Through deep rhythmical mediations, Midge Thompson's first EP emerges on his own imprint Dance Protocol, crafted with the intent to enthrall the dance floor. The A-side unveils a relentless intensity, with sub-bass lines echoing the lost era of raves, each beat a testament to a harsher reality.Conversely, the B-side invites a party atmosphere, its bubbling bassline and dynamic drums offering an escape from the mundane. First you must open your mind then your body.

Power Music Records presents Mood ll Swing! This release will be available as limited crystal green edition.On A side ther are the glorious originals from Mood II Swing "Move Me" and "Move Me - Alternative Mix".On The B side we have 2 great remixes of Mood II Swing "Call Me" by DJ Duke.

Fio Fa’s latest outing on his own Sunset Drifters Label.

✺ Pressed on clear red vinyl✺ 180g weight✺ Remastered by Alex Wharton at Abbey Road53 years after his debut!The remastered popular works of Masayoshi Takanaka, one of Japan's leading super-guitarists, are now available on limited edition colored vinyl!Alex Wharton of Abbey Road Studios, London, has remastered and cut this can't miss album from the original master tapes of "SEYCHELLES," "TAKANAKA," "AN INSATIABLE HIGH," and "SUPER TAKANAKA LIVE!

✺ REPRESS !! ✺ Very limited !Electric Tools Vol. 1 represents the essence of our musical influences : 90s & early 00s Electro, Breaks, Tech-House and Minimal. The third release of Outdom Records, a real club tool for DJs and music lovers seeking for bouncy and breaking grooves, will be available on both vinyl and digital.This record is a compilation of four tracks navigating between Electro B-Boys Breaks, Sharp & Rolling Tech-House, Cosmic Uruguayan Progressive House and touches of Dreamy Minimal House.Aiming at a vintage aesthetic, this EP displays an energetic and spirited atmosphere associating electrifying drums and basslines with deep and spooky musical elements.These influences are well represented on the various’ artworks. A reference to the late 90s computer electronic circuits, cyberpunk symbols and colors of rave party flyers.

M.A.D have rounded up some friends new and old to bring you this stomping VA.

Subb-an, Kepler & Wickham team up as 'Complex Phantasy' for an ep of warm club focused house music on leipzig's R.A.N.D. Muzik imprint.

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.

Following the highly acclaimed first volume in the series, Japanese jazz expert Yusuke Ogawa continues the WaJazz exploration with another essential collection of music that contains something uniquely Japanese — focusing this time on the King Records catalog. Featuring timeless music by Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi, George Otsuka, and more!● Gatefold 180g heavy double vinyl LP, reverse board print. Comes with extensive track-by-track liner notes by Yusuke Ogawa.● All tracks licensed by King Record Co., Ltd., Tokyo, Japan.● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.● Signature artwork by Nker

“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.

Reissue of this lovely Brazilian album.. Holds the tunes ''Bananeira'' , ''Brother'' and ''La Mulata''.. Every Brazilian music collection needs Emilio Santiago.Far Out Recordings proudly presents the 1975 self-titled debut album from Brazilian vocalist and bossa nova luminary Emilio Santiago. Nicknamed ‘the Nat King Cole of Brazil’, Santiago was a master bossa balladeer and a top-class crooner. But he is known equally for his Brazilian funk, soul and boogie classics. One of his best know is album opener ‘Bananeira’, a party-starting version of the song originally written by Joao Donato and Gilberto Gil. ‘Brother’ is a smooth-grooving killer with great horn arrangements and a huge backing choir, while ‘La Mulata’ is a soulful, swinging salsa stepper.Originally released on the CID label, the album showcases the full range of Emilio’s talents, while paying homage to some of Brazil’s greatest composers, including Jorge Ben, Marcos and Sergio Valle and Ivan Lins among others.The credits on the album are a ‘who’s who’ of Brazil’s greats, with João Donato on keys, Wilson das Neves, Ivan ‘Mamão’ Conti and Paulinho on drums, Durval Ferreira, Carlos Roberto Rocha and Helio Delmiro on guitar, Ariovaldo, Orlandivo, and Chacal on percussion, Danilo Caymmi on flute, a brass section featuring Victor Assis Brasil, Edson Maciel and Jesse Sadoc, and backing vocals from Jaime and Nair, Lúcia Lins, Jurema and Marcio Lott.

