Saverio Celestri is back on RAWAX with another high light release,coming out in Spring!

Dope !

✺ Pressed on clear salmon pink vinyl.✺ Housed in a gatefold jacket.✺ Extensive liner notes by Chee Shimizu in Japanese and English translation.✺ Originally released in 1975."The Word II," which gained instant worldwide recognition after being sampled by Mac DeMarco in "Chamber of Reflection" and by Travis Scott and Quavo's unit HUNCHO JACK in "How U Feel." Shigeo Seikito's seminal work, which includes that track, will be reissued on colored vinyl. It's the most widely listened-to electone piece in the world, drawing attention from a diverse range of audiences including hip-hop, Balearic, and dream pop enthusiasts.

Defected welcomes one of Chicago house’s founding fathers Marshall Jefferson into the illustrious list of House Masters with this exclusive wax release. An artist that has successfully navigated major cross-over success while retaining utmost respect from the inner circle of electronic music’s underground, Marshall has been behind countless seminal records over his five-decade career. Now a selection of the very best tracks from his new House Masters compilation appear together on vinyl for the very first time, showcasing the impressive output of this house pioneer from his most well-known solo records, to major production credits, key remixes and the underground gems still favoured by selectors today. Cutting his teeth as a producer for Chicago’s Universal Recording Studios, Marshall was one of the most active DJ and producers on the Windy City’s music scene during the 1980’s house music boom. Working under a plethora of aliases such as Virgo, Jungle Wonz, Truth and On The House, as well as producing for names such as CeCe Rogers, Curtis McClain and Evelyn "Champagne" King, Marshall’s status as a bona fide house music luminary is well documented. ‘Defected presents House Masters - Marshall Jefferson’ is an all-encompassing guide to his tremendous career. A trailblazer and genre-defining artist, Defected is honoured to welcome Marshall into the House Masters Hall of Fame with this very special vinyl compilation.

✺ Vinyl Only ✺We started this – Capricho Edition – Only Vinyl adventure, with music that we connected over the course of the life of the historic club we created in Mexico City : Capricho Studio Club. We connected with many freaks and high-level human beings, with compositions in hand that undoubtedly match with what we felt and this is the result. From France and with the heart in Capricho this beautiful composition is by Moogly and Sabrina that includes a remix of the legend: Ark and this ep includes also a bonus track by Moogly. This ep is legit, classy with a twisted and minimalist touch perfect to make all your fantasies come true.

Kulture Galerie returns with its third various artists record featuring Doc Sleep, Rambal Cochet, The Jaffa Kid, Mesmerist, Jack Bags and Undsidedly. The multi format label run by Filippo MSM (of Metropolitan Soul Museum) is back with its 7th release overall, this time on wax. This new collection continues to show Filippo’s predilection for music with non straight forward drum patterns and moody melodies.

✺ Limited edition.✺ Originally released in 1983.✺ Pressed on clear green vinyl.✺ Green Vinyl.Get ready to tap your toes! Hitomi Tohyama's fourth album, “NEXT DOOR”, first released in 1983 was strongly influenced by American pop in the early ’80s. The City Pop gem is now available as a limited edition clear green vinyl.A city pop album that pierces the urban atmosphere throughout.

The new Memoria Recordings is from S.O.N with a kick-ass remix from Techu.,

Violent Rains is Minuit Machine's second LP. It reached a large audience in particular with the track "Honey" which remains until today the most streamed track of the band.

Enfin de nouveau disponible, le deuxième album de Ratatat, sorti en 2006 et ou le duo continue de créer des vignettes instrumentales à coup de synthés 8bit et de riffs imparables.

They say that good things come in threes… it must be true and Favorite Recordings also proudly presents the third edition of its acclaimed French Disco Boogie Sounds compilation series.Like on prior volumes, the complete tracklist is selected by label head honcho, Charles Maurice (aka Pascal Rioux), who’s unearthed 13 more forgotten and hidden tracks, all produced whether in France, in French, or by French artists between 1977 and 1987.With most of these titles now very hard to find in their original edition and unknown by many, this compilation should be a must have for any Disco-Boogie-Funk music lover and collector.Fully remastered from originals at The Carvery Cut (UK), French Disco Boogie Sounds Vol.3 (1977-1987, selected by Charles Maurice) is presented by Favorite Recordings in a gatefold vinyl double LP.

