✺ Vinyl Only ✺ 700 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Europe

✺ Expanded editition.✺ Originally released in 1982.✺ Pressed on black double vinyl.✺ Featuring new artwork by Keiichi Ohta.✺ Produced by Haruomi Hosono and Yukihiro Takahashi.Guernica was a project originally formed for the Yen Records label in 1982, comprised of Jun Togawa (vocals) and Koji Ueno (composing, orchestration), later joined by lyricist Keiichi Ohta. The general theme of their material is a throwback to the pre-WW2 industrialization of Japan, and their music is stylistically a pastiche of early 20th century operatic pop.Kaizou E No Yakudou (改造への躍動) was released in 1982 and produced by Haruomi Hosono and Yukihiro Takahashi. This album made heavy use of synthesizers mixed with traditional instruments, creating a unique and innovative sound.

The second release to come out of Sound Metaphors’ collaboration with the Italian electronic music Don, Gianpiero Pacetti aka JP Energy. “I Have A Pessimistic Outlook Of Life E.P.” showcases a considerably more mature and polished sound relative to the previous release as the artist moves into the end of the 90’s and seems to shed the naive playfulness one could still hear in “Strano E.P.” with it's Italo-disco influences. Here things get more serious and even more “industrial” with a darker and perhaps more cynical tone, not unlike the title of the EP. A 3 track record, very much oriented towards the dance floor, “Fantastic Machine” comes in at over 130BPM with a very metallurgical flavour, something one could imagine hearing at a moving assembly line for car engine parts in a factory somewhere in Brescia, yet with an overlaying eerie nuance. “Automatic Sun” comes in with a very driving beat, the secret weapon of the release by all means, very effective employment of electronic percussive elements. And finishing the EP, Gianpiero’s Requiem to the format, a once record store owner who by 1999 might have already been feeling the tides of change brought in with the early CDJs (one could imagine) “The End Of Vynil” goes into full on electro territory with the beat and very much in tune with the title expresses a funerary darkness with the melodic elements. All in all, no need to put on sunscreen for this one. Remastered with new full cover artwork.

One of the greatest UK White Labels of all time. Terrestrial Funk brings you an absolute summer sensation over three decades delayed. Relegated to obscurity until now, this four track EP boasts the downtempo hit ‘Summertime’ alongside three electronic bangers… and mash. The dubbed out stabs of ‘Jennifer’ on the A2 and two never before heard versions of ‘Let’s Climb’. Feel the festival ready power of the ‘Come To Me Mix’ and lose yourself to the hypnotic squelch of the ‘Glad You Made It Dub’, ready for sweaty summer nights. In the late eighties, Simon Akers and Jason Brown began producing in a quaint home studio. Later collaborating with likeminded talents through the early nineties. Terrestrial Funk has worked with the group to transfer all their old digital audio tapes and bring you a series of fresh music yet to see the light of day. Jacqueline Foster aka Jacquoda brought her stunning voice to the project on this massive single showcasing vocals that shine brighter than the summer sun. Grab your copy today!

Introducing "Hello!", the debut album of Naomi Kawashima, an actress celebrated for her idol-like presence. Originally released in 1982, this album showcases her versatile talent and absolutely charming persona.Side A features captivating covers of iconic tracks like Yumi Arai's "Rouge no Dengon" and Saori Minami's "Irozuku Machi," among others. Side B includes original songs, highlighted by the single "Itoshi no Mandolino," making up a total of 9 tracks. The album is masterfully produced by Eriko Shima and Akira Inoue, ensuring a delightful listening experience.

✺ First time reissued on vinyl.✺ Housed in a gatefold jacket.✺ Extensive liner notes by Yusuke Ogawa (Universounds/Deep Jazz Reality) in Japanese and English translation.✺ Originally released in 1971.The first vinyl reissue of a jazz-rock album by Jiro Inagaki, an outlier in the Japanese jazz world, featuring vocals by Sammy and Yasushi Sawada for the first time. Backed by Masahiko Sato, Kimio Mizutani, Hiro Yanagida, and others, this is a heavy and mysterious rock groove.

Batter Down is fast-gaining a reputation as one of the most exciting labels from Georgia; laser focussed on club weaponry from the Caucuses. For vol.3, label-head Toké turns the gun on himself.

✺ Originally released in 1983.✺ Pressed on clear pink vinyl.✺ A fusion of 80’s New York sound and Japanese AOR.We are excited to present the official reissue of Hitomi “Penny” Tohyama’s legendary records “Sexy Robot”, which received an incredible amount of accolades in ‘80s Japan ! Tohyama’s 5th release “SEXY ROBOT” was first released in 1983, and quickly set into motion the tide of Beacon Sound which would come later. This record is a gem that incorporates the sound of New York in the 80s, and remains an important part of Japanese AOR.

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.

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.

Découvrez la bande originale de "Le Château Ambulant" pour la première fois en double vinyle, un chef-d'oeuvre de Joe Hisaishi incluant "The Promise of the World”, chanté par Chieko Baisho, l'actrice qui double Sophie, le personnage principal !

