With unprecedented prosperity and growing worldwide fame in broadcast, game, and synthesizers, the 1980s Japan entered a golden decade. New genre splashes from technopop, Pacifica, and AOR/City pop merged local sensibilities with jazz-funk and Latin influences. Spiced in sugary US West coast sparkle and boasting naive lyrics with opulent arrangements and cover designs, it beamed millions of listeners on the cosmic journeys of Japan and its connections with Asia.Looking to bet on the city pop phenomenon, a group of young, just out-of-school in-house studio players gathered for ad hoc recording sessions between 1982-1986. Spearheaded by up-and-coming associate producer and arranger HASEGAWA Joe and keyboardist KATSURAGI Mariko their goal was to produce a hit album concept with a musical journey from Japan to Asia and beyond.Just short of wrapping a handful of test-pressings for studio and radio executives and a few tapes of demo recordings, the sessions came to an abrupt halt in 1986 with a striking personal loss. With the band's consequent disbanding and members embarking on their decades-long sessions careers, the original tapes were archived and lost in the Akihabara district for decades……until Japanese pop culture *connoisseur extraordinaire* and producer Sten SALUVEER aka MILDHANS discovered a rare demo of the original recordings in one of Tokyo's Ebisu district's revered vinyl bars. After a lengthy period of digging and tracings for the original tapes, the lush soundscapes of KATSURAGI Mariko and HASEGAWA Jo are finally here to take you on a jazzy journey to City Heights of Asia.// ORIGINAL MUSICIANS //Drums: ホンダ　タケオ　HONDA TakeoBass: マツモト　ケンジ　MATSUMOTO KenjiBacking Guitar: コンドウ　タロウ　KONDO TaroElectronics, Linndrum, CR78 & 808 programming: タケダ　ヒデオ TAKEDA HideoPercussion & Support: ナンバルミ　NAMBA Rumi, アレハンドロ　ジュンイチ　スズキ　Alejandro Junichi Suzuki　(Special Guest)Vocoder & Electric Guitar: ジョーハセガワ HASEGAWA Joボーカル/Vocals、Fender Rhodes, Sequential Circuits Prophet, Synclavier, Yamaha CS80, Arp 2600 & Quadra, Minimoog & Memorymoog, Yamaha DX7シンセサイザー: カツラギ　マリコ　KATSURAGI MarikoWritten, Recorded & Produced between 1982 - 1986 by KATSURAGI Mariko & HASEGAWA Jo for City ハイツレコード.Reimagined and reedited for Dirty Keys records by Joe HASEGAWA & Sten SALUVEER, with mixes by Julius TALVIK.

Like a perennial that returns with each new spring, the Mort Garson archives (Plantasia, Ataraxia, Lucifer) have brought to bear yet another awe-inspiring bloom. Journey to the Moon and Beyond finds even more new facets to the man’s sound. There’s the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson), some previously unreleased and newly unearthed music for advertising. Just as regal is “Zoos of the World,” where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name. The mind reels at just what project would have yielded a scintillating title like “Western Dragon,” but these three selections were found on tapes in the archive with no further information.The crown jewel of the set is no doubt Garson’s soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That’s one small step for man, one giant leap for Moogkind. For decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive. So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort’s many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.Journey to the Moon and Beyond de Mort Garson

2023 Repress ! Originally only released on CD, now remastered for vinyl and pressed on 12" maxi format. Featuring 2 original tracks - "Mabsouta" and "Al Eih" including a bonus beat edit of "Rekka" by Castro. "Mabsouta" is a game changing Arabic cover version of a track that stayed in a generation's childhood memories - Tom's Dinner by Suzanne Vega. Simone's beautiful voice in Arabic brings an entirely new meaning to what might have been a track you couldn't hear