FULL LENGTH REMIXED AND RE-MASTERED VERSION OF THIS CLASSIC LP FEATURING TOP 20 CLASSIC JAZZ CARNIVAL! Blue vinyl version made fopr RSD 2022Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70's right through to the present day. In 1979 the band's first Milestone Records release, 'Light As A Feather' quickly became one of the best-selling LPs of the year.Featuring the worldwide disco/fusion hit single 'Jazz Carnival' and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks. An incredibly well thought out album both in pace, song selection and musicality, 'Light As A Feather' marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself,embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece.Now Far Out presents this seminal recording re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth, lovingly reproduced on heavy weight vinyl. This definitive edition of Azymuth's breakthrough LP is a must-have for connoisseurs and an invaluable introduction to the Azymuth sound for the uninitiated.

Since turning professional in 1960, Kiyoshi Sugimoto has been active in many sessions and recordings. From the latter half of the 1960s, he joined groups such as Hideo Shiraki, Akira Ishikawa, and Terumasa Hino, gaining attention and solidifying his position with leader works such as “Country Dream” and “Babylonia Wind.” This work was recorded with Akira Ishikawa, Hiromasa Suzuki, Takao Uematsu and others right after studying in America for about a year. Starting with the groovy and luscious “Our Time” and “Marmalade Sky”, the dubious keyboards of “Jones Street”, and the melancholic and beautiful “Quiet Pulse”, it can be said to be a gap between jazz rock and fusion. There are attractive songs. This work represents Sugimoto’s work in the mid-1970s.

Japan's leading big band, Sharps & Flats, created a unique work featuring 22-year-old up-and-coming pianist, Takehiko Honda. The sound of an electric piano rolling comfortably over the powerful big band sound is absolutely incredible! In addition this record features covers of some of the the latest rock hits at the time, such as Jethro Tull's 'Bule', BS&T's 'Spinning Wheel', and The Beatles' 'Come Together'.

Originally released in 1976Arranged by Kiyoshi YamayaFeaturing Shakuhachi master, Kifu MitsuhashiKifu Mitsuhashi studied with Soufu Sasaki of the Kinko-style shakuhachi in 1968. He became a member of Pro Musica Nipponia and participated in many concerts both in Japan and overseas after completing the NHK Hougaku Training Program in 1972. Mitsuhashi studied with Chikugai Okamoto of the shakuhachi fukesyu meian souryuukai in 1974. He was awarded as top soloist of the 1st Pan Music Festival in 1976.Kiyoshi Yamaya is a Japanese jazz composer, band leader born in Tokyo on March 29, 1932. As a musician commonly playing the alto or baritone saxophone, he had been a part of bands like Tetsurou Takahama and Eskyer Cats and Hiromichi Yamamoto and Champagne Serenade.Originally released in 1976, “Shakuhachi: Sato no uta” is a collaboration between these two artists. The album artfully combines each musicians respective genres of expertise, resulting in an incredible fusion of both jazz and traditional Japanese folk music.

