MUSIC

Trippy free jazz and organic disco are a shocking fusion. Our underground hero, Alz, has completely remodeled and rebuilt Roland P. Young's "Isophonic Boogie Ugi". Featuring live drums and percussion by Muneomi Senju (ex-Boredoms), DJ Kensei also participated in a crossover deep session that transcended time and space with Roland, which is no longer an easy-to-call remix. This is Alz's album and another "Isophonic Boogie Ugi"!

This time too, it's extremely rich !!! The second edition of the Spanish miracle Finis Africae by EM is an editing board that is organized in organic ambient with the famous song El Secreto De Las 12 at the top !!! Of course, it is highly recommended for new age lovers. !!!!

The second installment of Finis Africae is finally the appearance of the Anno song! A 6-track mini-album titled "El Secreto de las Doss (The Secret of Midnight)", a Balearic classic that has been played since the 1980s! There is no duplication of content with the previous work "A Last Discovery"! !!

"El Secreto" is a song from Finis Africae's 1st album released in 1984, by Jose Padilla, DJ of the cafe "Cafe del Mar (Sea Cafe)" in Ibiza, Balearis Islands. I fell in love with it and quickly defined it as a "chill-out" tune. It is a chill-out classic that has been recorded on mixtapes that he has been selling for a long time, and has been established as an organic groove classic beyond the ambient techno / house era.
It seems that only "El Secreto" is recognized in the DJ world, but Finis Africae is a unit that has crossed over various sounds independently with an experimental feeling since NEW WAVE (leader Huang Alberto). There are many songs that have the same impact as "El Secreto" (also famous for musical instrument nerds), and there are also fans who love the essence. In this album, Finis Africae's "Ambient" degree is deeply cut, and works comparable to "El Secreto" are compiled from the 1st / 2nd / 3rd album. There is no dance music, only deep listening is supported. The deepest part of Finis Africa, dense 32 minutes! (It is also an ant to play as ambient music)


+ 48khz / 24bit latest remaster. CD and LP versions are separate masters
ring.
+ LP version: Enclosed in a single-sided perforated sleeve.
+ CD version: Maxi case included.

A fusion of Asian pop and alternative rock!?! The first physical version of the US / Korean / Cambodia mixed Lo-Fi / DIY loose fluffy pop, G.G. Band, which I would definitely recommend to fans of Feeding Tube! (English version commentary is done by Dr. Byron Coley of Feeding Tube)

G.G.Band is a band formed in Busan in 2013 by Massachusetts-born painter Matt Jones and Busan-born Ji Yun Lim, and has a fluid organization with no fixed members. The songs on this first physical album, "Glass Fish," were produced in different environments and locations, including the iPhone, bedroom, studio, and the faces of Sebadoh's Bob Fay and Yod Tapes. Massachusetts network such as John Moloney. "Speaking of Massachusetts, we are the sacred site of Indie / Low Phi, along with Olympia, the location of K Records" (from the commentary). The DIY indie soul that dwells in them jumps out of the North American region, swallows East Asian culture, powers up even more crap, and supplies a state-of-the-art fluffy feeling of weakness.

YPY is back with his third full-length album, his second on EM Records, following his 2016 debut “Zurhyrethm”. YPY is the solo alias of Osaka-based Koshiro Hino, who has honed his rhythmic instincts as leader of the acclaimed Japanese band “goat” and the sound installation/theatre project “GEIST” and “Virginal Variations”. His preoccupation with propulsion is on full display here, across five tracks of varying density and intensity, all thoroughly beat-oriented, with skeins of synthesized and sampled sound stretching to the horizon, rising from a bedrock of minimal drum machine pulses, all lovingly embraced in a cassette-borne sonic fug. The cover image and title hearken back to Hino’s past, with the image obscurely referencing his yesteryear green mohawk, and the title derived from Talking Heads, but this effervescent album, though recorded using cassette technology, is not a sad tale of nostalgia, rather a look at a present/pleasant reality. Available on digital, 12-inch vinyl and CD. Cover drawings by NAZE.