Young Marco mines deep into the 90s era Italian house underground and strikes absolute gold... Part 1 of 2...This spring, Safe Trip will release Welcome To Paradiso, an expansive retrospective of the Italian dream house sound co-compiled by label founder Young Marco.At the tail end of the 1980s, a new take on deep house began to emerge from Italian studios. 'Dream house' drew inspiration from key U.S deep house records of the period – the spacey melodiousness of Larry Heard's productions, and the rich jazziness of tracks originating in New Jersey in particular – but sounded distinctly different. Its' 'head-in-the-clouds' feel – all rich chords, tactile basslines, fluid piano lines and starry electronics – made 'dream house' a uniquely Italian proposition.First and foremost, the style echoed the wavy, glassy-eyed positivity of the period more than any other. While music in the UK and the low countries was getting faster and heavier, Italy's 'dream house' producers continued to create music shot through with warmth and colourful musicality until 1993. While few 'dream house' records were made after then, its' sounds and loose aesthetic influenced subsequent styles such as trance and progressive house.During its' peak, dream house – or, as it was tagged by leading Italian label DFC, 'ambient house' (echoing the similarly minded work of UK pioneers such as The Orb and The KLF) – could be heard blaring from club sound systems across Europe. The style's popularity was fuelled, in part at least, by the runaway international success of "Sueno Latino".Welcome To Paradiso gathers together some of the finest examples of the style for the first time since the turn of the 90s. It includes a smattering of scene anthems – Key Tronics Ensemble's peerless "Calypso of House", Morenas's "Sonnambulism", the ambient mix of Last Rhythm's Italo-house classic "Last Rhythm" – alongside a swathe of hard-to-find, in-demand and forgotten gems.There are cuts from key players in the movement – the likes of Don Pablos Animals, Sasha (later to find fame with a strong of bouncy, piano-heavy Italo-house cuts), and Dreamatic – plus a string of lesser-known names whose contribution to the evolution of the sound should not be overlooked. Young Marco has also found space for Leo Anibaldi's "Elements", a rare deep house outing from a producer who later helped define the sound of Roman techno.Over the course of two double-vinyl compilations (and one extended digital download package), Welcome To Paradiso celebrates one of the most evocative and imaginative musical styles of electronic music's golden era. Kick off your shoes, turn your gaze skywards, and immerse yourself in the music.

2023 Repress!!Safe Trip is taking one final deep dive into the warm waters of Italian dream house with Welcome To Paradise Volume 3, the concluding chapter in the label’s journey through the previously overlooked world of one of dance music’s most vibrant and influential underground movements. While the influence of dream house continues to echo through the ages, the style was at its peak between 1989 and ’94, when producers across Italy delivered a high volume of loved-up, wavy and occasionally blissful productions that fused contemporary deep house tropes – most notably from Chicago, New York and New Jersey – with elements borrowed from ambient, jazz and Balearica. It’s this six-year period that provides the focus for Welcome To Paradise Volume 3, which draws together a spine-tingling mixture of sought-after classics, unheralded gems and little-known delights from the original Italian dream house movement. Thrillingly, Welcome to Paradise Volume 3 co-curator Young Marco has managed to source two previously unreleased tracks during the dream house period: the gently unfurling, sunrise-friendly bliss of Jacy’s “Resounding Seashell” and a special “Longer Edit” of Neurostate’s brilliant “Dance To The House”, a track that – somewhat surprisingly – has never previously been issued on vinyl before. Elsewhere, there are plenty of treats to set the pulse racing, from the must-have deep house brilliance of Leo Anibaldi’s “Universe” – a rare foray into dream house territory from the Italian techno pioneer – and the Afro-bleep-goes-dream-house trip of Golem’s “Sun City”, to the cowbell-driven, New Jersey garage-influenced warmth of Deep Choice’s “Children Trip” and Cosmic Galaxy’s “Walkin’ On The Moon”, a Detroit techno-influenced outing with a deliciously saucer-eyed, extended ambient intro. You’ll also struggle to find a more inspired house record than Green Baize’s “Tramp Heart”, which mixes familiar dream house elements with spacey electronics and tribal chants that recall Italy’s early ‘80s Afro-cosmic scene. It all adds up to another essential selection of rich, glassy-eyed dream house treats tailor-made for sound-tracking drawn-out Adriatic sunsets, Mediterranean sunrises and loved-up parties the world over.

