2020s 384 Items

Numered Limited edition. Mirriboard Gatefold sleeve. Tiny wear and a few paper scuffs.

The album released in 1976 is the only work left behind as a singer by Taeko Tomioka, who is also known as a poet. The iconic album jacket photographed by renowned Japanese photographer Nobuyoshi Araki is undoubtedly one of the factors that make this album special. It is too avant-garde and fantastical to be simply called psychedelic, a masterpiece of madness that distorts the listener's sense of balance. The music production was handled by Ryuichi Sakamoto, who was still a student at the time, making it a valuable piece as one of his earliest recordings.

Akiyuki Nosaka was a Japanese novelist, singer, lyricist, and politician mainly active in 1970s~80s. He is also famous as the author of the semi-autobiographical story "Grave of the Fireflies", based on his experience under WW2 and which is well known with Studio Ghibli animation.

The debut album called "Utsu To Sou" is consistent with 4 live recordings and 7 studio recordings which are full of his cynical and humorous lyrics. One of his classic song "Virgin Blues" was covered by Jun Togawa and included in the album "Showa Kyonen" (1989 / reissued by P-vine in 2022)

Kite 'vii' - Seven 7" singles, remastered, with original full-length mixes appearing on vinyl for the first time.

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka Kite have steadily grown from local icons to a global phenomenon, yet until now they’ve never released a full-length studio album. 'vii' breaks the ice, collecting 14 of the duo’s deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of seven 7-inch singles released over the past half-decade, the collection persuasively showcases Kite’s distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, Kite then and now have largely refrained from publicity, allowing their music to speak for itself – which it clearly has, as Kite’s live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of Kite’s potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie ‘95"), to widescreen existential balladry ("Tranås/Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), Kite’s wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one’s burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."