Composition / Performance: Koshiro Hino
Cello on "All Wounds": Yuki Nakagawa
Mastering: Takuto Kuratani (Ruv Bytes)
Binding picture: NAZE

12 "LP version: Uses quality lacquer / stamper cut by Dubplates & Mastering.
CD version: Spread paper jacket specifications

The third folk song series supervised by the Tayo Mountains, this time in Gunma! The definitive version of the heavyweight Bon Odori "Kizaki Ondo", in which abnormal boost bass and distorted Kodama swirl, is released in the original version of the local preservation society and the old and new doubles of the current TRAP version. This will overturn your view of folk songs! ??

"Yagibushi" is the first folk song to be recorded in Japan and is popular as one of the largest dunks in the folk song world. .. This song is just crazy. The killer of killer that makes any folk music dance tune hazy in front of the dangerous force! Did you make a mistake in adjusting the EQ in the studio? A massive low beat with distorted bass and strange reverberation that makes you doubt your ears. And the lyrics in the form of a persuasion (Note 2) that tells the story of Meshimori onna (Note 1) who lives at night in Hanamachi. It's neither a Chicago-born ghetto base nor an Atlanta-born trap. It is a Japanese folk song that was brought up in the life of Kita-Kantou.

This time, with the cooperation of the Kizaki Ondo Preservation Society, we remastered and recorded the locally recorded versions of 1980 and 1965 that trapped the hustle and bustle of the night of Bon Odori. As a new attempt, Clark Naito's new recording Kizaki Ondo was also recorded there. MC / track maker Clark Naito, who raps garage punk on sampled tracks and is also active in the Gorge area, has a sense of connecting Bo Diddley and bass music with the term "3 minutes R & R". The collaboration between Minyo Mountains and Clark Naito created a modern version of Kizaki Ondo with contemporary trap beats and sweet synths. This is an extension of the act of "putting folk songs on a turntable and making a roaring sound" at the Soi48 party, and is a proposal for "a new way to enjoy folk songs." Please enjoy it simply as cool music.

A collection of darkly shining northern diamonds, "Sous juju" is a two-CD compilation of the musical work of Kuupuu from her first releases in 2003 up to previously unreleased material from 2012. Kuupuu, known by her parents as Jonna Karanka, is a self-taught musician and visual artist from Finland who inhabits a semi-magical world where the mundane and the mysterious meet and make wonderful music together. Using tapes and loops, instruments both traditional and modern, Kuupuu's blend of low-tech electroacoustics and high-north songcraft is charming, surprising and unique. Sous juju gathers her self-released material, plus pieces culled from vinyl, cassette and CDR on American and European labels, as well as an unreleased piece and a 2012 vinyl remix from EM Records. This is a fine opportunity to hear the early work of an artist who promises to continue to enchant us well into the future.

Thai charismatic legend rapper Juu's first physical mix CD in his life. This is an important work that can be used as a subtext for the trembling Juu & G. Jee album "New Luk Thung", and is a must-listen for B-BOY, Asian music lovers, and club music lovers!

A special MIX CD limited to the venue produced for the hugely successful "OMK Tour" held jointly by Japan and South Korea in October this year, with Juu & G.Jee as the leading role. Limited distribution in response to requests! The content that mixes Thai music, folk songs, Luke Thun, Thai HIPHOP that had a decisive influence on the current style, and the tracks of his own album, which Mr. Juu has been familiar with, is exactly as the title (

Euphoria indeed. Rie Lambdoll and Mayuko are the two euphoric Synth Sisters, Osaka-based musicians who also comprise Crossbred. “Euphoria” is the duo’s long-awaited second release, following their 2014 debut. This release consists entirely of new Synth Sister recordings, featuring Mayuko’s synthesizers, and Rie’s electric piano and synthesizers as well as her celestial vocals. The euphoria on offer here features equal parts of angelic arpeggios, seraphic sequences, meditative melodies and transcendental timbres, masterfully mixed and mastered by Kabamix. The pieces here, all composed and produced by Rie Lambdoll, combine drifting drones with rhythmic elements sure to appeal to fans of Tangerine Dream; (Terry) Riley-esque meditations melding with psychedelic musings in blissful ease. Available on CD, 12-inch vinyl or as a download, “Euphoria” is yours for the asking. EM Records delivers the goodness.