(2023 Repress) Young Marco mines deep into the 90s era Italian house underground and strikes absolute gold... Part 2 of 2..This spring, Safe Trip will release Welcome To Paradiso, an expansive retrospective of the Italian dream house sound co-compiled by label founder Young Marco.At the tail end of the 1980s, a new take on deep house began to emerge from Italian studios. 'Dream house' drew inspiration from key U.S deep house records of the period – the spacey melodiousness of Larry Heard's productions, and the rich jazziness of tracks originating in New Jersey in particular – but sounded distinctly different. Its' 'head-in-the-clouds' feel – all rich chords, tactile basslines, fluid piano lines and starry electronics – made 'dream house' a uniquely Italian proposition.First and foremost, the style echoed the wavy, glassy-eyed positivity of the period more than any other. While music in the UK and the low countries was getting faster and heavier, Italy's 'dream house' producers continued to create music shot through with warmth and colourful musicality until 1993. While few 'dream house' records were made after then, its' sounds and loose aesthetic influenced subsequent styles such as trance and progressive house.During its' peak, dream house – or, as it was tagged by leading Italian label DFC, 'ambient house' (echoing the similarly minded work of UK pioneers such as The Orb and The KLF) – could be heard blaring from club sound systems across Europe. The style's popularity was fuelled, in part at least, by the runaway international success of "Sueno Latino".Welcome To Paradiso gathers together some of the finest examples of the style for the first time since the turn of the 90s. It includes a smattering of scene anthems – Key Tronics Ensemble's peerless "Calypso of House", Morenas's "Sonnambulism", the ambient mix of Last Rhythm's Italo-house classic "Last Rhythm" – alongside a swathe of hard-to-find, in-demand and forgotten gems.There are cuts from key players in the movement – the likes of Don Pablos Animals, Sasha (later to find fame with a strong of bouncy, piano-heavy Italo-house cuts), and Dreamatic – plus a string of lesser-known names whose contribution to the evolution of the sound should not be overlooked. Young Marco has also found space for Leo Anibaldi's "Elements", a rare deep house outing from a producer who later helped define the sound of Roman techno.Over the course of two double-vinyl compilations (and one extended digital download package), Welcome To Paradiso celebrates one of the most evocative and imaginative musical styles of electronic music's golden era. Kick off your shoes, turn your gaze skywards, and immerse yourself in the music.

New Gasoline releases, dropping a series of 3 limited-edition 7” colored vinyl EPs.For this first volume, directly out of the emblematic album "A journey into abstract Hiphop, it will.feature: Introduction of a Jedi, The Hardest, Downtown Beirut and a bonus FX scratch track for turntablists.

✺ L’édition régulière comprend un 45 tours bonus et une édition limitée qui remplace le 45 tours par un maxi avec un 3ème titre. ✺ First ever release of the 1984 Ryuichi Sakamoto classic outside of Japan.✺ Audio remastered by Saidera Mastering, Tokyo.✺ Original Gatefold artwork plus 2-page insert with liner notes by Andy Beta.✺ Feature an extra 7" EP with two extra tracks.Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan”, originally issued in Japan on his own School label in 1984. The reissue will replicate the original Japanese release which offered a bonus 7" EP featuring two bonus tracks "Replica" and "Ma Mère l’Oye". Remastered by Saidera Mastering in Tokyo, the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy BetaWewantsounds est heureux d’annoncer la sortie d’un des classiques de Ryuichi Sakamoto, Ongaku Zukan, initialement sorti au Japon en 1984 sur son label School. Cette réédition reproduit la version originale japonaise et ses deux éditions. L’album comprend la pochette gatefold originale ainsi qu’un insert 2 pages avec un texte de présentation du journaliste américain Andy Beta. Le début des années 80 marque un tournant pour le musicien japonais Ryuichi Sakamoto. La bande originale composée pour le film Merry Christmas Mr. Lawrence sorti en 1983, va bientôt faire de lui une star mondiale et parallèlement, il met fin à l’aventure du Yellow Magic Orchestra. C’est dans ce contexte que le musicien rentre en studio au Onkyo Haus de Tokyo pour enregistrer son quatrième album solo, Ongaku Zukan (« Encyclopédie musicale ») accompagné d’une poignée de musiciens, dont ses anciens partenaires du YMO Haruomi Hosono et Yukihiro Takahashi, ainsi que les talentueux Yasuaki Shimizu, Tatsuro Yamashita et Toshinori Kondo. Sorti en août 1984, Ongaku Zukan remporte un énorme succès, offrant à Sakamoto son premier top 5 au Japon. Rempli de mélodies inspirées qui mettent en valeur son talent unique de compositeur, l’album est un mélange fascinant où les pépites électro pop côtoient les pièces ambient futuristes, avec des fusions brillamment concoctées de jazz, de funk et d’électro. Deux éditions simultanées de l’album sortent au Japon en 1984 : l’édition régulière comprenant un 45 tours bonus et une édition limitée qui remplace le 45 tours par un maxi avec un 3ème titre. C’est la toute première fois que les deux éditions japonaises de l’album sortent en dehors du Japon avec audio remasterisé et pochettes originales, rendant ainsi hommage à l’un des génies de la musique pop contemporaine trop tôt disparu.

