early work with Warp-affiliated band PVT.\n\nThis is a quietly expressive record of repetition, decay and emergence – a document of daily practice finding form almost by accident.\u003c\/p\u003e","brand":"Salmon Universe","offers":[{"title":"Default Title","offer_id":47925147336963,"sku":"SU021","price":6758.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/unnamed_1_8638ecdd-f18a-4231-944c-521b3aa8b397.jpg?v=1775726509"},{"product_id":"abul-mogard-rafael-anton-irisarri-where-light-pauses-in-the-silence-of-the-sun-white-vinyl-lp-dl","title":"Abul Mogard \u0026 Rafael Anton Irisarri - Where Light Pauses in the Silence of the Sun (White Vinyl LP+DL)","description":"\u003cp\u003eIn spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.\n\nBack in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.\n\nThe album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.\n\nAt the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.\n\nMogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own.\"\n\nMarja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion. \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 340px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3902354476\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/abulmogard.bandcamp.com\/album\/where-light-pauses-in-the-silence-of-the-sun\"\u003eWhere Light Pauses in the Silence of the Sun Abul Mogard \u0026amp; Rafael Anton Irisarri\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Black Knoll Editions","offers":[{"title":"Default Title","offer_id":47931792228611,"sku":"BKE024-LP-CL","price":5176.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a3864975270_10.jpg?v=1775890090"},{"product_id":"marco-benevento-glera-lp","title":"Marco Benevento -  Glera (LP)","description":"\u003cp\u003eBig Crown Records is proud to present Glera, Marco Benevento’s debut album on the label.\n\nMarco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling.\n\nGlera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward.\n\nAlbum opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello.\n\nMarco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still. \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=527736276\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/marcobenevento.bandcamp.com\/album\/glera\"\u003eGlera Marco Benevento\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Big Crown Records","offers":[{"title":"Default Title","offer_id":47949289488643,"sku":"BCR205lp","price":3399.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a1378390940_10.jpg?v=1776389834"},{"product_id":"marco-benevento-glera-coke-bottle-clear-vinyl-lp","title":"Marco Benevento -  Glera (Coke Bottle Clear Vinyl LP)","description":"\u003cp\u003eBig Crown Records is proud to present Glera, Marco Benevento’s debut album on the label.\n\nMarco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling.\n\nGlera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward.\n\nAlbum opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello.\n\nMarco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still. \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=527736276\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/marcobenevento.bandcamp.com\/album\/glera\"\u003eGlera Marco Benevento\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Big Crown Records","offers":[{"title":"Default Title","offer_id":47949291651331,"sku":"BCR205lp-C2","price":3654.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a1378390940_10.jpg?v=1776389834"},{"product_id":"evil-graham-lee-i-think-im-alone-now-lp","title":"Evil Graham Lee - I Think I'm Alone Now (LP)","description":"\u003cp\u003eAt the age of 72, \u0026quot;Evil\u0026quot; Graham Lee, the legendary pedal steel pioneer and veteran of the iconic Australian band The Triffids, delivers his first ever album under his own name titled ‘I Think I’m Alone Now’. In addition to his work with The Triffids, Graham’s place in ambient history was cemented in 1990 when his evocative pedal steel became the soulful centerpiece of The KLF’s masterpiece, Chill Out (specifically on the highlight “Baltimore to Fair Play”).I Think I’m Alone Now is a profound exploration of the instrument\u0026#39;s emotional range, blending traditional country infused melodies with vast, reverb drenched ambient textures. The album spans six tracks, anchored by the Side B title track, a 15 minute textural piece that leans heavily into the ambient genre. From the delicate melancholy of \u0026quot;Seeking Beauty in Sadness\u0026quot; to the curious abstraction of \u0026quot;Nursery in the Beehive,\u0026quot; Lee uses his pedal steel and an array of pedals to sculpt unique, haunting soundscapes that exist between tradition and the avant garde.The connection is brought full circle with exclusive liner notes written by The KLF’s Bill Drummond. Reflecting on a forty year friendship that began when The Triffids served as the backing band for Drummond’s solo debut, The Man, Drummond provides a personal and poignant context for this long awaited solo bow.A 180g pressing housed in a full sleeve designed by Bradley Pinkerton with metallic sticker and bespoke inner sleeve featuring liner notes signed by Bill Drummond.\u003c\/p\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/soundcloud%3Atracks%3A2304211946%3Fsecret_token%3Ds-neadosH8ARQ\u0026color=%239a8d5e\u0026auto_play=false\u0026hide_related=true\u0026show_comments=false\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=false\"\u003e\u003c\/iframe\u003e\n\n\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"\u003e\u003ca href=\"https:\/\/soundcloud.com\/meditations\" title=\"meditations\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003emeditations\u003c\/a\u003e · \u003ca href=\"https:\/\/soundcloud.com\/meditations\/evil-graham-lee-i-think-im\/s-neadosH8ARQ\" title=\"Evil Graham Lee - I Think I'm Alone Now\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003eEvil Graham Lee - I Think I\u0026#39;m Alone Now\u003c\/a\u003e\u003c\/div\u003e","brand":"Isle Of Jura","offers":[{"title":"Default Title","offer_id":47949460504835,"sku":"ISLELP020","price":5374.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/1234303.jpg?v=1776392456"},{"product_id":"panasonic-muuntaja-murtaja-12","title":"Panasonic - Muuntaja \/ Murtaja (12\")","description":"\u003cp\u003eTwo raw minimal cuts from '94 that will piece up any self respecting dance floor;\nMika Vainio, Ilpo Väisänen \u0026 Sami Salo at the controls - an ESSENTIAL 12\" from Sähkö Recordings, TIP!\u003c\/p\u003e\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Sjne2-yx2uo?si=lodU6NS4dQcSMiKX\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/NNpzT2CNBaM?si=cwMgcDMfmEBpXZ1O\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Sähkö Recordings","offers":[{"title":"Default Title","offer_id":47986971771139,"sku":"SAHKO007","price":2968.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/1-panasonic-muuntaja-murtaja-2026-repress_1.jpg?v=1776941987"},{"product_id":"francois-bayle-50-ans-dacousmatique-15cd-box","title":"François Bayle - 50 Ans D'Acousmatique (15CD BOX)","description":"“François Bayle’s itinerary spans over five decades through which music was able to renovate its material through a sensible use of technology. The terms of Musique Concrète, Electroacoustics or Acousmatics, as conveniently proposed by François Bayle, ultimately explore a similar artistic approach: a creative and expressive work on recorded sound. This last half-century saw many major technical mutations and François Bayle – in the fertile context of the Grm – seized the right opportunities, often initiating them through his function as director, so as to renovate and update creativity to serve what he called the Light Speed Sound. The fifty opuses in this box set are all markers or beacons illuminating this musical adventure firmly placed under the sign of modernity. Listening through them with a curious and active ear is also a way of witnessing how utopia can occur; how yesterday’s strange sounds are now fully part of our audible landscape.” Christian Zanési.