In the Thai music series of EM + Soi48, the of Surin Park Siri, a living legend of the Thai music world, appears. Surin, who is a musician comparable to Coxsone Dodd, Ryoichi Hattori, Phil Spector, Theo Macello, etc., has the nickname "King of International Song", which is the national national of Thailand introduced this time. It was attached from a group of works produced by him in Music Luke Thun (* 1). Luk Thung is a genre where the subject of singing = lyrics is important, and as long as it is guaranteed, music can be anything. The point is, it should be fun! It has a greedy omnivorous nature, and the one who in its avant-garde is Surin Park Siri.

Born in Isan, northeastern Thailand, he is an inventor-like producer who has often sent out cutting-edge (metamorphic) killer that will be the flagship of Thai pop producers, and is a great man who has developed Thai music by himself. A genuine record man who wants to do something different than sell, and a living music library that has seen the rise of Thai music with a solid critique.

This time, we selected 12 unscrupulous mixed songs that insist on the true from the many Luk Thung songs that Dr. Surin worked on. As a result, this is the royal road Luk Thung that appointed big Lao singers such as Plain Prom Dane and Waiphot Phetsuphant! From the Laotian hymn, Bollywood tune, an original version of Kawao Siantone's Ganja tune and cover song sampled in Juu's "New Luk Thung", "Soran Bushi" sequel and Kyu Sakamoto's song (??) Covers of Japanese folk songs and songs that are irresistible to Japanese fans, suspicious and exotic Indian Luk Thung, Thai funk prototype in collaboration with ally Samai Ornwon, super DOPE Leh (* 2) and Ramwon (*) It became the Luk Thung entertainment comprehensive catalog called 3).

If Juu & G. Jee's "New Luk Thung", which sings "new" "Luk Thung", is the Luk Thung , this work collection of Surin Park Siri is a sound source collection of Luk Thung . If you check this, "New Luk Thung" will shine another shine while revealing what Luk Thung is.

All with translations this time as well. The commentary is of course Soi48.

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* Note
1) Luk Thung: A music genre that means "country child" or "country song". Song music that was established in the mid-1960s and is now inherited as Thai national music. Emphasis is placed on lyrics. It is highly omnivorous because there is no specific music format.

2) Leh: A Thai-specific genre in which Buddhist scriptures have been converted into songs through the preaching of monks. Singers who can improvise with limited syllables are respected because they require a high level of skill in the storytelling art.

3) Ramwon: Music with a strong character of creative folk songs established by the Thai government in the 1940s to raise national prestige. It was popular among the working class because of its characteristic ring dance like Japanese Bon Odori. There are two meanings and usages, one is the melody of Thai folk songs reorganized into Western music style, and the other is dance music called Ramwon regardless of genre.

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Song selection / commentary: Soi48
Mastering: Takuto Kuratani (Ruv Bytes)
Binding design: Shinsuke Takagi (Soi48)

CD version: Normal jewel case / 28-page booklet included
Japanese / English liner / Complete translation

TRACKS:
01. Bupper Saicheon "Deliver love in the wind"
02. Smit Thatcha Tape "Hunger for Love"
03. Kawao Cyantone "Simulation of a new house"
04. Banchop Charon Pawn "Don't talk anymore"
05. Liam Darah Noi "Pounding"
06. Kawao Cyantone "Cannabis Bamboo"
07. Bupper Saichon "Show me on foot"
08. Danchai Sontaya "I want to die"
09. Dam Danspan "Ripe Love"
10. Prune Prom Dane "Persuade the Child of the Mekong River"
11. Smary Saen Sotto "Sakura is waiting for you"
12. Waiphot Phetsuphant "Rum along the rice field"