The ‘imaginary’ soundtrack to the adventures Of Kindaichi Kosuke, the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best 70s Japanese Funk musicians, the album is pure undiluted Disco Funk. This reissue is the album's first official release outside of Japan. Remastered from the original tapes, it features artwork by renowned illustrator Ichibun Sugimoto, OBI strip and a 4 page insert with a new introduction by British journalist Anton Spice.

Le groupe japonais Chai a ensorcelé le monde entier en 2017, en publiant son premier album, Pink, faisant découvrir sa pop enjouée singulière. Les suites Punk et Wink ont récolté les éloges de la presse musicale et d’artistes de divers horizons et ont permis à Mana (voix principale et clavier), Kana(guitare), Yuna (batterie), et Yuuki (bassiste-lyrique) de collaborer avec des artistes internationaux. Chai sort son quatrième album éponyme chez Sub Pop. Cette nouvelle collection de chansons permet à Chai de revenir à sesracines, en s'inspirant de son héritage culturel japonais. Contrairement aux albums précédents, Chai a écrit son album éponyme sur la route. L'une des chansons de l’album, "Driving22", s'inspire directement des longues journées passées à naviguer sur les autoroutes de villes étrangères. Chaque album de Chai s'inspire esthétiquement de mouvements musicaux spécifiques, et sur cet album, le quatuor a voulu faire des comparaisons directes avec la city pop, un son né à Tokyo et popularisé dans les années 70et 80. La city pop était une version japonaise de la musique lounge occidentale, empruntant au jazz, au boogie, au funk et au yacht rock pour créer un son à cheval sur deux cultures. Ce n'est que récemment que la citypop est devenue un phénomène de la culture pop aux États-Unis, en partie grâce à TikTok et YouTube qui ont exhumé des chansons d'artistes comme Tatsuro Yamashita, mais pour Chai, la city pop était tout simplement la musique de leur enfance. Elles ont fait appel à leur ancien collaborateur Ryu Takahashi pour la production, qui partageait leur amour de la city pop et de l'eurobeat, ainsi que les mélodies d'artistes de J-pop comme Maria Takeuchi.CHAI de CHAI

A long-awaited LP vinyl reissue that is very popular as a Japanese AOR masterpiece. Makoto Matsushita is a well-known guitarist who participated in the fusion funk group AB’s with Tomaru Yoshino. The album is full of AOR taste, originally released in 1981. The original version is recreated and the photo jacket by Kaoru Ijima is faithfully reproduced.✺ Originally released in 1985 by Moon Records✺ Pressed on black vinyl✺ First ever reissue on vinyl

Modern highlife luminary, Rex Omar is a force of the Ghana music scene. With a career spanning 30 years he has evolved the genre, pushed boundaries and dazzled listeners with his inventive output.A definitive piece of Omar’s repertoire comes via his Dangerous album - critically acclaimed in Ghana, it’s a self-produced gem recorded in London circa 1997, with help from Ibibo Sound Machines Kari Bannerman and prolific Jamaican producer Bill Campbell. Released on CD only and distributed exclusively in West Africa, the album gained immense popularity in Omar’s homeland reaching platinum status.Soundway, presents the four premier cuts for a new self-titled EP, along with Kele Ngele taken from his 2004 album Ajala. Finally given the vinyl treatment, it's a London-centric blend of street-soul-come-highlife 90s RnB, certain to captivate the discerning ear. Staying true to its original colab effort, London based producer Aroop Roy steps in with a modern rework of the four-to-the-floor scorcher Dada, revisited and repurposed for today's dancefloor.Rex Omar de Rex Omar