“Trois rêves d’oiseau” (1963, 1971). “Espaces inhabitables” (1967). “Jeîta, ou Murmure des eaux” (1970 – new version 2012). “L’expérience acoustique” (1969 – 1972). “Purgatoire d’après la Divine Comédie de Dante” (1972). “Vibrations composées” (1973). “Grande polyphonie” (1974). “Camera oscura” (1976). “Les Couleurs de la nuit” (1982 – new version 2012). “Erosphère” with “Tremblement de terre très doux” (1978), “La Fin du bruit” (1979-80 – new version 2009), “Eros” (1979-80), “Toupie dans le ciel” (1979-80 – new version 2009). “Son – Vitesse – Lumière” with “Grandeur nature” (1980), “Paysage, personnage, nuage” (1980), “Voyage au centre de la tête” (1981), “Le Sommeil d’Euclide” (1983), “Lumière ralentie” (1983). “Motion-Émotion” (1985). “Théâtre d’Ombres” (1988). “Fabulæ” with “Fabula” (1990), “Onoma” (1990), “Nota” (1991), “Sonora” (1992). “Mimaméta” (1989). “La main vide” (1994-95) with “Bâton de pluie”, “La Fleur future”, “Inventions”. “Morceaux de ciels” (1996). “Arc, pour Gérard Grisey” (unedited) (1999). “La forme du temps est un cercle” with “Concrescence” (2001), “Si loin, si proche…” (1998 – 2001 – new version 2012), “Tempi” (1999-2000), “Allures” (1999-2000), “Cercles” (2000-2001). “La forme de l’esprit est un papillon” (2002-04) with ”Ombrages et trouées” (2004 – new version 2012), “Couleurs inventées” (2003). “Univers nerveux – in memoriam K. Stockhausen” (unedited) (2005-2007). “L’oreille étonnée – in memoriam O. Messiaen” (unedited) (2006-2012). “Rien n’est réel” (unedited) (2009-2010) with “… sensations” (2010) et “… perceptions” (2009). “Déplacements” (unedited) (2011-12) with “Horizontal-vertical” (2012) et “Spiral” (2011).\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/XO3mervXG3A?si=7gnwcFg8tuYnN3U1\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/K8mRjIvJo4k?si=x9qZwkhGRDs9GAEL\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/tyCfJbJ8ZSI?si=I-pms1zmlSqbzi96\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/fl-XQk2v7dA?si=k87688HLrnOyxeDd\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"INA-GRM","offers":[{"title":"Default Title","offer_id":48005545328899,"sku":"INAG60336047","price":12768.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/products\/ina_g_6033_8003e42c-268c-43da-97ad-6471c02be791.jpg?v=1675847364"},{"product_id":"bernard-parmegiani-loeuvre-musicale-en-12-cd-12cd-box","title":"Bernard Parmegiani - L'Œuvre Musicale En 12 CD (12CD BOX)","description":"The French electronic composer Bernard Parmegiani, one of the most important figures of the French music research group [INA-GRM] founded by Pierre Scheffer, has influenced Aphex Twin, Autechre and Keith Fullerton Whitman. In 2008, to celebrate GRM\u0026#39;s 50th anniversary, compiled with 12-CD collection of electronic music works that became very popular and is now hard to find. Winner of the President of the Republic Award at the French ACC Disc Awards(!) A 92-page booklet (in both English and French) is included. This is a must-have for all fans of electronic and experimental music.\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/MNnnhT_penE?si=m8pokK5H8ArUhTx-\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"300\" height=\"100\" src=\"https:\/\/www.youtube.com\/embed\/M3OO9duLweI\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"300\" height=\"100\" src=\"https:\/\/www.youtube.com\/embed\/gV8281xNNKc\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"300\" height=\"100\" src=\"https:\/\/www.youtube.com\/embed\/a-N7X_t-aDs\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"300\" height=\"100\" src=\"https:\/\/www.youtube.com\/embed\/y0gh7fo2Qgk\"\u003e\u003c\/iframe\u003e","brand":"INA-GRM","offers":[{"title":"Default Title","offer_id":48005653954819,"sku":"InaG600011","price":11324.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/products\/InaG600011_904170df-daaf-4a38-80db-0c3fe37a5fe6.png?v=1675403297"},{"product_id":"monolake-interstate-2lp","title":"Monolake - Interstate (2LP)","description":"\u003cp\u003eContinuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.\u003c\/p\u003e\n\n\u003cp\u003eMonolake\u0026#39;s evolution from their earlier dub-techno-tinted works saw their exploration of Max\/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.\u003c\/p\u003e\n\n\u003cp\u003eThere\u0026#39;s a house-like undulation to the low-end driving \u0026#39;Tangent-I\u0026#39; and \u0026#39;Tangent-II\u0026#39;, but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum \u0026amp; bass driving \u0026#39;Ginza\u0026#39;, but here it\u0026#39;s used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.\u003c\/p\u003e\n\n\u003cp\u003eAfter Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it\u0026#39;s an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/kTjY-26Bxpw?si=jfKNa_A7dQYEO8lx\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/FMctupTup-8?si=CFiN0hwjuzFdUNft\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"FIELD","offers":[{"title":"Default Title","offer_id":48009557704963,"sku":"Field39","price":6985.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/field39-interstate.jpg?v=1777114374"},{"product_id":"sam-gendel-sam-wilkes-unrelated-lp","title":"Sam Gendel \u0026 Sam Wilkes -  UNRELATED (LP)","description":"\u003cp\u003eWell known for their Music for Saxofone \u0026 Bass Guitar series—also familiar to Meditations—Sam Gendel and Sam Wilkes return with a new duo work. This time, they step away from their signature sax-and-bass pairing and move toward a fresh approach centered on guitar and synthesizer. Compact at eight tracks and roughly 27 minutes, the album builds a distinctive world through a sequence of short, interconnected pieces.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 406px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4200954415\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/samgendelsamwilkes.bandcamp.com\/album\/unrelated\"\u003eUNRELATED Sam Gendel \u0026amp; Sam Wilkes\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Sam Gendel","offers":[{"title":"Default Title","offer_id":48019608043779,"sku":"SamGendel001","price":5394.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a3708436456_10.jpg?v=1777281462"},{"product_id":"reverend-baron-daniel-lp","title":"Reverend Baron - Daniel (LP)","description":"\u003cp\u003eReverend Baron’s singular troubadour soul may best understand the capacity music has to span the distance between points on a map and pages in a calendar. Daniel, the acoustic instrumental follow-up to 2022’s Karma Chief label debut, From Anywhere…, expands the world beyond LA’s concrete canyons and overpasses to the bustling, churning sea of life that is Mexico City, to the sparse, rolling landscape of Red Cloud, Nebraska. In each locale, the constant companion was a nylon-stringed acoustic guitar — with a well-traveled history of its own.\n\n“It was my father’s guitar,” recalls Danny Garcia, the man behind the Reverend. “I found out a few years ago that it was my grandfather’s as well.” Ever-present since his childhood, the Mexican acoustic has taken on increased meaning for Garcia with each passing year. Hours upon hours spent playing, traveling, and breathing meaning into its fretboard have made it both a tool and talisman.\n\n“There’s the obvious bloodline and family and link…that link through history,” confides Garcia. “It’s kinda the only family heirloom I have.”\n\nOver the last while, all this playing (or “noodling” as Danny puts it) had Reverend Baron chasing a sound — one which belies the guitar’s origins. It’s a sound he would hear from time to time, and when it came to record\u0026nbsp;Daniel, it would be his true magnetic north (or south as it were).\n\nSpinning through\u0026nbsp;Daniel, and you will hear echoes of Antonio Bribiesca and Luiz Bonfa's guitar tones. Dig deeper and you’ll see the bones of Townes Van Zandt and Nick Drake guitar textures as well. While not claiming their virtuosity in his playing, the soul and vulnerability that have become calling cards for the first two Reverend Baron albums complement these influences. There is a warmth in Daniel that takes center stage in these acoustic meditations. From brief, fluid moments like “El Monte” and “How Glad” to the high-lonesome “Muchacho,” the songs drift like cumulus clouds over a deep blue skyway.