The other day, Koshiro Hino, who succeeded in the Tokyo premiere of his masterpiece "Virginal Variations" as a composer, is finally attracting attention from both inside and outside the country. His solo unit YPY's worldwide distribution album is finally released. The undisputed 2010s talent, Hino, is a track maker / musician who emerged from the club scene, but due to his strong writer's ability to be inversely proportional to his low waist, he couldn't fit in an underground box, and the creative power that erupted. The state of holding down. YPY is devoted to live performances and recordings every day, but in reality there are few releases and the value of this work is quite high. This album reveals an early impulsive and multifaceted rhythmic quest that is different from the stoic attitude of his band, goat. This time, his ally, Yosuke Yukimatsu, gave advice on song selection, and Hino's urge was firmly established in the album. One of the characteristics of YPY is that it has a compressed and massive sound and the style is electronic music, but it has a strange organic feeling like a living thing like the indigenous music of Africa, which is a cassette tape for sound making. It is also related to the use of. The title song "Zurirezumu" is a mysterious work that takes advantage of the equipment trouble that happened by chance, and is YPY's first recording!

"The trajectory from the initial impulse of Koshiro Hino = YPY as a track maker, not as a brain of goat, bonanzas. However, the trajectory does not mean that it is heading straight somewhere. , The path is constantly ZURE. Why. Because he is constantly trying. Why keep trying. It is to explore the possibilities hidden there. Here is a fragment of Koshiro Hino so far. And the pieces from now on will also ZURE polyrhythmically. Are your ears listening to the sound of the heart? John Cage continued to question the possibility of hearing. The possibility awaits us. ing."
-Yosuke Yukimatsu
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"I listened to it and thought," It's the sound of a live house! " There is no so-called chord feeling or melody, it is not noise, it is not music that can be heard only by "sound", it is not dance music, but it is a familiar sound. Is it physical music? It is a playful work. You should listen to it first without thinking about anything. -Phew

The originally minimalist song, combined with the rhythm box that keeps ringing lightly and the lyrics that have been scraped to the limit, repeats in the brain, and finally hums "Love my misfortune". Dangerously addictive music. Handle with care. -Moppy (Soi48)

Love generously robs us, and love tears us apart ... all the crystals of loss that were once launched beyond post-punk are now regaining glare! A collection of phantom sound sources by the late Kiyoaki Iwamoto, finally lifted after about 40 years !!!-Tamotsu Mochida (factory worker and real industrial writer)

There used to be a musician who buried his past and disappeared. Its name is Kiyoaki Iwamoto. I don't know the reason. What we know is that we have left behind a "super-translation" cover of Joy Division's "Love Will Tear Us Apart," which surprised even the minimum original songs and ECD.

Iwamoto appeared in the post-Tokyo rockers era scene and participated in that "Urban News" as a post-punk band . After the dissolution of Birei, he formed Guys Doll with Fuyusato Kudo and released "Hard Rock Album" (1984) under the joint name with Kudo. After that, the news disappears.

This work is the only solo work "SOUGI" (1983) that Iwamoto independently produced by Kojima recording, a rework of "Love Will Tear Us Apart" by Chisako and Junta, and NOISE "Emperor" by Tori Kudo and Reiko somewhere. It is the addition of an unreleased song by Rei Mi, which is reminiscent of. Iwamoto's four original songs, including the song "In the Sad Town" from the beautiful era, have a rhythm box, several chords played on guitar and bass, and short poems that look like they have been cut down. It is a characteristic of Japanese punk / new wave that frustrating emotions hit the inside of oneself, but Iwamoto's humorous vocals seem to amplify the frustration even more, and Joy Division's "super translation" has a nihilistic climax of loss.

Was "SOUGI" a "funeral"? ?? Michio Kakutani would have responded. The untouchables of the 80s indie film continue to shake us and bite those who want to be loved!

Nana Vasconcelos meets Midori Takada! ?? !! "Beginning" is a threatening work in which static and dynamic are delicately and boldly intermingled with ambient closed-door exotic fantasy dance music born from the exploration of the devilish world of a single overdubbing orchestra. The coupling is that Lena Willikens REMIX!

M Records will deliver the world debut of Mari Sekine, a percussionist who is active in the band! With over 10 minutes of masterpieces, you can easily control more than 15 types of percussion instruments such as kalimba, marimba, udu drum, goblet drum, djembe, talking drum, cajon, berimbau, etc. by multiple recording, and combine them with tape reverse rotation and voice. Unsurprisingly, this "Beginning" is Sekine's first "solo" recording. And it is clear from listening to this song that Sekine's musicianship was not cultivated yesterday and today. Midori Takada's fans, who seem to be the biggest hidden talents in recent years, will be surprised and welcomed. Overdubbing by multi-percussionists is also found in contemporary music, but has there ever been a work that has such overwhelming power and is compatible with everything from home listening to the floor? Expectations are high for the 1st album being produced!