Publié à l'origine en 1997, Princesse Mononoke explore les problèmes environnementaux à travers une querelle épique entre les dieux de la forêt et une communauté minière. Studio Ghibli Records nous présente pour la première fois la version double vinyle de la bande originale composée par Joe Hisaishi. La bande originale a été enregistrée par le Tokyo City Philharmonic Orchestra avec la voix de Yoshikazu Mera.

✺ 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.

Balearic believers rejoice! Japanese tropical-fusioneers Coastlines are back with the worldwide vinyl release of Coastlines 2. The follow-up to their classic debut, this is the sound of Coastlines's global influences. If the dedication to intricate sonic details is particularly Japanese, the overarching feel captures the sprawling grandeur of the international balearic community. As they put it, Coastlines 2 presents "a more precise and beautifully polished magic hour." If that isn't Balearic, we don't know what is.Takumi Kaneko and Masanori Ikeda don’t radically alter their sumptuous template with this second LP; and we wouldn't want them to. Yet with a more focused flow from first track to last, both Coastlines and Be With feel this is an even stronger album than their first. One thing that hasn't changed is the use of instrumentals instead of words to express their themes; namely, "the emotional expression of being soaked."Opener "Tenderly" is appropriately titled, a gentle Latin shuffle easing you back into the Coastlines sound. An organ-heavy synthy exotica that's in step with Lovelock's contemporaneous "Washington Park". Their über-horizontal take on Hawkshaw & Bennett's "Mile High Swinger" (from Synthesiser And Percussion, reissued by Be With!) evokes cocktails-by-the-pool as the sun slowly sets. The blunted deep jazz-funk swing of "Alicia" is a rearranged reimagining of the Gabor Szabo song from his classic Jazz Raga LP. This here sounds like an outtake from The Chronic.As the sun goes down, "Combustione Lenta" soundtracks the relaxing slow burn of an idyllic bonfire on an isolated beach. Displaying a beautiful new side of Coastlines, we're treated to Moments In Love vibes and melancholic guitar arcs. The piano-laden early morning wonder of "Night Cruise" started life as a completely different song, but the duo found a particularly good loop from the initial sketch and reconstructed it into this sophisticated 80s instrumental soul groove. "Waves And Rays" is all undulating acid waves and lighthouse light. A chopped and screwed steel drum G-Funk with soaring synths and nods toward the squelchy machine soul of Mtume and Jam & Lewis. Yes, *that* good.The bouncy futureboogie cosmic chug of "Sky Island" represents the beginning of the sunrise, casting images of 80s Japanese fusion and definitely one to play out early doors to get the crowd stepping. "Area Code 868" is the strutting staccato sound of Joe Sample waking up in the Caribbean to craft his piano funk drenched in sunshine. Accordingly, the tentative, naive melodies of "Sand Steps" represent that vivid feeling first thing in the morning, as you step on to the sandy beach in the sunshine and take a deep breath. The world is yours.The emotional, organ-piano-steel drum-driven "Song For My Mother" is a slo-mo show of sincere gratitude to all the great mothers. "Yasmin's Theme" is Coastlines's Brazilian homage, recalling for them that early summer feeling. It's propelled laconically by the carnival beat of batucada`s big bass surdo drum and complimented by sweeps of warm keys and radiant vocal harmonies. Blissful beatless closer "Asafuji" conjures a scene from a wonderful morning spent with the people of Shizuoka, the symbolic mountain of Japan, Mt Fuji and its inhabitants. It sounds like Dâm-FunK jamming with Sabres Of Paradise.Coastlines 2 was painstakingly crafted, across the pandemic, at Masanori's rented place in Tokyo and then brought back to his home studio and worked on slowly and repeatedly. With limited time to see each other, the duo became more united in their "consciousness with natural progress."Mastered by Simon Francis and cut by Cicely Balston at Air Studios, this magnificent double LP has been pressed by the good people at Record Industry.

✺ 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.

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.

Wewantsounds is delighted to release 'Sharayet el Disco' a selection ofEgyptian '80s disco and boogie tracks curated by Egyptian DJ DiscoArabesquo from his vast collection of cassettes and officially released onvinyl for the first timeRemastered for vinyl and including colour insert with liner notes by Moataz Rageb(Disco Arabesquo). Most tracks have never been released on any other formatand are making their vinyl debut with this set. A journey through the funky soundof 80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes")features Simone, Ammar El Sherei and more obscure names from Cairo'scassette culture.The audio has been remastered for vinyl by David Hachour/Colorsound Studio inParis and the LP features artwork by young Egyptian graphic designer Heba Tarekand a 2-page insert featuring artwork of the original cassettes plus insightful linernotes by Moataz Rageb.The set is a unique insight into the diversity of the Egyptian Disco sound, from thepulsating Disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogieof Simone's "Merci," via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turnthe cassette to the other side"), produced by legendary Egyptian musician AmmarEl Sherei.

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.Newly remastered audio.The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa. For this third chapter of the acclaimed Wamono series, Yoshizawa and Chintam unheart some of the best and rarest light mellow funk tunes and disco boogie bangers produced in Japan between 1978 and 1988. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

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

Limited edition brown coloured triple vinyl.

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.