\n\nTheir graceful float is in stark contrast to the album’s origins. The studio Garcia was using for his intended second release on Karma Chief was a victim of the LA wildfires in January of 2025. “[The fires] halted work on my record,” says Garcia. “So I ended up leaving and went to Mexico City for a few months, and so worked quite a bit [on Daniel] there.” With his striped-down set up -- featuring his guitar, a few microphones, and a laptop -- the time in Mexico City set the tone for the project. “I just came into this space because it seemed like I could just do it…it seemed like it was time, and I didn’t have to force anything.”\n\nAfter leaving CDMX, Reverend Baron spent a few weeks in Red Cloud. While all the traveling and miles energize Garcia, this small midwestern village’s peaceful and unassuming nature was the ideal spot to focus and create. “LA is home and has its own cultural juice, which I love…Nebraska is very quiet. No one disturbs you, and I can just work and concentrate for weeks [there].”\u0026nbsp;\n\nDaniel’s 11 tracks criss-cross the laylines of border music and folk, but categorizing them along a fault line or genre tag misses the point. These acoustic numbers move with a deliberate ease, never overstaying their welcome. The songs respond to time and distance with equal parts reflection and transparency; both mirror and window to the soul. Daniel is Reverend Baron’s conversation with his bloodline, influences, and the stops along the way.\u0026nbsp; By the album’s closer, “Velasco,” Daniel’s conversation becomes your invitation to search for a path along that great sonic continuum housed within a song. \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1670597594\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/reverendbaron.bandcamp.com\/album\/daniel\"\u003eDaniel Reverend Baron\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Karma Chief Records","offers":[{"title":"Default Title","offer_id":48033476542723,"sku":"KCR12040lp","price":3886.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a3925850341_10.jpg?v=1777513321"},{"product_id":"sooj-crusher-lp","title":"Sooj - Crusher (LP)","description":"\u003cp\u003eSooj — a collaborative project between members of Duster and Dirty Art Club. Picking up where their 2024 two-sider Anhedonia II b\/w Ecstasy Cowgirl left off, Crusher sees Duster’s slowcore drift dissolve into Dirty Art Club’s sample-heavy, collage-minded production. The result is neither band, nor side project, but something more elusive — a third space built from tape hiss, chopped memory, and late-night signal bleed. Across its runtime, the album avoids the gravitational pull of nostalgia. Instead, it hovers in a liminal present — part collaboration, part escape route.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2509488746\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/dusternumero.bandcamp.com\/album\/crusher\"\u003eCrusher Sooj\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Numero Group","offers":[{"title":"Default Title","offer_id":48033516552451,"sku":"NUM309lp","price":3634.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a1126633558_10.jpg?v=1777514086"},{"product_id":"中川裕貴-yuki-nakagawa-stills-and-remains-lp","title":"中川裕貴 Yuki Nakagawa - Stills and Remains (LP)","description":"\u003cp\u003e\t\n\nThe album is built on a singular concept: every sound is produced from a single cello. While effects pedals are used to\nextend and amplify the instrument, no other instruments or field recordings are involved. What remains is the act of\nperformance itself—an ongoing exchange between body and instrument, where sound emerges as voice.\nYet the resulting sonic landscape resists any sense of limitation. Layered textures of percussive gestures, micro-noise\ngenerated by a self-made bow, and sustained drones unfold into a complex, immersive environment.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 406px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=594277625\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/tinangelrecords.bandcamp.com\/album\/yuki-nakagawa-stills-and-remains\"\u003eYuki Nakagawa - Stills and Remains TAR \/ MM \/ UOH\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Unheard of Hope","offers":[{"title":"Default Title","offer_id":48055231545603,"sku":null,"price":4652.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2741086821_10.jpg?v=1777803501"},{"product_id":"kelela-new-avatar-purple-vinyl-lp-obi","title":"Kelela - new avatar (Purple Vinyl LP+Obi)","description":"\u003cp\u003enew avatar is where everything Kelela has been building toward comes into focus. She started writing her first songs in the D.C. indie scene before the club music and electronic production that defined her early career took over. With new avatar, she closes the loop: R\u0026B run through distorted guitar living alongside new intersections in dance music, culminating in a sound that pulls from everywhere she has ever lived musically.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1152584280\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\u0026quot;https:\/\/kelela.bandcamp.com\/album\/new-avatar-2\u0026quot;\u0026gt;new avatar Kelela\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"WARP","offers":[{"title":"Default Title","offer_id":48083911934211,"sku":"WARPLP405PBR","price":5029.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a1820018607_10.jpg?v=1778228645"},{"product_id":"hadley-caliman-iapetus-lp","title":"Hadley Caliman - Iapetus (LP)","description":"\u003cp\u003eFIRST-EVER VINYL REISSUE OF HADLEY CALIMAN\u0026#39;S 1971 MODAL\/ SPIRITUAL JAZZ CULT CLASSIC, IAPETUS. COMPOSED AND ARRANGED BY BAYETÉ TODD COCHRAN, FEATURING REMASTERED AUDIO, ORIGINAL GATEFOLD ARTWORK WITH UNISSUED SESSION PHOTOS AND NEW LINER NOTES WRITTEN BY TODD COCHRAN\u003c\/p\u003e\n\n\u003cp\u003eWewantsounds continues its reissue program of Bob Shad\u0026#39;s cult jazz label, Mainstream Records, with Hadley Caliman\u0026#39;s superb 1972 album, Iapetus. Recorded in LA and featuring a heavyweight lineup of West Coast players including Todd Cochran, Woody “Sonship” Theus, Luis Gasca, and Victor Pantoja, the majority of the album was composed by Todd Cochran (aka Bayeté) soon after he had composed Bobby Hutcherson\u0026#39;s Blue Note classic, Head On. A true hidden treasure, it is reissued here on vinyl for the first time since 1971, featuring its original gatefold artwork with rare first-generation photos. This edition comes with newly remastered audio and a two-page insert with exclusive liner notes by Todd Cochran, reflecting on Hadley Caliman and the making of the album.\u003c\/p\u003e\n\n\u003cp\u003eTenor saxophonist and flutist Hadley Caliman was a key figure in the West Coast late 60s underground scene, whose versatile style made him a first-call collaborator across genres. A fixture of the San Francisco music scene, Caliman’s rich tone and musical creativity saw him crossing over into the city\u0026#39;s lively jazz and psychedelic rock circles, contributing to recordings by Gerald Wilson, Mongo Santamaria, Santana, and the Grateful Dead. By 1971, he had established himself as a prominent member of this creative community, which led to his signing with Bob Shad’s Mainstream Records.\u003c\/p\u003e\n\n\u003cp\u003e​Following his 1971 self-titled debut, Caliman returned to the studio later that year to record Iapetus. The session featured a heavyweight lineup of fellow West Coast fixtures, including trumpeter Luis Gasca, bassist James Leary, and a powerhouse percussion section of Woody “Sonship” Theus, Victor Pantoja, and Hungria Garcia. The album’s sophisticated modal structures were captured by pianist and composer Todd Cochran (aka Bayeté). A visionary in his own right, Cochran was concurrently establishing his own legacy on Prestige Records with two acclaimed albums, including Worlds Around the Sun (1972), (featuring both Caliman and Leary), later sampled by De La Soul and Kendrick Lamar. Cochran went on to collaborate with Julian Priester on his landmark Love Love album on ECM, as well as working with Mtume, Peter Gabriel, Herbie Hancock, and Aretha Franklin.