The coupling is a angry funky uppercut that extracts the tribal component of "Beginning" with REMIX by the popular DJ Lena Villikens!

* "Beginning" is a rework of the song released as her 1st single "midori" (Tongs International), returning to the original title at the beginning of the recording, extending it almost three times, and reworking it into a reggae disco 12-inch composition.

Mari Sekine Profile:
Touched percussion instruments at university and started activities after graduation. After working as a JAZZ FUNK band, he joined the big band "Shibusashirazu" in 2000. Currently, he is active in sessions such as Goko Nishikawa (ex. Shang Shang Typhoon) "Hoshi no Hibuya", Michiro Endo (ex. THE STALIN) "THE END", percussion instrument group "Orquesta Nudge! Nudge!" There are many activities in theatrical works, such as Kazuyoshi Kushida's "Caucasus's White Ink Ring", "Sunshine Bo", "Sanjin Yoshizo", "Kiri no Yozo", Yang Jung Eun's "Peer Gynt", and the theater group "Kaze". Participated in "Matsurowanu Min" and "Mud Rear" of "Brick Dance".

The relaunch of EM Records’ Thai music series. Paradise Bangkok, Soi 48 and EM Records have teamed up to deliver a new series showcasing the extraordinary performances of some of Thailand’s greatest musical legends. The first release is the seminal album Isan Lam Plearn released in 1975 by Angkanang Kunchai. This album represents a crucial moment in Thai musical history when the performance styles of Molam (*1) and Luk Thung (*2) were fused together for the very first time!

Born in the province of Ubon Ratchathani in Isan (the northeastern region of Thailand), Angkanang Kunchai was a young female prodigy who emerged on the Molam scene, and became one of the first generation of Molam performers who were able to “sing” popular music (*3). From an early age she was mentored by renowned national Molam artist Chaweewan Dumnern, and in her mid-teens joined the legendary musical troupe the Ubon-Pattana Band as the lead vocalist.

In 1972 at the age of 16 she released a single "Isan Lam Plearn", which went on to become an enduring classic, covered most recently by major contemporary pop star Tai Orathai. The song was also a defining moment in the career of Ubon’s legendary producer Surin Paksiri, as it was the first recording in which Isan music – in particular Molam – was fused with Luk Thung from Bangkok to form the new musical genre of Luk Thung Isan. This music invented by music industry genius Paksiri, transformed Molam groups into rock bands and saw them starting to perform with the same kind of intensity as Luk Thung artists. The mix of contemporary singing styles with traditional Molam broke new ground and resulted in some truly surprising and influential music. "Isan Lam Plearn" became a major hit as the theme tune to the film Bua Lam Pu, and before long this new forbidden cool began to infect everyone, with performers turning in their droves to the Luk Thung Isan style. This turned out to be a precursor to the spread of Isan music across the country and the Molam boom that engulfed Thailand in the 90s – an unprecedented period in Thailand’s musical history in which Luk Thung singers were simply not able to make it in the record business unless they could perform Molam.

While typically albums produced in Thailand tended to be collections of singles, this work produced by Paksiri has an unusual degree of conceptual unity, and this is a very significant aspect of the album. It is an undeniable masterpiece that sees the Ubon-Pattana Band, led by Paksiri, delivering a performance that dramatically traverses genre boundaries, in an eerie sound-scape populated by the cute and rarefied tones of the young singer… It stands above and apart from the many Luk Thung Isan works that followed. As a bonus track, we have included Kongpetch Kaennakorn’s version of the much-covered "Isan Lam Plearn". Includes commentary in English and Japanese and an explanation of the lyrics.