✺ Limited to 500 copies."Don't Stop" is the third album retrospectively released by Ghia. As the subtitle "Early Works & Artefacts 1984-1987" implies, it features some of their earliest compositions as well as tracks that were recorded during the same period as their "Curaçao Blue" LP.The album is a fusion of diverse music styles. Listeners will delight in a range of genres, including electro, funk, soul, jazz-funk, synth pop, and even rap/hip-hop, all woven together as a cohesive work that remains mostly instrumental. As a whole, "Don't Stop" represents Ghia's funkiest and most experimental release to date. Notably, the LP features a rap version of Hermann Hesse's controversial German poem "Armer Teufel am Morgen nach dem Maskenball" ("Poor Devil the Morning After the Costume Ball") from 1926, accompanied by a drum machine rhythm and funky guitar. This poem depicts a person who drank too much the night before, telling the story and describing his hangover. The title track "Don't Stop" and the thrilling minimal electro-funk tune "3 A.M. at Moëf Gaga" both evoke old-school electro influences. The latter references the Spanish discotheque Moëf Gaga, located on the Balearic coast, which the dynamic duo of Lutz Boberg and Frank Simon frequented during their 1980s holidays. While the exact music played at 3 A.M. is unknown, listening to Ghia's track will undoubtedly capture the mood of the place.One of the key tracks of the album is "Message From The Other Side", which could easily be noted as one of the nicest European synth-funk instrumental pieces ever. The track is based on a sick synth bass line, sparkled with DX7 chord hits, funky guitar, and a delightful "marimba" solo in the last third. The solo was actually played on Boberg's keyboard, using a special sound cartridge. This particular track had to be edited and technically revised by Marian Tone and DJ Scientist as the existing demo version of the song could not be used as is. With its stunning groove, this track will surely be a DJ's favorite.Listening to the complete album, there is more of Boberg's keyboard wizardry: could you believe that the trumpet solo on "Jump In The Water" as well as the short but stunning slap bass solo on "Talk Too Much" were both played by on the DX7? However, this new release, unlike the jazzy "Curaçao Blue", is not about solos or virtuous playing - it clearly shows the duo's direction towards more electronic composition and clear song structures. The versions of "September Garden", "When The Rain is Falling" as well as "Talk Too Much" are actually instrumental mixdowns of vocal songs. And again, we get a blissful take of "Close To You", here a version from 1986. This soulful jazz-funk ballad could already be heard on "Curaçao Blue" while the final vocal version with singer Lisa Ohm can be found on the recently released "This Is" LP. This shows that the Ghia composers, Boberg and Simon, were perfectionists - tracks were reworked again and again, making them better and better.The album was mastered and restored with great care, and we are pleased to provide you with a perfect example of mid 1980s home-recording pleasures, tinged with a youthful spirit and providing a sound that cannot be recaptured anymore nowadays. Alongside "This Is" and "Curacao Blue" it should be another perfect addition to any 80s groove collection as well as a great pick for DJs that love and play disco, leftfield electro and funk.

This Austin, Texas duo is venturing out & working with the STAR CREATURE for their latest release following their debut LP in 2019. For their first go, the duo take the classic "MESSAGES FROM THE STARS" from a hand written letter to a telepathically communicated email videogram.

Thandi Zulu known as T.Z. Junior was a young girl from Soweto, a township of the city of Johannesburg, South Africa. Soweto became an independent municipality with elected black councilors in 1983. T.Z. Junior started her musical career with Peter Moticoe who produced "Love Games" with The Young Five on Heads label in 1984. Then, Peter Moticoe brought her to Phil Hollis at Dephon Entertainment who then teamed them up with Attie Van Wyk who was the producer for Yvonne Chaka Chaka at that time.Phil Hollis started Dephon Promotion (Dephon Entertainment) in the late 70's and developed into the largest independent record company in South Africa. He describes himself as the only person who has been involved in recording of major hit songs in nearly all genre's of music in all the languages in South Africa. Phil Hollis was involved in all aspects of the Entertainment industry from production of recordings, recording company, distribution, marketing and promotion, events management, staging major events and filming."Sugar My Love" and "Are You Ready For Love" were produced and arranged by Attie Van Wyk. “Back in the 80's I was a songwriter for a band called Ballyhoo when I got an offer from the Dephon Record Company to join them as a music producer. So I quit the band and joined them, producing records mainly for music targeted at the black market in those days,” he says. Between 1982 and 1992, Attie Van Wyk produced over 120 albums, including many for Yvonne Chaka Chaka for whom he also wrote songs. “At that time, I realised that the only way to sell records was to put the artists on a touring circuit.” Hit song writer, band member, music producer, tour organiser, and concert promoter, Attie Van Wyk started Big Concerts in 1992 when, after helping to negotiate the end of the cultural boycott against South Africa, he brought out Paul Simon, one of the first international acts South Africa had seen for a long, dark time during Apartheid.

The hottest 1980?s cosmic italo disco songs from the Czech national music archive bundled on one album.

The Machine is back. Following the 2022 release of the wildly successful, God Don't Make Mistakes, Conway the Machine returns with his next studio album, 'Won’t He Do It'. Aptly titled for touching on the various obstacles he's been faced with and overcome to be in the position he's in today, Conway hopes to inspire listeneres to imagine the possibilities they themselves can achieve by breaking through the walls that have been put up and relentlessly pursuing their goals to turn their dreams into reality. The 14 track album sees appearances by longtime collaborators Westside Gunn & Benny the Butcher, as well as Jae Skeese, Sauce Walka, Juicy J, Fabolous, Dave East, GooseByTheWay, 7xvethegenius, Jozzy, Ransom & Drea D'Nur. Production is handled by heavyweight producers such as J.U.S.T.I.C.E. League, Khrysis, Daringer, Juicy J & more.