\u003c\/p\u003e\n\n\u003cp\u003e​The Iapetus sessions are Fender Rhodes-heavy, with Cochran’s electric keys providing a shimmering, cosmic foundation for Caliman\u0026#39;s inspired explorations. From the driving modal intensity of the title track to the spiritual \u0026quot;Quadrivium,\u0026quot; featuring Caliman’s superb flute work, via the funky \u0026quot;Watercress,\u0026quot; the album\u0026#39;s profile has steadily grown over the decades, attracting an ever-increasing following among \u0026#39;70s jazz lovers and deep-catalog diggers. Reflecting on the group\u0026#39;s creative telepathy in the new liner notes, Cochran writes: \u0026quot;We were a circle of friends, and the music was our shared language—a way to translate the high-velocity energy of San Francisco into something timeless.\u0026quot;\u003c\/p\u003e\n\n\u003cp\u003eThis first-ever vinyl reissue of Iapetus in over fifty years has been newly remastered for the occasion. Having become increasingly rare and pricey on the collector\u0026#39;s market over the years, this long-overlooked spiritual jazz gem is set to ravish fans of deep \u0026#39;70s jazz around the world.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Y1MZpO1Hh9w?si=YXFFhGXeUvMdhozH\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/AWDoE7CIXds?si=QaW0ClrpnFHUfcDw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"Wewantsounds","offers":[{"title":"Default Title","offer_id":48083912818947,"sku":"WWSLP123","price":5500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/WWSLP123.jpg?v=1778229151"},{"product_id":"assad-khoury-electronic-touches-belly-dance-lp","title":"Assa'd Khoury - Electronic Touches Belly Dance (LP)","description":"\u003cp\u003eHIGHLY SOUGHT-AFTER 1978 INSTRUMENTAL ALBUM RELEASED ON CULT LEBANESE LABEL BYBLOS. CURATED BY DIKRAPHONE\u0026#39;S AHMED KHALIL AND FEATURING THE DANCEFLOOR KILLER \u0026quot;AL GHABA\u0026quot;. \u003c\/p\u003e\n\n\u003cp\u003eWewantsounds continues its Middle East reissue series with Assa’d Khoury’s 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury’s pioneering funky, electronic keyboards together with the monster breakbeat of cult track \u0026quot;Al Ghaba.\u0026quot; This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine conducted by Mario Choueiry (IMA)\u003c\/p\u003e\n\n\u003cp\u003eLong a highly coveted find for DJs and vinyl collectors worldwide, Assa’d Khoury’s 1978 album has earned its cult status as one of the most sought-after instrumental LPs from the region. This release marks the very first reissue of the album, which has remained virtually impossible to find since its original pressing. Khoury (1953–2020), a Syrian virtuoso pianist, violinist, and leader of the \u0026quot;Spring Band,\u0026quot; bridged Levantine tradition with the cosmic, psychedelic textures of the late 1970s. As Dikraphone\u0026#39;s Ahmed Khalil notes in his introduction, the music serves as \u0026quot;a sensory portal to a bygone Damascus, where a psychedelic Farfisa and mesmerizing rhythms create a unique groove\u0026quot; that remains remarkably fresh today.\u003c\/p\u003e\n\n\u003cp\u003eThe album’s history is tied to the legacy of the venerable Lebanese Chahine family. Mozart Chahine, son of the inventor of the quarter-tone keyboard, founded the Byblos label to champion music from the region. In an exclusive interview conducted by Mario Choueiry (IMA), he recalls encountering Khoury at his Damascus music store and recording the entire album in a single day. \u0026quot;The musicians were seasoned, much like jazzmen,\u0026quot; Chahine reminisces, noting that the session captured a rare, immediate energy between the ensemble members.\u003c\/p\u003e\n\n\u003cp\u003eThe musical journey spans the Arab world, offering electronic reinterpre-tations of Arabic standards and paying respect to Egyptian master Sayed Darwish. From Mohammad Abdel Wahab’s \u0026quot;Ahwak\u0026quot;—rendered here in an almost psychedelic version—to the Lebanese traditions of Melhem Barakat, the record culminates in the avant-garde \u0026quot;Al Ghaba.\u0026quot; An original Khoury composition with a killer breakbeat, \u0026quot;Al Ghaba\u0026quot; is a very funky highlight that has become particularly popular among Arabic music crate diggers. Closing the album in style, it perfectly fulfills Khoury\u0026#39;s intent: a sound for modern times, reaching toward a futuristic energy that remains as potent now as it was in 1978. A cult classic which Wewantsounds is delighted to reissue and which will surely please all Arabic funk lovers.\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ZwTGVD85vR4?si=6t83sht8rpmOZinF\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-7oKstvffzY?si=jIytyDFGuAbFN8gN\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"Wewantsounds","offers":[{"title":"Default Title","offer_id":48083918258435,"sku":"WWSLP117","price":5500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/WWSLP117.jpg?v=1778229740"},{"product_id":"asa-chang-巡礼-花-lp","title":"ASA-CHANG\u0026巡礼 - 花 (LP)","description":"\u003cp\u003eASA-CHANG \u0026 Junrei’s stunning second album, *Hana*, a masterpiece they created with an eye toward the future, is finally being released on vinyl after 25 years!\u003c\/p\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/sPrQ6HSQkAc?si=AvlC5lm-HwKDyV-4\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/0ctmhXvrFKk?si=0FxrRHo-L6MOeKgT\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/hE7fnH3-ark?si=jhhX3wYn71fwnXln\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"musicmine \/ JET SET","offers":[{"title":"Default Title","offer_id":48083922354435,"sku":"JSLP283","price":4950.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/JSLP283.jpg?v=1778230142"},{"product_id":"slim-levy-snippet-sounds-lp","title":"Slim Levy - Snippet Sounds (LP)","description":"\u003cp\u003eSlim Levy brings a loose, exploratory approach to dub, shaping fourteen tracks that veer between hazy grooves, off-kilter riddims and melodic detours. Drawing from the studio-as-instrument ethos of Lee “Scratch” Perry and the tuneful ambition of Pet Sounds, this set favours texture, spontaneity and odd detail over polish.\n\nOriginally a bassist, Levy’s path shifted after touring with Perry, sparking a deep connection to Jamaican music of the ’60s and ’70s. Since turning to production, he’s built a home studio practice centred on chance, imperfection and analogue warmth, giving these recordings their rough-edged charm and playful energy.\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Y0oTjm-MfQQ?si=f3RmWqa-pOKbI-yQ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"Jahtari","offers":[{"title":"Default Title","offer_id":48090015236355,"sku":"JTRLP19","price":4937.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/215635-slim-levy-snippet-sounds.jpg?v=1778293703"},{"product_id":"rudi-j-i-guess-im-not-in-tune-after-all-lp","title":"Rudi J - I Guess I'm Not In Tune After All (LP)","description":"\u003cp\u003eStraight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.\u003c\/p\u003e\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay; encrypted-media\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/soundcloud%3Atracks%3A2317974401%3Fsecret_token%3Ds-VnWDRZqhgrh\u0026color=%239a8d5e\u0026auto_play=false\u0026hide_related=true\u0026show_comments=false\u0026show_user=true\u0026show_reposts=false\u0026show_teaser=false\"\u003e\u003c\/iframe\u003e\n\n\u003cdiv style=\"font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;\"\u003e\u003ca href=\"https:\/\/soundcloud.com\/meditations\" title=\"meditations\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003emeditations\u003c\/a\u003e · \u003ca href=\"https:\/\/soundcloud.com\/meditations\/rudi-j-i-guess-im-not-in-tune\/s-VnWDRZqhgrh\" title=\"Rudi J - I Guess I'm Not In Tune After All\" target=\"_blank\" style=\"color: #cccccc; text-decoration: none;\"\u003eRudi J - I Guess I\u0026#39;m Not In Tune After All\u003c\/a\u003e\u003c\/div\u003e","brand":"SOUVENIRS FROM IMAGINARY CITIES","offers":[{"title":"Default Title","offer_id":48090040762627,"sku":"SFIC006","price":4937.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/rudi-j_-_sfic006_front.jpg?v=1778294580"},{"product_id":"marc-leclair-musique-pour-3-femmes-enceintes-2lp","title":"Marc Leclair - Musique Pour 3 Femmes Enceintes (2LP)","description":"\u003cp\u003eMusique pour 3 Femmes Enceintes (lit. 