Footnotes:
(*1) Molam: “Mo” is an artist and “Lam” is a kind of performance art where the artist tells a story using tonal inflexions.
(*2) Luk Thung: An important musical genre originated in Thailand which pulls together influences from various musical sources including rock, latin, regional Thai, Indian, Chinese, Japanese and Hawaiian music. It is also known as music for country folk. This term was coined in the first half of the 1960s.
(*3) Molam pieces are not actually “songs”, so this distinction is significant. At the time, Molam performers were basically forbidden from singing popular music.

+ Newly remastered
+ First ever world release by the artist outside of Thailand

CD version:
Standard jewel case. Booklet including liner notes written by Chris Menist (Paradise Bangkok) and scarece pics. English & Japanese text.

LP version:
4C inner sleeve incl. liner notes and pics.

The title nods to a 16th-century study of magnetism, and it is magnetism that is at the heart of this release, with Takuji Naka's cassette decks and Tim Olive's magnetic pickups, across five untitled tracks, initiating a dream-logic-imbued semi-narrative flow, in which "out of date" low-tech sound sources are at the service of an ears-forward compositional sensibility.
The use of pliable metals, analog electronics and a battered spring reverb unit, along with the inherent instability of cassettes, results in an atmosphere of subdued unease, over-the-horizon mystery and a burnished, melancholy beauty. Perhaps it is a bit of a stretch to link Naka's career as a temple gardener in Kyoto and Olive's relatively recent involvement in film with the music's austerely organic and eerily cinematic aspects, but there you have it. Recorded in the mountains in the north of Kyoto in 2013, the CD has a strong sense of place, but as befitting magnetism's play of opposites, that sense of place shifts and flickers; time ebbs and returns; the light grows dim.

CD digipak release, with liner notes in Japanese and English by musicologist/writer/composer Wakao Yu.

The music of Clan Caimán is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolution path for music from the 1950s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection.

Formed in 2016 by musician, composer and producer Emilio Haro looking to create music generated by group dynamics, Clan Caimán differs from his past two solo albums (“Panorámico” in 2007 and “Estrambótico” in 2012, both on Radiaciones Armónicas) in that these were studio work and not meant to be played live.

The quintet's enigmatic sound is built upon the kalimbafón, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound.

This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.

A folk trio who was active in Derbyshire in central England met Jane Marsden, a vocalist with a brilliant voice, and this was the opportunity for the birth of a six-member electric folk rock band, No Light Turn. They gained popularity in central England, and in 1983, at Woodwarm Studio, which was the core of the Fairport Convention, they independently produced their first album, "No Light Turn." (Adding a cover song "Lady of Pleasure" that respects Fairport to the album) The uniqueness of NRT is that although it is not so much involved in live performances, two songwriters, Phil Harrison and Tim Dawson, Being on the back as a member, the repertoire of major vocal songs was the original that became their pen. Jane's multi-recording / double-track vocals, reminiscent of Linda Perhax, were the band's glamor, and the British-style refreshing and melancholy voice matched Harrison / Dawson's original songs best. While there are songs that appeal to the times, such as "Roller Coaster" where neo acoustic acoustic guitars run, "Lawlands Away" which invites nostalgia, and "What Do You Do?" Rearrange traditional songs such as "Ash Plant" and "Waves" into a heavy progressive instrument like Pink Floyd. This exquisite sense of balance is also the charm of the band. It's a local indie independent board, but it's a lovable miracle work that is truly a masterpiece!

This brand-new twelve-inch EP mini album has its title inspired by "Space Is the Place", one of Sun Ra's most thematically outbound releases. Sun Ra's rocket-propelled vision is electronically diverted and re-channeled to unknowable and unnameable destinations in these 2016 recordings by German electronic/experimental producer Florian Meyer, aka Don't DJ, a member of the Durian Brothers and co-runner of the Diskant and SEXES labels. Channeling the Sun Ra Orchestra's sprawling Afro-futurist vitality, concentrating that energy through his own focus on evolving repetition, alien intervals and subtle variations of rhythm and timbre, Don't DJ heads for (no)places unknown. Get on board!

Post-Plurrian? EG ?? The return of Muslimgauze ??? The strongest active rhythmic noise / drum'n'noise techno girls, shocking Alexandra Atonif!