(Gatefold LP) Feat. fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra. “This album was going to be Joyce's international breakthrough release… but it never came out…” - Wax PoeticsNot long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared "one of the greatest singers" by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of the likes of Jobim, João Gilberto and Sergio Mendes, all of whom became global stars after releasing with major labels in the US.There was a moment when it seemed she might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman. Ogerman had already played a pivotal role in the development and popularisation of Brazilian music in the 1960s, recording with some of the all-time greats like Jobim and João Gilberto, as well as North American idols like Frank Sinatra, Billie Holiday and Bill Evans."I met him in New York City, in 1977", recalls Joyce. "I was living and playing there, and João Palma, Brazilian drummer who used to play with Jobim, introduced me to Claus. We had an audition, he liked what we were doing and decided to produce an album with us."Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra.But mysteriously, Natureza was never released, and what should have been Joyce's big moment never happened. As Joyce remembers, "I returned home, but Claus and I remained in contact, by letters and phone calls. He was very enthusiastic about the album and tried to hook me up with Michael Franks. He wanted me to go back to NYC in order to re-record the vocals in English with new lyrics, which I actually wasn't too happy about. But then I got pregnant with my third child and could not leave Brazil. And little by little our contact became rare, until I lost track of him completely. And that was it. I never heard from him again."While Claus was known to be something of an elusive character, the album's disappearance might also have been a result of timing. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find a major label interested in a new Brazilian sensation. Additionally, as Joyce mentions, it wasn't quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics for the US and international markets - a critical artistic difference between Joyce and Ogerman.As the military dictatorship's grip on Brazil began to subside in the 1980s, Joyce had a handful of hits in her home county, including a tribute to her daughters 'Clareana', and the iconic 'Feminina' - an intergenerational conversation between mother and daughter about what it means to be a woman. But already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the dictatorship who would often censor her music. Even once the Junta was out of the way, Joyce found herself up against the male-dominated major record companies in Brazil, who sought to dictate her career and sexualise her image, before dropping her for refusing to play along.A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce's music began to find its way to the UK, Europe and Japan, and "Feminina" and "Aldeia de Ogum" became classics on the underground jazz-dance scenes of the mid to late-eighties and early-nineties.The full-length version of "Feminina" from the Natureza sessions was first heard on a Brazilian Jazz compilation in 1999 and "Descompassadamente" was licensed for a CD compiling the work of Claus Ogerman in 2002. Following these, word began to get out about an unreleased Joyce album with Claus Ogerman and the legend of Natureza grew.Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of 'Feminina', as well as the never before heard 'Coração Sonhador' composed and performed by Mauricio Maestro, Natureza's release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure.

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.

The career of Patience Africa Spanned over 40 years. After almost a decade of success on a major label with her Zulu Disco sound, and a few years in the early 80s experimenting with a more soulful sound, the funky synths of the 80's would force her to stay relevant in the quick changing times. It would be in 1987 that she would sign to the independent Ream Music which with the help of their tight knit in house production team had released hits for upcoming disco artists Makwerhu, Ntombi Ndaba, Sunset, Athena, Percy Kay and more. The label's success in the traditional market made Patience a perfect fit and could have been their first crossover artist.With the help of owner's Danny Antill and Clive Risko they would cut a 4 track EP that like many others of the time ended up being lost in to the hyper saturated market of the emerging Bubblegum demand. Two tracks would be written by Patience, including the title "Wozani La" Musically these were more aligned with her sound of the 70's accompanied by a purely digital production, but it's the two songs written by label boss Danny Antill that appear on this release. These two songs are unlike anything heard at the time. Embracing full commitment to the digital studio and some extensive and risky experimenting the trio managed to slide heavy house bordering electro pop and a haunting swing beat groove alongside the compositions of Patience to complete this EP for both markets. Although the album had great potential, poor promotion and low sales led Patience to feel cheated and after not earning a cent for the record left the label and took her first break from music since the early 70's. She would later return to her original sound recording up to til 2006 when she released what would be her final album before her death the following year. Still loved by her fans and those who knew her, she is remembered through the Patience Africa Foundation. Founded by her son Mangaliso in 2017 to help create a better South Africa in our lifetime.

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'.