✺ Limited to 500 copies."Don't Stop" is the third album retrospectively released by Ghia. As the subtitle "Early Works & Artefacts 1984-1987" implies, it features some of their earliest compositions as well as tracks that were recorded during the same period as their "Curaçao Blue" LP.The album is a fusion of diverse music styles. Listeners will delight in a range of genres, including electro, funk, soul, jazz-funk, synth pop, and even rap/hip-hop, all woven together as a cohesive work that remains mostly instrumental. As a whole, "Don't Stop" represents Ghia's funkiest and most experimental release to date. Notably, the LP features a rap version of Hermann Hesse's controversial German poem "Armer Teufel am Morgen nach dem Maskenball" ("Poor Devil the Morning After the Costume Ball") from 1926, accompanied by a drum machine rhythm and funky guitar. This poem depicts a person who drank too much the night before, telling the story and describing his hangover. The title track "Don't Stop" and the thrilling minimal electro-funk tune "3 A.M. at Moëf Gaga" both evoke old-school electro influences. The latter references the Spanish discotheque Moëf Gaga, located on the Balearic coast, which the dynamic duo of Lutz Boberg and Frank Simon frequented during their 1980s holidays. While the exact music played at 3 A.M. is unknown, listening to Ghia's track will undoubtedly capture the mood of the place.One of the key tracks of the album is "Message From The Other Side", which could easily be noted as one of the nicest European synth-funk instrumental pieces ever. The track is based on a sick synth bass line, sparkled with DX7 chord hits, funky guitar, and a delightful "marimba" solo in the last third. The solo was actually played on Boberg's keyboard, using a special sound cartridge. This particular track had to be edited and technically revised by Marian Tone and DJ Scientist as the existing demo version of the song could not be used as is. With its stunning groove, this track will surely be a DJ's favorite.Listening to the complete album, there is more of Boberg's keyboard wizardry: could you believe that the trumpet solo on "Jump In The Water" as well as the short but stunning slap bass solo on "Talk Too Much" were both played by on the DX7? However, this new release, unlike the jazzy "Curaçao Blue", is not about solos or virtuous playing - it clearly shows the duo's direction towards more electronic composition and clear song structures. The versions of "September Garden", "When The Rain is Falling" as well as "Talk Too Much" are actually instrumental mixdowns of vocal songs. And again, we get a blissful take of "Close To You", here a version from 1986. This soulful jazz-funk ballad could already be heard on "Curaçao Blue" while the final vocal version with singer Lisa Ohm can be found on the recently released "This Is" LP. This shows that the Ghia composers, Boberg and Simon, were perfectionists - tracks were reworked again and again, making them better and better.The album was mastered and restored with great care, and we are pleased to provide you with a perfect example of mid 1980s home-recording pleasures, tinged with a youthful spirit and providing a sound that cannot be recaptured anymore nowadays. Alongside "This Is" and "Curacao Blue" it should be another perfect addition to any 80s groove collection as well as a great pick for DJs that love and play disco, leftfield electro and funk.

« Où je vis » est le premier album solo du rappeur Shurik’n, membre fondateur du groupe IAM. Sorti en 1998, vendu à plus de 300 000 exemplaires , cet album est considéré comme un des plus grands classiques du Rap français. Inclus « samouraï », « les miens » et « Manifeste » en duo avec Akhenaton.

This release gathers for the first time on vinyl the most famous musical themes from Tim Burton’s movies. Most of them are composed by Tim Burton’s favourite composer (Danny Elfman), and some by Howard Shore and Stephen Sondheim.The songs are drawn from the cult film that launched Johnny Depp’s career: “Edward Scissorhands”, to his latest masterpiece: “Alice’s Adventures in Wonderland”.The collaboration between Tim Burton and Danny Elfman is one of the most successful of Hollywood. This duo has allowed to convey this distinctive imagery created by the former Walt Disney cartoonist, who has become, today, the undisputed master of fantasy and strangeness.Danny Elfman (also known for the famous Simpsons’ generic/film credits) remains thecomposer who, better than anyone, has been able to transcribe the universe both dark andfairy of his favourite director. His music draws its inspiration from Edgar Allan Poe’s novel, German expressionism and from the Hammer’s cult movies.This vinyl offers an hour of music to immerse yourself into Tim Burton’s phantasmagoric universe:from the hypnotic and quirky theme of Willy Wonka (Charlie and the Chocolate Factory) to the disturbing atmosphere of Gotham City (Batman). This album pays tribute to both Tim Burton’s cinematographic work and Danny Elfman’s musical genius.