80s Noise / Industrial Music There is no doubt that you will be fascinated by listeners from the golden age to experimental techno freaks these days! !! Romanian-born and now LA-based female musician Alexandra Atniff advocates the music "Rhythmic Brutalist" inspired by the architectural style "Brutalist" that prevailed during the Cold War.

She doesn't use any vintage synthesizers or expensive equipment, and uses freeware to release just bare concrete-like beats. The track group with its decoration removed already has a terrific sensation reminiscent of great ancestors such as Esplendor Geoméco. While maintaining the functionality of minimal techno, the vibes that noise / industrial music lost after passing club music, the one and only sound that makes you feel ferocious, sets it apart from existing industrial techno. There is.

This time, A.A himself reworked the independent album, and released the newly edited "Rhythmic Brutalist Vol. 1" as EM Records Edition and the sequel "Same Vol. 2" at the same time. The impression is different from the "1st collection", which is closer to minimal techno, and the "2nd collection", which is more abstract and closer to electronic music, but the whole story is full of brutalist architecture. Brin Jones must nod in the shade of the grass! * The CD version is a 2-disc set of "Vol.1" and "Vol.2" (same content as the LP version).

Tapes, aka Jackson Bailey, returns to EM Records for the first time since 2015’s “No Broken Hearts on This Factory Floor”, in a live collaboration with his pal from Osaka, 7FO, another of EM’s favourite artists. This CD features new arrangements of some Tapes digital reggae classics like “Ticker Tape”, “C20” and “Freak Riddim”, and new tunes including a dubbed-out version of the “Tetris” theme and “Summer Jam”, a jazz-fusionoid weirdo. The smoke is thick on these 14 ferric soul soothers and digital brain bombs, with drum machines and synths lovingly warped by tape echo and spring reverb, melding with 7FO’s fine guitar playing, often heavily effected, all working together to deliver the goods: digi-reggae, dub, ambient smoke, and hints of a new age. Ranked by Resident Advisor as one of the top performances at the 2019 Meakusma Festival, this is one you’ll enjoy, no matter what reality you choose to inhabit.

Gatefold cardboard case
Mastering: Takuto Kuratani (Ruv Bytes)
Cover art: The Tapes Design

Launched in an uncertain time, here are 12 tracks from 17 new independent Japanese artists, a physical release from a generation which has an online-release default setting. Not a scene document, not a label sampler, and not a showcase for a collective, this compilation features a selection of artists from all across Japan, selected by ex-Jesse Ruins producer CVN. These songs are snapshots of a sensibility shared by these artists: a love of contemporary electronic pop music, an awareness of melody, and an appreciation of the musical options provided by technology. Not techno or ambient, there is an emphasis on the human voice, with elements of hiphop, trap, EDM and bass music, all subsumed into multiple facets of a glowing electronic bedroom pop gem. Available on CD, vinyl and digital, with English liner notes, lyrics and artist information. These songs are seeds of hope for the coming post-pandemic parties.

+ Quality cutting / pressing
+ Foldout insert
+ English liner notes
+ Artist bio/photo/discography

Tracks:

A1. Dove “Irrational”
A2. Lil Soft Tennis “Feelin’ Love”
A3. tamanaramen “angelnumber”
A4. Karavi Roushi and Aquadab “Tokyoite - Val Kilmer (Love Her)“
A5. valknee + ANTIC “The Best SSS in Life (2020 Mix)”
A6. NTsKi “Labyrinth of Summer (KM Remix)”

B1. seaketa “you”
B2. Menace-nai “Lucky Guess”
B3. lIlI “Nightmare”
B4. CVN “withoutu feat. Itaq”
B5. SATOH “MLC”
B6. Le Makeup “Ray”

Mustapha Skandrani. Besides having an excellent name, this man, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabo-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as Istikhbars. Playing these istikhbars (which have roots in the Islamic Arabo-Andalusian culture which flourished in Spain) on the piano, that quintessentially European instrument, Skandrani was greeted with derision by some purists. Skandrani's powerful musical vision, however, perceives the European element involved in Arabo-Andalusian musical culture, a world of exchange and co-existence, and his decision to play this music on the piano reminds us of this European influence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on the istikhbar and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not vast. This is an admirable acheivement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005.  He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

"Istikhbars and Improvisations" is available on CD and LP vinyl, with English and Japanese liner notes.
 