'Music for 3 Pregnant Women') is a 2005 album by Marc Leclair. The album was conceived while Leclair's wife and several of her friends were simultaneously pregnant. Over the course of the album, each track is labeled according to a point in the pregnancy (\"64th Day,\" \"205th Day,\") with Leclair's attempts to convey the moods of the experience.\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/T5eJh7l1qqc?si=lqInkFWF4s3AX-ap\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ISC Hi-Fi Selects","offers":[{"title":"Default Title","offer_id":48099246211331,"sku":"ISCHFR-002","price":7496.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/marc_leclair_front_cover_1.jpg?v=1775206106"},{"product_id":"pub-do-you-ever-regret-pantomime-orange-vinyl-2lp","title":"Pub - Do you ever regret pantomime? (Orange Vinyl 2LP)","description":"\u003cp\u003eTwenty years ago, somewhere in Scotland, an album emerged that felt like a missing link between The Black Dog, Chain Reaction and Irdial. It was released by the enigmatic Glasgow producer Pub on his equally mysterious label, Ampoule.\u003c\/p\u003e\n\n\u003cp\u003eThe album, Do You Ever Regret Pantomime? (2000), has since become the stuff of local folklore — a key work in the UK’s rich IDM and ambient lineage, and one of the most celebrated records of the early noughties. Bizarrely, it even made its way into the Billboard Top 100.\u003c\/p\u003e\n\n\u003cp\u003eDo You Ever Regret Pantomime? also stands as a defining statement from a producer who has chosen to remain in their own space — one where everyone is welcome. Records like this are about losing yourself in sound and creating your own universe to explore.\u003c\/p\u003e\n\n\u003cp\u003eAcross its 70 minutes, you’re drawn into a deep matrix of spacious chords, abstract textures and gently shifting rhythms.\u003c\/p\u003e\n\n\u003cp\u003eThe 2020 reissue has been remastered and cut at Berlin’s Dubplates \u0026amp; Mastering, pressed as a 2x12”, and features new artwork alongside a bonus track.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2174090315\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\u0026quot;https:\/\/ampoulerecords.bandcamp.com\/album\/do-you-ever-regret-pantomime\u0026quot;\u0026gt;Do you ever regret pantomime? Pub\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"Ampoule Records","offers":[{"title":"Default Title","offer_id":48106733863171,"sku":"AMPLP001","price":5734.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2108186735_10.jpg?v=1778559946"},{"product_id":"ミルキー-ウェイ-the-milky-way-サマータイム-ラブ-ソング-summer-time-love-song-lp","title":"ミルキー・ウェイ The Milky Way - サマータイム・ラブ・ソング Summer-Time Love Song (LP)","description":"\u003cp\u003eALL-TIME CITY POP CLASSIC PRODUCED BY MAKOTO MATSUSHITA IN 1979 AND FEATURING YASUAKI SHIMIZU, RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME WITH REMASTERED AUDIO, ORIGINAL ARTWORK AND NEW LINER NOTES\u003c\/p\u003e\n\n\u003cp\u003eWewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita—the visionary behind the cult masterpiece First Light —the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a new introduction by Paul Bowler.​\u003c\/p\u003e\n\n\u003cp\u003eWewantsounds is delighted to present the first official reissue of one of the most sought-after City Pop albums out of Japan, the 1979 classic Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label, the album was produced by Makoto Matsushita with Kazuo Nobuta, representing a peak of the sophisticated studio craft that defined the late-70s Japanese transition into high-fidelity AOR and Jazz-Fusion. \u003c\/p\u003e\n\n\u003cp\u003eThe album serves as a vital precursor to Matsushita’s own 1981 cult masterpiece First Light. Here, he and Nobuta lead the cream of Japanese session musicians—including the renowned Yasuaki Shimizu—through a superb mix of AOR, funk, and Brazilian music. From the sun-drenched bossa nova rhythms of the Jobim classic \u0026quot;Wave\u0026quot; to a sophisticated rendition of Boz Scaggs’ classic \u0026quot;Harbor Lights,\u0026quot; finishing with the dreamy rhythms of \u0026quot;Endless Summer,\u0026quot; the record is a masterclass in elegant funky arrangements and relaxed harmonies. \u003c\/p\u003e\n\n\u003cp\u003eAs music journalist Paul Bowler writes in the liner notes for this release: \u0026quot;Summer-Time Love Song represents a fascinating bridge in Japanese pop history; a moment where the breezy aspirations of the 70s met the meticulous studio perfectionism that would soon take over the world.\u0026quot;\u003c\/p\u003e\n\n\u003cp\u003e​This deluxe edition features the original artwork, showcasing classic photography by the cult photographer Shinpei Asai—famed for his iconic work on the Pacific album by Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. Newly remastered and including its OBI strip, this reissue finally makes one of the most coveted albums of the 70s Japanese scene accessible to Japanese music fans worldwide.\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/io1Nuis0rNU?si=z4EnCDunUDc_8X8u\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"Wewantsounds","offers":[{"title":"Default Title","offer_id":48108310626563,"sku":"WWSLP115","price":5500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/WWSLP115.jpg?v=1778569160"},{"product_id":"will-long-acid-devil-2x12","title":"Will Long - Acid Devil (2x12\")","description":"\u003cp\u003eFollowing up on 2024's Acid Trax double album on Comatose, acid house music is back with Acid Devil, a 2x12\" and digital self-published release. Created strictly with an 808 and modified 303, it's a more extreme range, but following the classic format of the acid sound, pioneered in Chicago.\n\nThe 2x12\" is limited to 200 copies and available as reservation only, with the final shipping date TBA, around summer 2026. Mastered by Stephan Mathieu at Schwebung.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 274px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1390667758\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/will-long.bandcamp.com\/album\/acid-devil\"\u003eAcid Devil Will Long\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Will Long","offers":[{"title":"Default Title","offer_id":48110155661571,"sku":"Will Long01","price":3457.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2446959939_10.jpg?v=1778572401"},{"product_id":"thee-sinseers-love-stories-lp","title":"Thee Sinseers -  Love Stories (LP)","description":"\u003cp\u003eCatching up with Thee Sinseers ahead of their new Colemine Records release, Love Stories, one thing becomes abundantly clear: this is not an LP that explores a neat and tidy love story.\n\nThe vision of love put forth on this record is full-spectrum. Think of the seminal 1993 East LA film Blood In Blood Out — three protagonists bound together through hardship, strife, and diverging roads, who ultimately circle back to reckon with why they remain. It's a similar story here. Love Stories isn't interested in the happy ending. It's interested in everything that comes before it, after it, and in spite of it.\n\nOf course, none of this is accidental. More than a new record, Love Stories is a portrait of a band that has finally grown into itself — one that knows exactly who it is and isn't shy about saying so. As Quiñones puts it: \"It's a solidifying statement of where we are now. This is our style.\"\n\nBassist Christopher Manjarrez described that confidence as something you can hear: \"Everything was just that notch up.\" In contrast to Sinseerly Yours, which had developed organically from a four-piece into an eleven-member ensemble, Love Stories was built from the ground up as a collective effort — every role established before the band entered the studio. \"We went in knowing these are the roles that are gonna be played by these people,\" Quiñones says. \"Everybody was considered wholeheartedly in every arrangement aspect.\"\n\nThat collective approach extended into the sonic choices themselves. Every member zoomed out — listening not just to their own parts but to the record as a whole, what Quiñones calls thinking like \"a beautiful painting\" rather than a collection of individual tracks. With that foundation in place, the band handed the final mix to engineer Kelly Finnigan. \"We could get so far with our opinions,\" Quiñones admits, \"but at the end of the day there's still 10 or 11 of us trying to figure out what's right.