Pour ce tout nouveau chapitre de la très acclamée série Wamono, DJChintam explore les archives d'un des labels japonais les plus vénérés, TrioRecords, et déniche des pépites obscures pour une sélection essentiellement jazz funk et de rare groove aux lignes de basse ultra groovy et cuivres funky produit sur Trio entre 1973 et 1981 !✺ 180g heavy vinyl pressing, reverse board jacket.✺ Fully licensed Trio Records masters.✺ Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab,Helsinki, Finland.✺ Signature artwork by Yoxxx.Après de nombreuses années à travailler comme acheteur pour plusieurs magasins de disques, DJ Chintam a ouvert sa propre boutique, Blow Up, en 2018 dans le quartier de Shibuya à Tokyo.Membre de la Dayjam Crew et spécialiste de la soul, du funk, du rare groove et de la musique disco, Chintam est également un expert des grooves Wamono faits maison. Il a supervisé et coécrit le légendaire guide des disques Wamono A à Z avec DJ Yoshizawa Dynamite. Pour ce tout nouveau chapitre de la série Wamono très acclamée, notre homme Chintam se plonge dans les archives de l'un des labels japonais les plus vénérés : Trio Records fondé en 1969 par le fabricant audio Trio Electronics, aujourd'hui connu sous le nom de Kenwood, le label et ses filialestelles que Showboat et Trash - a publié de la musique de haute qualité couvrant une large variété de genres incluant le rock, le jazz, la fusion, les bandes originales et les chansons populaires, jusqu'à sa fermeture en 1984. À travers les huit morceaux sélectionnés, Chintam déniche quelques breaks de batterie percutants, lignes de basse lourdes et cuivres funky, pour une sélection essentielle de jazz funk et de vibes rare groove produites sur Trio entre 1973 et 1981. Déposez le diamant sur le disque, montez le volume et plongez dès maintenant dans le son Wamono - la crème de la musique japonaise jazz, funk, soul, rare groove et boogie développée au fil des années depuis les années soixante au Japon !Wamono A to Z presents: “Blow Up” Trio - Japanese Rare Groove from the Trio Records vaults 1973-1981 (Selected by Chintam) de Wamono series

Following the highly acclaimed first volume in the series, Japanese jazz expert Yusuke Ogawa continues the WaJazz exploration with another essential collection of music that contains something uniquely Japanese — focusing this time on the King Records catalog. Featuring timeless music by Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi, George Otsuka, and more!● Gatefold 180g heavy double vinyl LP, reverse board print. Comes with extensive track-by-track liner notes by Yusuke Ogawa.● All tracks licensed by King Record Co., Ltd., Tokyo, Japan.● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.● Signature artwork by Nker

“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.

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 !

Soul Media is led by Jiro Inagaki, who played a part in the development of jazz rock in Japan. This album “Memory Lane” was recorded in 1980.Regarding this work, Inagaki said, “We made this work while anticipating the fate of fusion music.”This album contains the mellow and emotional track “Memory Lane”, the stormy and refreshing “I Will Give You Samba”, and the groovy and edgy “Take My Hand”The sound that Jiro created with his sworn friend Norio Maeda while looking ahead to the future of Jazz has an extraordinary degree of perfection in terms of song, arrangement, and performance. Listening to this album years later, it’s still vivid and fresh.

Vincent Fenton is a self-taught French multi-instrumentalist. Under the name of FKJ, aka French Kiwi Juice, his free and colourful compositions have already conquered a fanbase that extends to the four corners of the world. A platinum-selling artist with over 2 billion streams to date, FKJ embodies a unique musical approach brimming with spontaneity, which he brings to life in live performances designed to encompass his multiple creative aspirations.After an international tour and the success of his self-titled debut album “French Kiwi Juice”, FKJ returns with his second opus “V I N C E N T”.

AirFunk returns with its fifth release, blending classic and contemporary sounds for a unique experience. Side A features an electrifying retro vibe with contributions from Aline Umber, Maxime dB, and Kerowack, while Side B offers a darker, more mysterious atmosphere with tracks by Paul Cut and Brian SNR. Get ready to be surprised by this innovative mix of old and new music !

Brazilian Disco Boogie Sound is a compilation that brings together nine of the most important and obscure hits of the Brazilian Funk-Boogie-Disco scene during the years of 1978 to 1982.Following its acclaimed release in late 2014, Favorite Recordings now present a great additional 12inch single package, including exclusive extended versions by Nick The Record, Waxist and Charles Maurice.The 3 DJs provide new exclusive extended versions of Painel De Controle, Rabo De Saia, and Famks’ killing originals tracks.

Remastered re-release of the Belgian synth-pop trio's 1979 debut album, including cover versions of Plastic Bertrand's 'Ça Plane Pour Moi' and Bill Haley's 'Rock Around The Clock'.