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn-era recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie [EM1045CD/HJLP] and Istet Serenade [EM1087CD/LP], made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music". Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn-era recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie [EM1045CD/HJLP] and Istet Serenade [EM1087CD/LP], made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music". Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title Confluences hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn-era recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as Isophonic Boogie Woogie [EM1045CD/HJLP] and Istet Serenade [EM1087CD/LP], made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present and future. Perhaps more than any of his previous releases, Confluences realizes Young's description of his own work as "Afro spiritual minimal electronic space music". Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

The content is good with surprise and excitement. Faust-This Heat's krautrock / post-punk, free rock / industrial such as Smegma and Z'ev, and the sound of emptiness turns into a violent passion. Highly recommended.

Japan Indie's hottest work !!
The initial collection of works has finally arrived !!

The improvisational trio of Yokohama, Inryofen, which was formed in 1978 and released the new work "Hugging" [EM1125CD] for the first time in 29 years, is far left and heretical even in the Japanese underground music scene. , The reason is thoroughly disclosed in this collection. Is there any other band like this at that time and now?

Their starting point was the idea of "converting surrealism to the sound of" automatic writing "", and they were active in the Tokyo / Yokohama underground scene, recording vigorously from 1980 to 1982, and three works. announced. This "early work collection" is the definitive edition that remastered all of these works from the master tape, expanded and recorded the unrecorded parts that were edited and cut, and remastered with high sound quality. In addition, for this release, the five works other than "Uncompromising" were given "song titles" for the first time (see the work description for the reason).

= Work description =
-"Uncompromising" at the beginning is a mysterious work that made known the shadow hunting rottenness, and it was also the first release of the prestigious indie, Cragale Records, known to those in the know. According to them, "Cover of Tony Conrad & Faust", but perhaps during the recording of this performance, a student activist broke into the stage and started a horse mackerel speech. The band that keeps playing silently, the activist who incites, the PA who tries to prevent the speech, the ending of the three-way! ?? !! This version is a complete version that contains all the patterns of this "legend".

-The "hammer clock" and "aiming cat" (included only in the CD version), in which the crazy electronic percussion instrument pulse is delivered, are forcibly called "articles" from the symbol with three squares on the jacket. A work recorded in the popular 7-inch EP.

-The band's true essence, the 23-minute automatic descriptive performance "Grand Rock", the masterpiece "The one that came down from the sky" where heavy percussion with a sense of mass trembles and cuts through the space, and the suspicious "Forest record" "(CD version only) is a 1st album recording work in which the band name, song name, and kata number are not written in a pure white jacket, and the agency company has declared that it cannot be distributed.


CD version:
＋ CD bonus 2 songs
＋ Normal jewel case / liner included
＋ Commentary: Atsushi Harada
＋ Japanese / English notation / Rare photos posted

This collection, featuring seven pieces from 2011 to 2015, celebrates Noah Creshevsky's 70th year with a fittingly life-affirming and masterful verve. An award-winning composer who has studied with Nadia Boulanger and Luciano Berio, he began composing electronic music in 1971, using the power of circuitry, tape and then digital technology to create a "hyperreal" musical world in which recordings of human performers, both vocalists and instrumentalists, are juxtaposed and recombined in compositions which span eras, cultures and genres. His use of expanded musical palettes arises from an aesthetic of inclusion, guided by an open spirit and an expansive musical sense. The combination of the emotional power of human performances with the precision of computers create real-beyond-real super-performances of surprising control and virtuosity, resulting in a hypothetical and yet very real music, full of drama, humor, and tenderness. This CD, Creshevsky's second release on EM, following the 2004 "Tape Music" compilation, gives ample evidence of both his mastery of digital technology and his profound, empathetic musical instincts. His ability to use the computer to highlight the gifts of human performers is displayed on every track, including a piece which focuses on Japanese vocalist Tomomi Adachi.

+ Standard jewel case. 8P booklet.
+ Liner notes in English and Japanese by composer, critic and independent scholar George Grella, Jr.