\" The band also leaned into earthier instrumentation — standup bass, guitars run through amplifiers for a warmer sixties-adjacent tone — pulling inspiration from wherever it presented itself, even the most unlikely of places. It's that cross-genre thinking that Quiñones sees as the record's defining quality. \"It didn't feel like we were making soul music at any point,\" he says. \"It felt like we were making our music.\"\n\nBut the sonic ambition of Love Stories only tells half the story. The band sought to capture something more honest than a highlight reel — showcasing the highs and lows of romantic relationships while expanding the frame to include the familial, the complicated, and the unresolved. On \"Let's Fall In Love (Again),\" Quiñones's protagonist pleads for a second chance before stopping mid-song to acknowledge his own role in the heartbreak — trading wishful fantasy for something far more honest. It's that kind of emotional candor that runs throughout the record. The band's parents appear in the album art, their own love stories folded into the record's visual identity, some of those stories still standing, others not. As Manjarrez puts it: \"Every single song title directs you down a different road of love — whether you win or lose.\" Quiñones wanted listeners to sit with that ambiguity. \"Love is never-ending,\" he says. \"It stretches beyond lifetimes. I want people to still be confused — I want it to be left like an open book.\"\n\nTo achieve what they're reaching for, every member of Thee Sinseers has had to check their ego at the door — and mean it. \"The sense of ego is, in a weird way, non-existent when it comes to recording and writing,\" Quiñones says. \"We're all fans of each other at the end of the day.\" It's the kind of trust earned on the road, forged through years of shared miles and close quarters — and reflected in a lineup that welcomed new additions seamlessly, including expanded roles for familiar faces and string arrangements from newcomer Skip Heller that push the songs into new territory.\n\nThat spirit of trust extends to their partnership with Colemine Records, built on patience and creative freedom. \"Terry's like a homie,\" Quiñones says. \"He gives us his input but we get a lot of freedom because he trusts us.\" For a band still actively defining itself on its own terms, that kind of label support isn't just appreciated — it's essential.\n\nYet one thing remains constant throughout: Thee Sinseers' commitment to where they come from. That East LA identity doesn't announce itself — it simply exists, woven into the fabric of the music without being worn as a badge. As Francisco Flores puts it: \"We're from here. You can hear it a thousand miles away. You can't deny it — but we don't try to. It just comes out that way.\" Nowhere is that more apparent than on \"Minute by Minute,\" which Quiñones describes as the album's most neighborhood-feeling moment — a slow dance number that conjures the gymnasiums of Roosevelt and Garfield High, intimate and unhurried, like a memory you didn't know you were making. There's no performance of heartbreak here, just the real thing.\n\nLike an unsent love letter finally delivered, Love Stories carries the weight of everything that was felt but never quite said. The universality of that feeling is perhaps best captured in Quiñones's own words: \"It's never too late to change. It's never too late to tell a person you love that you love them.\" After any song on this record, Eric Johnson says, there's really only one appropriate response. \"Damn.\" \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3083978754\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/theesinseers.bandcamp.com\/album\/love-stories\"\u003eLove Stories Thee Sinseers\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Colemine Records","offers":[{"title":"Default Title","offer_id":48141558644995,"sku":"CLMN12074lp","price":3886.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a4082435385_10.jpg?v=1778810862"},{"product_id":"thee-sinseers-love-stories-green-lp","title":"Thee Sinseers -  Love Stories (Evergreen Vinyl LP)","description":"\u003cp\u003eCatching up with Thee Sinseers ahead of their new Colemine Records release, Love Stories, one thing becomes abundantly clear: this is not an LP that explores a neat and tidy love story.\n\nThe vision of love put forth on this record is full-spectrum. Think of the seminal 1993 East LA film Blood In Blood Out — three protagonists bound together through hardship, strife, and diverging roads, who ultimately circle back to reckon with why they remain. It's a similar story here. Love Stories isn't interested in the happy ending. It's interested in everything that comes before it, after it, and in spite of it.\n\nOf course, none of this is accidental. More than a new record, Love Stories is a portrait of a band that has finally grown into itself — one that knows exactly who it is and isn't shy about saying so. As Quiñones puts it: \"It's a solidifying statement of where we are now. This is our style.\"\n\nBassist Christopher Manjarrez described that confidence as something you can hear: \"Everything was just that notch up.\" In contrast to Sinseerly Yours, which had developed organically from a four-piece into an eleven-member ensemble, Love Stories was built from the ground up as a collective effort — every role established before the band entered the studio. \"We went in knowing these are the roles that are gonna be played by these people,\" Quiñones says. \"Everybody was considered wholeheartedly in every arrangement aspect.\"\n\nThat collective approach extended into the sonic choices themselves. Every member zoomed out — listening not just to their own parts but to the record as a whole, what Quiñones calls thinking like \"a beautiful painting\" rather than a collection of individual tracks. With that foundation in place, the band handed the final mix to engineer Kelly Finnigan. \"We could get so far with our opinions,\" Quiñones admits, \"but at the end of the day there's still 10 or 11 of us trying to figure out what's right.\" The band also leaned into earthier instrumentation — standup bass, guitars run through amplifiers for a warmer sixties-adjacent tone — pulling inspiration from wherever it presented itself, even the most unlikely of places. It's that cross-genre thinking that Quiñones sees as the record's defining quality. \"It didn't feel like we were making soul music at any point,\" he says. \"It felt like we were making our music.\"\n\nBut the sonic ambition of Love Stories only tells half the story. The band sought to capture something more honest than a highlight reel — showcasing the highs and lows of romantic relationships while expanding the frame to include the familial, the complicated, and the unresolved. On \"Let's Fall In Love (Again),\" Quiñones's protagonist pleads for a second chance before stopping mid-song to acknowledge his own role in the heartbreak — trading wishful fantasy for something far more honest. It's that kind of emotional candor that runs throughout the record. The band's parents appear in the album art, their own love stories folded into the record's visual identity, some of those stories still standing, others not. As Manjarrez puts it: \"Every single song title directs you down a different road of love — whether you win or lose.\" Quiñones wanted listeners to sit with that ambiguity. \"Love is never-ending,\" he says. \"It stretches beyond lifetimes. I want people to still be confused — I want it to be left like an open book.\"\n\nTo achieve what they're reaching for, every member of Thee Sinseers has had to check their ego at the door — and mean it. \"The sense of ego is, in a weird way, non-existent when it comes to recording and writing,\" Quiñones says. \"We're all fans of each other at the end of the day.\" It's the kind of trust earned on the road, forged through years of shared miles and close quarters — and reflected in a lineup that welcomed new additions seamlessly, including expanded roles for familiar faces and string arrangements from newcomer Skip Heller that push the songs into new territory.