After a short hiatus, Loveface are back with their latest offering of their eyebrow raising De-Mix project. Vol 8 consists of a very DJ friendly version of the purple ones 80s high tempo classic followed by a mid tempo proto house groove with boogie flavours of a Scousers cult classic while on the flip they showcase their italo disco/proto house leanings once again, accompanied by a slightly deeper melodic groove for the house heads with 80s leanings. Another 4 tracker with something for everyone.

In the mid-seventies, discotheques were booming in Tokyo and all over Japan. When the Fatback Band climbed the 1975 US and UK charts with their infectious “(Are You Ready) Do The Bus Stop” hit, Japanese label Victor put out the following year the first Japan made Disco tune with “Sexy Bus Stop”, released under the mysterious name Dr. Dragon & Oriental Express, a pseudonym for successful Japanese pop composer Kyohei Tsutsumi. “Sexy Bus Stop” became an instant hit in the country and, taking this opportunity, various Japanese record companies started releasing Disco music. From 1976 until the early 1980s the music was often recorded by skilled studio musicians, rather than by computer input, providing a really solid sound to the dancefloor. Disco music was also spreading into TV series, commercials and anime. From Godiego’s monster hit “The Birth Of The Odyssey - Monkey Magic” to Pink Parachute’s obscure (and excellent!) “Disco Great Tokyo” tune, this selection explores some of the finest Disco and Boogie music released on the legendary Nippon Columbia label in the late seventies and early eighties. Are you ready? Put your dance shoes on, and enjoy!Wamono Disco - Nippon Columbia Disco & Boogie Hits 1978-1982 de Wamono series

Millos Kaiser (50% of Selvagem) curates this treasure trove of 16 rare cuts of synthpop, samba boogie, balearic electro jams from 1980 & ‘90s Brazil. BIG TIP !!!Onda De Amor is a release that is loaded with smooth grooves, bubbling bass, glistening synthesisers, funk strutting guitar lines and sheen of production that undeniably marks it of its time. For Kaiser this compilation is about reintroducing music during a period of reappraisal, catching a new wave and hoping contemporary listeners will ride it with him. “The idea is to do justice to these songs. Songs that combine all the right ingredients that should have put them on radio playlists when I was growing up or at least in the cases of more adventurous DJs”.Whilst names such as Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies and Batista Junior may not be household names, they tell an untold, yet rich and important part of musical history in Brazil. The release also covers a decade that has been intentionally forgotten and brushed aside by many in the country.Millos Kaiser is a DJ, digger, vinyl junkie/dealer born in Rio de Janeiro and living in Sao Paulo for the past 8 years. He launched the dance party/club night Selvagem with partner Trepanado in 2010, bringing thousands of dancers one Sunday a month to a public square in the heart of Sao Paulo.

✺ Pressed on black vinyl✺ Limited edition double vinyl✺ Created by Japanese hip-hop producer Tsutchie, American hip-hop producer & emcee Fat Jon, Japanese hip-hop producer Nujabes, and Japanese DJ & production duo FORCE OF NATURESamurai Champloo Music Record: Playlist is a soundtrack album created by Tsutchie, originally released on September 22, 2004, for the anime series Samurai Champloo. It is the third of four soundtrack albums released for the show.The music of the Samurai Champloo anime series was created by a group of producers: Japanese hip-hop producer Tsutchie of the rap group Shakkazombie, American hip-hop producer & emcee Fat Jon of the rap group Five Deez, Japanese hip-hop producer Nujabes, and Japanese DJ & production duo FORCE OF NATURE. The music genre is primarily instrumental hip-hop.

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.

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.

✺ Pressed on black vinyl✺ Limited edition double vinyl✺ Created by Japanese hip-hop producer Tsutchie, American hip-hop producer & emcee Fat Jon, Japanese hip-hop producer Nujabes, and Japanese DJ & production duo FORCE OF NATURESamurai Champloo Music Record: Playlist is a soundtrack album created by Tsutchie, originally released on September 22, 2004, for the anime series Samurai Champloo. It is the third of four soundtrack albums released for the show.The music of the Samurai Champloo anime series was created by a group of producers: Japanese hip-hop producer Tsutchie of the rap group Shakkazombie, American hip-hop producer & emcee Fat Jon of the rap group Five Deez, Japanese hip-hop producer Nujabes, and Japanese DJ & production duo FORCE OF NATURE. The music genre is primarily instrumental hip-hop.

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.