✺ 2024 Repress.First vinyl pressing of Baroque by Japanese composer and multi-instrumentalist Susumu Yokota. The full length album was originally released by United Sounds Of Blue in 2014, a subdivision of Frogman Records in CD format. Now it is being re-released by Barcelona-based record label Modern Obscure Music as a double LP and in digital format. Baroque is one of the most significant albums of Susumu signed under his original name, and this is the first time the album will be pressed on a double LP 12". Yokota, was an eclectic, highly prolific electronic musician and composer from Japan who died in 2015 at 54. "There is always fear, rage, and ugliness existing behind beauty. I have been trying to express ki-do-ai-raku (the four emotions: joy, anger, sorrow, and happiness) through music. I would like to express even one's hidden emotion with reality. It's my eternal goal." Baroque is a clear example of this, thought the deep listeing of the album you can experiment all of that feelings in just one record and feel how his music infulenced the next generation of producers during the two next decades till today. The Tokyo-based artist devoted his time and creative energy to achieving this goal, and the result is a vast discography that begins with banging early acid house tracks in the 1990s, moves across the next two decades to include deep house and Detroit-influenced techno, a stunning run of ambient electronic albums and, in his last decade, a glorious confluence that wove his various skills into a series of borderless electronic records. Modern Obscure Music team is really excited to bring this gem to the light, Baroque is remastered and distributed in two 12" to be played in clubs and home sound-system bringing the best quality of sound to have the best experience. Susumu Yokota (?? ? Yokota Susumu, or ???·??? Susumu Yokota (April 22,1960 - March 27, 2015) Also known by the pseudonyms Stevia and Ebi, among other.

“Japanese jazz has been recognized and celebrated by music lovers worldwide for decades. The origins of this trend may be traced back to the rare groove movement that flourished in the 1990s, but its current deep and wide popularity seems to be connected to the fact that Japanese people have been reevaluating their own jazz since the mid-2000s, locally referred to as WaJazz ("Wa" meaning Japan but also the Shōwa emperor period, from 1926 to 1989). Since the beginning of the 2000s, there has been a growing trend to move away from the DJ-focused perspective and to appreciate jazz with a deeper understanding. Nowadays, there is more and more interest in the background and roots in which jazz has developed in Japan, with Japanese jazz as a whole now considered as its own distinctive genre.Of course, even if we speak about "WaJazz" as one genre, there is a truly wide variety of styles within it. However, when Japanese musicians play, there is something uniquely Japanese flowing through that creates a kind of synergy. It may be the melody, the rhythm, or even something deeper, like an inexpressible flicker. I would be happy if some of its charms and secrets emerge from the fourteen tracks included in this collection.” (Yusuke Ogawa)Yusuke Ogawa has been running the Universounds store in Tokyo since 2001, specializing in jazz and second-hand, rare, and collector records. He is also a reissue supervisor, label manager, DJ, and music writer. Known for his vast musical knowledge, eye for detail, and archival skills, Ogawa has worked on more than 250 reissues and compilations – including the highly praised Deep Jazz Reality and Project Re:Vinyl series. He is the co-author of the Wa-Jazz Disc Guide and the Independent Black Jazz of America books.

Originally released in 1975, "Back To Rhythm" is one of the crowning glories of Akira Ishikawa's glittering career. The Japanese drummer turned his hand to countless wonderful records over his career, but this one was surely one of the best. Mr Bongo seem to think so, and they're giving it a proper reissue treatment. There are funk breaks galore embedded in this joyously upbeat, irresistibly groovy sound, where the horns parp with clarity and the guitar licks cartwheel through airy mixes. Managing to be both fulsome and loud without coming over too heavy, Ishikawa's sprightly take on instrumental funk has never sounded better than on this release.

✺ Originally released in 1977.✺ Pressed on black vinyl.✺ Extensive liner notes by lyricist Ryo Shoji.Get ready to dive into a classic groove with the original soundtrack for the Nippon Television drama "Matsuribayashi ga Kikoeru," which first aired in 1977 and starred the legendary Kenichi Hagiwara (Shoken). This album features two standout tracks, "Dream Racer" and "Stranger," offered in various cool arrangements.The music, written and arranged by Katsuo Ohno—who’s worked with legends like The Spiders, PYG, and the Takayuki Inoue Band, and has scored for shows like "Taiyo ni Hoero!", "Kizudarake no Tenshi," and the long-running anime "Meitantei Conan"—captures that timeless Japanese groove. The tunes are brought to life by George Yanagi and the NADJA Band, known for backing Shoken. Finally, this gem is making its comeback on vinyl.Plus, this reissue includes fresh liner notes by lyricist Ryo Shoji (summer 2024).Liner notes written by lyricist Ryo Shoji (summer 2024) for this reissue are included.