\n\nThat spirit of trust extends to their partnership with Colemine Records, built on patience and creative freedom. \"Terry's like a homie,\" Quiñones says. \"He gives us his input but we get a lot of freedom because he trusts us.\" For a band still actively defining itself on its own terms, that kind of label support isn't just appreciated — it's essential.\n\nYet one thing remains constant throughout: Thee Sinseers' commitment to where they come from. That East LA identity doesn't announce itself — it simply exists, woven into the fabric of the music without being worn as a badge. As Francisco Flores puts it: \"We're from here. You can hear it a thousand miles away. You can't deny it — but we don't try to. It just comes out that way.\" Nowhere is that more apparent than on \"Minute by Minute,\" which Quiñones describes as the album's most neighborhood-feeling moment — a slow dance number that conjures the gymnasiums of Roosevelt and Garfield High, intimate and unhurried, like a memory you didn't know you were making. There's no performance of heartbreak here, just the real thing.\n\nLike an unsent love letter finally delivered, Love Stories carries the weight of everything that was felt but never quite said. The universality of that feeling is perhaps best captured in Quiñones's own words: \"It's never too late to change. It's never too late to tell a person you love that you love them.\" After any song on this record, Eric Johnson says, there's really only one appropriate response. \"Damn.\" \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3083978754\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/theesinseers.bandcamp.com\/album\/love-stories\"\u003eLove Stories Thee Sinseers\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Colemine Records","offers":[{"title":"Default Title","offer_id":48141559529731,"sku":"CLMN12074lp-C1","price":3886.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/0044779770_10.jpg?v=1778812498"},{"product_id":"old-saw-country-tropics-lp","title":"Old Saw - Country Tropics (LP)","description":"\u003cp\u003eReleased in 2021, Country Tropics was the first offering from Old Saw. At the time, no one was really certain who was behind the lush and textured arrangements of a soon to be beloved ensemble of New England based musicians. 5 years and 4 albums later, the group announced that their fall 2025 double album, The Wringing Cloth, would be their last. An outpouring of affection and adoration for what the group had accomplished followed, with many noting just how unique a space Old Saw occupied within an increasingly saturated sphere of Americana drone music\n\nIt’s with great pride and enthusiasm that we announce this 5th year anniversary pressing of Country Tropics to coincide with the group making a U-turn and rather than closing up shop, they are planning their very first live performances slated for later this summer across the northeast US.\n\nCountry Tropics has been highly in demand over the years and it feels appropriate to give it new life 5 years after its release, featuring deluxe packaging and wider global distribution.\n\n\n***below album description from initial release***\nDevotional music and its devotees all do a bit of \"buying in\"; that while one's on the ground reality may appear anything but celestial, through this music, one can reach ecstatic space, ecstatic peace. However, devotional music is not solely concerned with a skyward glance - what does it look like to raise up the rust, look upon fractured branches, gaze at the density of a low fog across a field? Instead of us looking up at the land, what if the land was looking back at us? Old Saw brings together a brigade of New England silt sifters to raise up the land not as excavators, but as preparators. Tending and caring for the simple mess that our world discards. Throughout \"Country Tropics\" four pieces, the crew stretches and bends chords to their resting place before setting forth towards a new one. Fiddle drone, wistful tape loops of pedal steel, pipe organ hums, and clattering bells call us to scenes of observation, a water tower, a mechanical bull rental agency, a back porch, a taxidermy shop, a local church choir, a garden with singing vines, voltage hum of the electric fence on Pulp mill bridge road.\n\nThe funny thing about devotion is the absence of sight, of source. We place trust in the guide or guides to bring us to a place of seeing, feeling, and hearing. The music on \"Country Tropics\" calls out to those in search of such places, but also doesn't demand we conjure some fantastical, celestial vision of understanding. Rather, Old Saw points our gaze downward towards the terrafirma unconsidered, and guides our hands into the dirt. \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 274px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2027226148\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/lobbyartrecs.bandcamp.com\/album\/country-tropics\"\u003eCountry Tropics Old Saw\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Lobby Art Editions","offers":[{"title":"Default Title","offer_id":48141740736771,"sku":"LA014","price":4776.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a1086486953_10.jpg?v=1778815296"},{"product_id":"quarteto-em-cy-lp","title":"Quarteto Em Cy (LP)","description":"\u003cp\u003eVinyl reissue of the most acclaimed album by Brazil’s legendary female vocal quartet. Originally released in 1972, this LP captures the group at their creative peak, featuring sophisticated arrangements by Edu Lobo and Luiz Eça (Tamba Trio).A post-bossa gem filled with stunning vocal harmonies and standout tracks like their take on Milton Nascimento’s ‘Tudo Que Você Podia Ser,’ plus ‘Quando o Carnaval Chegar’ and ‘Canto de Obá.’A landmark of MPB, long out of print and highly sought after by collectors of Brazilian music, bossa nova, and 70s vocal pop. 180g vinyl reissue.\u003c\/p\u003e\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/WjfuLpoRy6k?si=iFCiy-9UIyLJYgfy\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/dp3xNOEzkzU?si=7uDLQ2e6IHBOE6O1\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Vampisoul","offers":[{"title":"Default Title","offer_id":48171891196163,"sku":"VAMPI335","price":4768.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2727903428_10.jpg?v=1779180439"},{"product_id":"dj-plead-please-clear-vinyl-lp","title":"DJ Plead - Please (Clear Vinyl LP)","description":"\u003cp\u003eDJ Plead drops a killer 2nd LP with ‘Please’ for Oslo’s Smalltown Supersound, pursuing a 2020 debut for our lockdown series - ‘Relentless Trills’ on Documenting Sound - with a finer balance of Arabic dancehall swivel and spatio-textural tactility - big RIYL DJ Python, Lenky, Taymour, Muslimgauze.\n\nFor over a decade Jarred Beeler aka DJ Plead has drawn on his heritage in a unique catalogue of productions splicing microtonal flutes and keys wth dancehall and techno rhythms for the likes of Livity Sound, AD 93, and Air Max 97’s Decisions. With ‘Please’ he picks up where his debut LP ‘Relentless Trills’ left off in 2020 on our Editions series, taking the long form canvas as an ideal place for him to ease off the club gas and open out his ideas with a heightened sensuality and romantic pathos which works a treat on swaying bodies as much as rested minds. \n\nFour years since that last solo shot, the ‘Quick EP’ for Livity Sound in ’22, and a plethora of collabs with TSVI, DJ Python, rRoxymore a.o., Plead emerges amid fellow auteurs - Actress, Barker, Jamal Moss - on Oslo’s long-running Smalltown Supersound with increased confidence in his own sound. It’s palpable in his sparing strokes of melody and unhurried pacing, coupled with a tender feel for weightless structures that are just as happy to shrug off the beats and get lost in their own thoughts as he gently grips the hips for an eyes-down shuffle.\n\nThe mah-ragga-nat single ‘Ride TV’ is a perfect example of his rudely atmospheric tekkerz, and about as hard as it gets, while the rest really gives it up in lushest, hair-kissing style. His feel for richly humid, evocative ambience colours it front to back, from the seductive licks of ‘Return to Deuce’ thru the flamenco trills of ‘Traffic’, taking it to cinematic levels on the floating pads of ‘Seven Eight, Too Late’ and the Vangelisian plumes of ‘Open Era’, to aerial cat’s cradle of flutes and subs to ‘Sush’ and hand-played drums of ‘Right-on Time.’