For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous Giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track 'Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off.While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for Lilith are like semi precious jewels shining out of the murk and machismo.

Retrouvez les opening et ending de la série culte Naruto pour la première fois dans un vinyle !composition de ce vinyle, tels que : Asian Kung-Fu Generation, Little By Litte, FLOW, Sambomaster,Stance Punks, Akeboshi, ORANGE RANGE, Raico, Captain Straydum et No Regret Life.

✺ Chocobo & Chill is an instrumental hip-hop tribute to the world of Final Fantasy.✺ Chocobo & Chill features fifteen of Nobuo Uematsu’s beloved Final Fantasy tracks flipped and remixed by beat-maker Rifti Beats.✺ Chocobo & Chill hits with nostalgic flair, taking inspiration from the Super Nintendo’s Final Fantasy VI and the Playstation era Final Fantasy VII – X.Chocobo & Chill is an instrumental hip-hop tribute to the world of Final Fantasy.Chocobo & Chill features fifteen of Nobuo Uematsu’s beloved Final Fantasy tracks flipped and remixed by beat-maker Rifti Beats. Chocobo & Chill hits with nostalgic flair, taking inspiration from the Super Nintendo’s Final Fantasy VI and the Playstation era Final Fantasy VII – X.The album begins with “The Prelude” and “Chocobo” — two iconic tunes found throughout the Final Fantasy series, making their first appearances on the Nintendo Entertainment System. Homages to “Final Fantasy VII” follow, with a gentle rendition of its main theme featuring pianist PianoDreams. This track previously appeared as the instrumental for “Lifestream” from Mega Ran’s Black Materia: The Remake. Fans of Final Fantasy 7 will also appreciate the sweet and melancholy “Aerith’s Theme”, and the iconic “Victory Fanfare”.The series’ next installment, Final Fantasy VIII, gets its turn in the spotlight too, with dreamy remixes of “Breezy” and “Balamb Garden”. The album takes a dark turn with final boss theme “The Extreme”, which is known for its appearance in Final Fantasy XIV: Shadowbringers.Magical and nostalgic vibes continue with Final Fantasy IX’s “Crossing Those Hills”, “Village of Dali”, and “Song of Memories”. Standouts from Final Fantasy X also appear; fan-favorite “To Zanarkand”, best known for appearing in Final Fantasy’s world touring orchestral show Distant Worlds. Acoustic track “Sight of Spira” (also known as Spira Unplugged) take the form of a acoustic guitar duet, and meme-worthy “Tidus’s Theme” features brass and orchestral instrumentation from Pontus Holtgren.Rifti Beats is a beat-maker with a passion for videogame and anime music. Chocobo & Chill is Rifti Beats’ first solo album with GameChops. It’s the seventh installment in the label’s “& Chill” series.

Ghibli Jazz - live!With superstar jazz trio All That Jazz, guest vocalist Yuriko Kuwahara (COSMiC HOME) as well as saxophone players and violinists, you must check out these laid-back jazz covers of classic Ghibli songs! Issued on limited edition vinyl with one of our iconic obi strips, this is sure to be another instant classic.SIDE A : 01. Carrying You (Castle in the Sky) / 02. The Path of Wind (My Neighbor Totoro) / 03. My Neighbor Totoro (My Neighbor Totoro) / 04. A Town With an Ocean View (Kiki's Delivery Service) / 05. The Promise Of The World: The Merry-Go-Round Of Life (Howl's Moving Castle)SIDE B : 01. Always With Me (Spirited Away) / 02. The Legend of Ashitaka (The Princess Mononoke) / 03. The Princess Mononoke (The Princess Mononoke) / 04. Nausicaä of the Valley of the Wind (Nausicaä of the Valley of the Wind) / 05. County Road (Whisper of the Heart)