✺ Limited edition.✺ Originally released in 1978.✺ Pressed on black vinyl.✺ Newly remastered.The Flying Mimi Band, fronted by Izumi Kobayashi, has gained renewed recognition in the city pop scene in recent years, along with acclaim for her later collaborations with Masayoshi Takanashi and the music for the anime "Urusei Yatsura." This LP reissue features the band's funky and groovy second and final album, originally released in October 1978.

✺ The iconic soundtrack to the classic anime series FLCL comes to vinyl as a limited edition double LP.✺ Pressed on black vinyl.✺ Housed in a gatefold jacket with liner notes and lyrics.Original soundtrack to the zany year 2000 classic anime series, FLCL, produced by GAINAX (Neon Genesis Evangelion, Gunbuster). The series gained a cult amongst western audiences following after a 2003 broadcast on the US “Adult Swim” programming block and features iconic tracks from Japanese alternative rock band, The Pillows.

Masaru Imada's debut album, "Maki," is where it all began. Known as one of Japan's most influential pianists, Imada's career has spanned seven decades, from hard bop to fusion, with over 30 albums under his belt. "Maki" captures the essence of his powerful, emotive touch, blending fresh rhythms with beautiful melodies. The album showcases a mix of standards and originals, like the dynamic "On Green Dolphin Street," the tender "Maki" dedicated to his daughter, and the vibrant "Sea Horse." Released as part of Victor's "Japanese Jazz" series, this record is a true gem.

Yes Amigos!The Debut Album "Latin Freaks" by Funkool Orchestra is finally out!Get ready for another dose of Neapolitan Funky Disco Boogie madness with a Latin touch and a glorious featuring by the one and only Latin soul King : JOE BATAAN.The Long Playing is a mixture of Rare Grooves, Napoli Sound, Disco Boogie, Latin Soul and Boogaloo, ideal for a trip to Nueva York and back to Naples just to say hello to your Puertorican uncle Manolito "Gennaro" Marròn.A gozar!

Habibi Funk is dedicated to re-releasing a style of music that historically never existed as a musical genre. We use the term to describe a certain sound that we like from the countries of the Arab world. The songs we chose were created in places quite far from another and under very different circumstances. Some were written and recorded during war times, others in exile. Despite the differences we think there is a musical connection between them. Essentially, we are interested in the musical endeavors, in which artists from the Arab world mixed local and regional influences with musical interests that came from outside of the region. Even though the name suggests it’s all about funk music, our focus is more than just that. Often these influences might be inspired from Western popular music such as soul, pop and rock but it’s not limited to that either. Some of our favorite records are best described as Arabic zouk (a genre originating from the Caribbean islands of Martinique and Guadeloupe) like Mallek Mohamed’s music, Algerian coladera (a popular musical style from the Cape Verdean islands) or Lebanese AOR, which means the process of musical influences displayed on this compilation was much more versatile than just taking Western music as a blueprint and translating it with a local accent. The compilation features 15 different artists. Some you might already know thru Habibi Funk’s releases like Fadoul, Ahmed Malek, Dalton or Al Massrieen, while others are meant as an introduction to artists like Kamal Keila, Sharhabeel Ahmed, Attarazat Addahabia & Mallek Mohamed who will all release full length albums on Habibi Funk in 2018.In todays world there are still many stereotypical conceptions to be found when it comes to the Arab world. Contrary to what a lot of Western narratives and media suggest, the Arab world we got to know through extensive traveling in several countries of North Africa and the Middle East, is a very versatile terrain. A place full of different stories, ideas and beliefs. And we hope that the music we release helps as a tiny, tiny piece of a larger puzzle to establish a diverse, more nuanced yet adequate idea of how musically vibrant this very diverse region once has been and also still is. At the same time we do not want anyone to misunderstand this compilation as a selection of songs to represent Arabic musical history of the 1970s and 1980s. This compilation is nothing more than a very personal curation of songs we like and in no way reflects on what has been popular in a general sense.All tracks on this compilation are directly licensed from the artist or, in the case of artists who are sadly no longer alive, from the artist’s family. There are three exceptions: Hamid Al Shaeri’s track was licensed from SLAM! and the tracks from Belbao and Attarazat Addahabia were both licensed from Boussiphone. As a European label dealing with non- western artists we try to be aware of the responsibilities that derive within the making, seen from a post-colonial point of view by demanding ourselves not to reproduce exploitative economic patterns. We split all of the profits from our releases equally with the artists without deducting any costs that are not directly related to the release .Our agreements are license deals with limited terms after which the rights fall back to the artist or the artist’s families. We think it is important in today's reissue market, where too many shady business transactions happen, to be transparent about our licensing policies.

YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

Horizon Unlimited features the sisters' iconic songs "Come On Home", "Erora" and "Orere - Elejigbo" and was -- as with the rest of their catalog -- incredibly raw, funky and with almost seductive electricity.Recorded at Deccas' London studios and originally released on their Afrodisia imprint in 1979, it was produced by Fela's Odion Iruoje and featured BLO's Laolu Akins on drums and Lemmy Jackson on keys. Sadly, it came to be the last the world heard from the twins for many, many years. “Their final album, “Horizon Unlimited”, was the culmination of their fusion of local and international grooves with urgent social commentary and romantic tidings”, Jon Parales wrote In his obituary for Kehinde Lijadu for The New York Times in 2019.In a review for All Music, Fred Thomas writes “The six tracks on Horizon Unlimited all begin with talking drum, and meld intricate traditional percussion with fluid funk basslines and far-out synthesizer tones, with Taiwo and Kehinde Lijadu's glimmering harmonies dead center. Kicking off with the slow-burning afro-beat of political critique "Orere-Elejigbo", the album's production is precise without ever becoming sterile, and deceptively minimal. Incredibly subtle touches of dub echo, slithering guitar lines and ever-shifting polyrhythmic percussion never rise up enough to call attention to themselves, but rather gel into one impenetrable groove after another. Hypnotic numbers like "Erora" sit next to more rock-influenced and upbeat jams like the incredibly sunshiny "Come On Home", each gliding along in a densely repetitive way that never becomes droning.”He continues: “the Lijadu Sisters’ unique perspective on what pop music was is a large part of what makes Horizon Unlimited and all of their records such fun, refreshing affairs. Completely unassuming and direct, the sisters are unafraid to lay down simple melodies or child-like love songs besides politically charged sentiments. The same "why not?" kind of feeling applies to their grooves." Horizon Unlimited de The Lijadu Sisters

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

All time classic record.DJ Shadow, aka Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, 1996's Endtroducing shudders with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener. While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind.

After re-launching his career in the late nineties with a string of singles on Fondle Em Records, leading up to the instant-classic Operation: Doomsday album, MF DOOM relentlessly pushed forward, always innovating along the way, building what has become one of the most storied and revered careers in the world of Hip Hop.One apex point along that journey took place circa 2003/2004 with DOOM releasing Viktor Vaughn Parts 1 & 2, Madvillainy with Madlib (a legend in his own right), King Geedorah’s Take Me To Your Leader, and MM..FOOD all in that short and explosive timeframe. While all of those projects have been revered by fans and critics alike, MM..FOOD is the only album that officially exists as the proper follow-up to Operation: Doomsday.MM..FOOD finds DOOM digging deep into vocal soundbytes related, as well as fitting to his namesake and artistic vision, meticulously building a cohesive album narrative. Diligence in mind, his writing is as sharp, witty and often shocking as ever. Production-wise, DOOM utilizes a fine blend of familiar and obscure sample sources, complimentarily working together to both satisfy and intrigue.And, while MM..FOOD is mostly the work of a mad scientist in his secret lair, a sprinkling of super-villain team ups with Count Bass D, Madlib, PNS of The Molemen, Stahhr, and Mr. Fantastik, all add to the album's overall flavor.Even after all these years MM..FOOD remains a satisfying feast for both returning true believers, as well as herds of new fans who happily and eventually find their listening ears in the clutches of DOOM.

Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing—not even a global catastrophe—was going to stop her from rallying people to the dancefloor.Her new LP is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave and even nu- metal along the way. Catnapp—an accomplished shapeshifter who’s never been afraid to get weird—is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyperpop if you must, but pop concentrate might be a more accurate term.Modeselektor—whose similarly mischievous, genre-hopping exploits are well documented at this point—provided creative guidance and lent a hand in the album’s production, but they aren’t the only guests on Trust. Catnapp’s little brother Wilo does his best Linkin Park impression (and constructed the beat) on “Br34th3,” and fellow Argentinian Methone cooked up the glimmering melodies of album opener “Need This.” French trance/breakbeat/pop specialist Aamourocean contributes some technicolor wizardry to “Stay Unsaved,” while American rapper John Debt provides a little satire, taking on the persona of a cringeworthy music industry phony for the hilarious skit “Skukinunu.” O.L.I.V.I.A. (another Argentinian) helps to close out the album, seductively crooning on the Spanish-language “Despierta,” a song where Catnapp sets aside one of her personal fears and sings in her native tongue for the first time in years.Trust does border on overload, but again, that’s by design. The LP arrives at a time when attention spans are short, interruptions are constant, multi-tasking has become routine and practically the entire history of music is now accessible at the push of the button. Modern life is hectic, and Trust plays out accordingly, transporting into the fractured headspace of someone who’s listening on headphones as they go about their day. It’s a lot to take in, but thanks to Catnapp and her multifaceted musical prowess, Trust feels more like a high-powered energy boost than another item for the to-do list.TRUST de CATNAPP

Électrochoc de Quentin Tarantino dans les années 90, Pulp Fiction a marqué une génération de cinéphiles. Mythique, la bande-son est à la hauteur du film, avec un assemblage de perles combinant rock’n’roll, surf music, pop et même soul. L’album est composé de seize titres, pour quarante et une minutes de bonheur musical qui vous replongeront dans les années 60 et 70. Il contient aussi quelques extraits de dialogues, dont la réplique culte, tirée d’un verset de la Bible, et psalmodiée par la voix tonitruante de Samuel L. Jackson.

The Neon Genesis Evangelion Vinyl Takes You On A Mesmerizing Journey Through The Iconic Series. With Its Translucent Blue Vinyl Adorned With Ethereal Black Smoke, This Edition Captures The Enigmatic Essence Of Evangelion's Mysterious World. It Features All The Songs From The NEON GENESIS ORIGINAL SOUNDTRACK, Including “ A Cruel Angel's Thesis (Director's Edit Version)” And “Fly Me To The Moon – Yoko Takahashi Acid Bossa Version”. This Edition Comes In A 140g Vinyl, Housed In A Colored Gatefold Jacket With Illustrations Of The Series, And Includes A Credit Insert With Comprehensive Information About The Songs.

Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl – The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii’s legendary science fiction anime film GHOST IN THE SHELL (1995). – LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artworkWe Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme ‘Making of Cyborg”, Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time.

WRWTFWW Records is deeply honored to announce the release of Chu Ishikawa & Der Eisenrost’s soundtrack for experimental action drama Tokyo Fist, released in 1995 and directed by legendary director/producer/writer Shin’ya Tsukamoto (Tetsuo: The Iron Man and its sequels, Bullet Ballet, Hiroki The Goblin, Nightmare Detective). Previously only published on CD in Japan, the cult movie soundtrack is available on vinyl for the first time ever and housed in a heavy 350gsm sleeve.

Record Store Day Japan 2021 Drop 2 release. Released in 1972, the theme song for the Toho movie “Goyo Fang-Kamisori Hanzo-” “Goyo Fang (”Fang “theme)” is the first reissue of the popular 7-inch single board.