\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2223587497\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/djplead.bandcamp.com\/album\/please\"\u003ePlease DJ Plead\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Smalltown Supersound","offers":[{"title":"Default Title","offer_id":48175803433219,"sku":"STS464lp-C1","price":3633.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a4202918657_10.jpg?v=1779218986"},{"product_id":"will-long-a-total-to-arrive-at-temporally-12","title":"Will Long - A Total To Arrive At Temporally (12\")","description":"\u003cp\u003eArriving at the third edition of the jungle series, we're relying yet once again on oldschool techniques, limited memory, and an absolute defiance of progression, unless we consider consistent values of anarchy a benchmark. A testament to tenement tagging, with bulletin synth lines, rubberized basslines, and an ever-changing palette of drum breaks, here we arrive at a place where we once were, and never were.\n\nLimited edition 12\", mastered by Stephan Mathieu, Edition of 200 copies.\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 350px; height: 373px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1415975056\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/will-long.bandcamp.com\/album\/a-total-to-arrive-at-temporally\"\u003eA Total To Arrive At Temporally Will Long\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Will Long","offers":[{"title":"Default Title","offer_id":48175885189379,"sku":"will long001","price":2986.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/a2517144777_10.jpg?v=1779221637"},{"product_id":"山本邦山-hozan-yamamoto-尺八とボサ-ノヴァ-ボサ-ノヴァ日本民謡集-shakuhachi-bossa-nova-lp","title":"山本邦山 Hozan Yamamoto - 尺八とボサ・ノヴァ [ボサ・ノヴァ日本民謡集] Shakuhachi \u0026 Bossa Nova (LP)","description":"\u003cp\u003eThis album was recorded in 1968. Building on the resounding success of his performance at the Newport Jazz Festival, Hozan Yamamoto was beginning to fully develop his great musical versatility. Regarding , Hozan recalled that, “When it came out, I was still a poor musician living in Koganei(小金井). I listened to it on an 8,000 yen record player. I started getting a lot more recording gigs after its release, so I guess that makes this my debut album. I find it comforting to listen to.” This was the first album released under Hozan Yamamoto’s name as the lead act.\u003c\/p\u003e\n\n\u003cp\u003eThe backing band on this album was the Shungo Sawada (沢田駿吾) Quintet. Members included Shungo Sawada (guitar), Takeru Muraoka (村岡建, tenor saxophone), Yō Tokuyama (徳山陽, piano), Yoshio Ikeda (池田芳夫, bass), and Motohiko Hino (日野元彦, drums). Jazz and folk music tend to pair very nicely, and fusions of the two genres had been often attempted in the past. This album adds a taste of bossa nova to this mixture. While the distinctive feel of Japanese traditional \/ folk music remains very present, the velvety yet contrasting musicality of bossa nova comes together with Hozan’s resonant shakuhachi tones to create a profoundly exotic vibe.\u003c\/p\u003e\n\n\u003cp\u003eAlthough the album’s theme could have lent itself readily to ‘easy’ interpretations, the sheer musical mastery of Shungo’s quintet ensures an overall sophistication throughout the album. The arrangements also point to Shungo’s role. For instance, the intro to track B-1 ‘Sado Okesa(佐渡おけさ)’ borrows from Ike Quebec’s ‘Loie’, from the Blue Note bossa jazz masterpiece (1962). Likewise, every track on the album hints at meticulous musicianship and wide-ranging experimentation. While Hozan Yamamoto’s distinctive sound remains at the forefront, the brilliant sparks of jazziness peppered throughout the album make for a refreshing and engaging listen. It is a masterpiece of an album that manages to deftly combine numerous different elements into a coherent whole. \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1270111054\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/beatballmusic.bandcamp.com\/album\/shakuhachi-bossa-nova\"\u003eShakuhachi \u0026amp; Bossa Nova HOZAN YAMAMOTO (山本邦山)\u003c\/a\u003e\u003c\/iframe\u003e","brand":"Beatball \/ Cobrarose Records \/ dessinee distribution","offers":[{"title":"Default Title","offer_id":48192237306115,"sku":"CR69042","price":7128.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/ddd372-1.jpg?v=1779359471"},{"product_id":"山本邦山-hozan-yamamoto-尺八とボサ-ノヴァ-vol-2-ボサ-ノヴァ日本民謡集-第二集-shakuhachi-bossa-nova-vol-2-lp-コピー","title":"山本邦山 Hozan Yamamoto - 尺八とボサ・ノヴァ Vol.2 [ボサ・ノヴァ日本民謡集 第二集] Shakuhachi \u0026 Bossa Nova Vol.2 (LP)","description":"\u003cp\u003eThis album is the sequel to \u0026lt;Shakuhachi and Bossa Nova - Bossa Nova Japanese Folk Songs\u0026gt;. While the exact date of the recording is unclear, various clues indicate that it was released in 1969, the year following the Volume 1 record. The cover art of Volume 2 was almost identical to that of the EP of 4 tracks from Volume 1, suggesting that it was quite well-received. As with Volume 1, the backing band was the Shungo Sawada Quintet. The quintet lineup remained the same except for the drummer: Shungo Sawada (沢田駿吾), guitar), Takeru Muraoka (村岡建, tenor saxophone), Yō Tokuyama (徳山陽, piano), Yoshio Ikeda (池田芳夫, bass), and Takaaki Nishikawa (西川喬昭, drums).\u003c\/p\u003e\n\n\u003cp\u003eJapanese folk \/ traditional songs lend well to jazzy interpretations, and Japanese themes were often used in jazz. There have also been numerous previous attempts by jazz musicians to collaborate with players of traditional Japanese instruments such as the shakuhachi(尺八), koto(箏), wadaiko(和太鼓), and shamisen(三味線). Among such musicians, Hozan Yamamoto was one of the most sought-after in the jazz scene. Hozan described his approach as follows: \u0026quot;I didn\u0026#39;t learn music through jazz, nor have I tried to express such an understanding of music through the shakuhachi. Instead, I drew on my experiences in traditional shakuhachi playing, striving to express the technique and spirit that I learned there and to present it within the context of jazz.\u0026quot; Hozan\u0026#39;s words give us some indication of how he was able to preserve his sense of self and endure as a brilliant figure in the jazz scene.\u003c\/p\u003e\n\n\u003cp\u003eThis album, which hails from the earlier phase of Hozan\u0026#39;s musical career, somewhat ambitiously aims to combine Japanese folk with jazz and bossa nova. It manages to meet that tall order, with the rock-solid musicianship throughout the album conveying a modern and lively overall feel. Shungo\u0026#39;s group effortlessly supports Hozan\u0026#39;s vivacious shakuhachi playing. While Volume 2 is a continuation of its previous installment, it brings a more sprightly feel, with tracks such as the explosive ‘Yasugi-Bushi安来節’, the modal-tinged ‘Ina-Bushi伊那節’, the swaying lyrical ballad of ‘Nikko Warakuodori日光和楽踊り’, the groovy jazz-rock of ‘Soran-Bushiソーラン節’, and the delightful interplay with Takeru Muraoka\u0026#39;s flute in ‘Gojo-Bushi群上節’. The album is without fillers, making for a heartily rewarding listen throughout. \u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 472px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3883355882\/size=large\/bgcol=ffffff\/linkcol=333333\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u0026lt;a href=\u0026quot;https:\/\/beatballmusic.bandcamp.com\/album\/shakuhachi-bossa-nova-vol-2\u0026quot;\u0026gt;Shakuhachi \u0026amp;amp; Bossa Nova Vol. 2 HOZAN YAMAMOTO (山本邦山)\u0026lt;\/a\u0026gt;\u003c\/iframe\u003e","brand":"Beatball \/ Cobrarose Records \/ dessinee distribution","offers":[{"title":"Default Title","offer_id":48192306577667,"sku":"CR69043","price":6908.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0285\/1694\/1956\/files\/ddd373.jpg?v=1779360824"},{"product_id":"富樫雅彦-we-now-create-lp","title":"富樫雅彦 - WE NOW CREATE (LP)","description":"\u003cp\u003eA masterpiece by Masahiko Togashi, Masayuki Takayanagi, Motoki Takagi, and Motoharu Yoshizawa—some of the most important artists in the history of Japanese free jazz. 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