✺ L’édition régulière comprend un 45 tours bonus et une édition limitée qui remplace le 45 tours par un maxi avec un 3ème titre. ✺ First ever release of the 1984 Ryuichi Sakamoto classic outside of Japan.✺ Audio remastered by Saidera Mastering, Tokyo.✺ Original Gatefold artwork plus 2-page insert with liner notes by Andy Beta.✺ Feature an extra 7" EP with two extra tracks.Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan”, originally issued in Japan on his own School label in 1984. The reissue will replicate the original Japanese release which offered a bonus 7" EP featuring two bonus tracks "Replica" and "Ma Mère l’Oye". Remastered by Saidera Mastering in Tokyo, the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy BetaWewantsounds est heureux d’annoncer la sortie d’un des classiques de Ryuichi Sakamoto, Ongaku Zukan, initialement sorti au Japon en 1984 sur son label School. Cette réédition reproduit la version originale japonaise et ses deux éditions. L’album comprend la pochette gatefold originale ainsi qu’un insert 2 pages avec un texte de présentation du journaliste américain Andy Beta. Le début des années 80 marque un tournant pour le musicien japonais Ryuichi Sakamoto. La bande originale composée pour le film Merry Christmas Mr. Lawrence sorti en 1983, va bientôt faire de lui une star mondiale et parallèlement, il met fin à l’aventure du Yellow Magic Orchestra. C’est dans ce contexte que le musicien rentre en studio au Onkyo Haus de Tokyo pour enregistrer son quatrième album solo, Ongaku Zukan (« Encyclopédie musicale ») accompagné d’une poignée de musiciens, dont ses anciens partenaires du YMO Haruomi Hosono et Yukihiro Takahashi, ainsi que les talentueux Yasuaki Shimizu, Tatsuro Yamashita et Toshinori Kondo. Sorti en août 1984, Ongaku Zukan remporte un énorme succès, offrant à Sakamoto son premier top 5 au Japon. Rempli de mélodies inspirées qui mettent en valeur son talent unique de compositeur, l’album est un mélange fascinant où les pépites électro pop côtoient les pièces ambient futuristes, avec des fusions brillamment concoctées de jazz, de funk et d’électro. Deux éditions simultanées de l’album sortent au Japon en 1984 : l’édition régulière comprenant un 45 tours bonus et une édition limitée qui remplace le 45 tours par un maxi avec un 3ème titre. C’est la toute première fois que les deux éditions japonaises de l’album sortent en dehors du Japon avec audio remasterisé et pochettes originales, rendant ainsi hommage à l’un des génies de la musique pop contemporaine trop tôt disparu.

What would happen if Florian Schneider from Kraftwerk fell in love with Anne Dudley from Art Of Noise? That’s exactly how “A Spanner In The Werk” sounds : a mix of soulful melodies and robotic rhythms, which proves, at last, that Techno and love songs can meet… and have a fruitful relationship!Composed in 1996, this unreleased track by French New Beat veteran Guillaume U. Chifflot received massive positive feedbacks as a bonus track on the recent 2xLP compilation by n9.So here’s a brand new “Longform Mix”, taking android sensuality even further, lovingly pressed by Swewax onto a collector item, with a beautiful floral etching on the flip side by artist Yül-Rik.Mastered by techno and acid superstar Thomas P. Heckmann (Trope, Drax, etc.), the EP also features the participation of cult Rephlex duo D’arcangelo, who offer an exclusive remix, filled with a firework display of the delicate electronic drifts they excel at.n9 is a French label founded in the early 90’s to release new beat and techno-rave tracks. After focusing on graphic design for a decade, groups of Discogs fans brought n9 back into the field, and the label began to pioneer a 21st century blend of New Beat and TBM, while making room for a growing number of like-minded French techno artists.

✺ Neuromantic is Takahashi’s first solo release for ALFA and his third solo album overall.✺ Features Phil Manzanera, Andy Mackay (Roxy Music), and Tony Mansfield.Neuromantic is Takahashi’s first solo release for ALFA and his third solo album overall. In addition to Japanese musicians Haruomi Hosono, Ryuichi Sakamoto, and Kenji Omura, the album also features Phil Manzanera, Andy Mackay (Roxy Music), and Tony Mansfield whom he recorded with during a long stay in London. This record builds on the techno sound of YMO’s BGM (released the same year), infusing Takahashi’s unique romantic aesthetic and is considered one of his masterpieces. The sixth track, “Drip Dry Eyes" is a self-cover of a song that he wrote for ALFA artist artist Sandii.Yukihiro Takahashi explains, “The early 80’s was one of the busiest periods of my music life…When I think back now, I think that my recording style and production process that I continue to this day may have been solidified then, during the early 80’s.”The new reissue of Neuromatic is part of ALFA’s ongoing reissue series featuring many of Yukihiro’s early 80s solo albums from his first hit record Murdered by Music (1980) to his last record from his ALFA era Poisson D’Avril (1985 soundtrack to the film of the same name).